A few years ago, I was asked to organize an exhibition in Sapporo. It was essentially a project that had been left entirely to me, and only one staff member and I had to handle everything from installation to dismantling. On the installation day, after we had finished setting up the exhibition, I was utterly exhausted, leaning against a wall with my legs stretched out on the floor. Looking at me, the staff member said, “You look like one of the exhibits.” Without missing a beat, I replied, “If I had to give it a title, it would be Slave to Modern Design.” (Laughs) Throughout my life, I have hardly indulged in any pleasures at all—no alcohol, no cigarettes, and very little entertainment. As I mentioned before, Anne-Louise Sommer, Director of Designmuseum Danmark, once told me, “Every single object in the Oda Collection has its own story. That is why it is truly one of a kind in the world.” That was not mere flattery; it was the truth. There is a well-known television appraisal programme in Japan, but the objects featured there are simply things. The people who appear on the programme are appraisers, not researchers. I have been invited to appear three times or so, but I have always declined. My responsibility is not simply to own these objects, but to investigate their histories, study them, and make that knowledge accessible to everyone. My approach is fundamentally different from theirs.