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Her account is a timely and useful gateway into the postwar period of Japan, in addition to the contemporary censorship issues in the country. Self-censorship is an increasingly common challenge for artists and reporters in Japan, and it threatens democracy. In Hungary, for instance, journalists are afraid to ask controversial questions about the authorities as a result of they might lose access to interviews and press meetings. Journalist Janos Karpati, a former EU correspondent, asked a question concerning the death penalty and was told that his question was not applicable by Prime Minister Viktor Orban, and he was threatened with the loss of his job. While self-censorship among artists in Japan is not a new issue, recent cases of self-censorship in the humanities rekindled the debate. A recent choice by the Aichi Triennale to cancel an endorsement of a collection by South Korean artists depicting Japanese infantrymen in Nanjing has reignited the controversy. While it's important to offer protection to the freedom of expression, it can also embolden extremist components. In Japan, most modern art museums are publicly owned, and the MAM has been the field of protests. However, despite its arguable position in the sector, the museum is privately owned and backed by the effectual Mori family, which is a pillar of the Japanese tradition. There are many reasons why artists may self-censor their work. Some are symbolic, designed to advertise social team spirit and avoid insults to shared values.

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