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Her account is a timely and useful gateway into the postwar period of Japan, as well as the modern censorship issues in the nation. Self-censorship is an increasingly common challenge for artists and journalists in Japan, and it threatens democracy. In Hungary, for instance, journalists are afraid to ask controversial questions concerning the government because they might lose access to interviews and press conferences. 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 arts rekindled the debate. A recent decision by the Aichi Triennale to cancel an endorsement of a collection by South Korean artists depicting Japanese infantrymen in Nanjing has reignited the talk. While it's crucial to offer protection to the liberty of expression, it also can embolden extremist facets. In Japan, most modern art museums are publicly owned, and the MAM has been the discipline of protests. However, despite its arguable position in the sphere, the museum is privately owned and backed by the efficient Mori family, which is a pillar of the Japanese tradition. There are many the reason why artists may self-censor their work. Some are symbolic, designed to promote social team spirit and avoid insults to shared values.

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