Acknowledged as the representative of Tokyo’s sub- and countercultures, Harajuku has redefined values central to the understanding of art itself: aesthetic and community, uniqueness and exclusivity, ownership and consumption.

These movements and practices have been appropriated by many and yet, perhaps due to their young and uniquely Japanese post-war existential underpinnings, have been brushed aside as exotic social phenomenons and remain largely alienated from the Western sphere of art.