Unusually for a Japanese, Taro Okamoto’s spatial sense was extremely highly-developed. Whether he was working on a mural or a monument, the image he possessed was not limited to the work. He would consider the overall impression of the space in which it was to stand. The esquisses he drew were flat, but they served as little more than blueprints. As you look at these, one by one, you should try and imagine the scenery opening up around them; it offers a marvelous chance to test your imagination.