The works are installed in villages and temple precincts. On the Kunisaki peninsula the art is not held in a museum: it was placed permanently in settlements between the mountains and the sea, and inside the grounds of temples. Most of it dates from an exhibition held between October and November 2014, with preparatory projects running from 2012, and the works themselves remain in place and can still be seen.

The theme was given as a single word, Life. The programme was organised across three districts — Jōbutsu, Kibe and Sentō — and built on three approaches: site-specific works, performance, and residencies. The peninsula also holds the Rokugō Manzan temples and a scattering of stone Buddhas and cliff carvings, so the contemporary work and the older religious sculpture are encountered along the same roads. Ōita city is about ninety minutes away by car, the airport is close by, and empty houses are coming onto the market in the villages, which is the background condition the whole project was working against.

Putting a work in a temple precinct means it will be compared with something a thousand years old. The stone Buddhas are on the same path, and a visitor arriving at a new piece has just passed several of them, which sets a standard for how convincingly a thing can be placed. That is a difficult test to set a new work, and a fair one to apply. Work that survives it does so because the question of where to put it was thought about as carefully as the object itself, which is not always the case with art installed outdoors.