The photographs in high contrast black and white are recognizably from the tradition of Japanese photography. Nakafuji's predecessor Moriyama made a brutal vision of a feral frontier land in “Hokkaido” while wrestling with his personal demons in the 1970s. In contrast, Nakafuji's photographs of Hokkaido seem to me hopeful and expansive. It is in his photographs of the megalopolis of Tokyo that Nakafuji's work reveals alienation. In “Sakuan, Matapaan” the roads, the railways, the sea, the streets of the towns lead to another place, where the search continues for attachment, for that elusive love.