Miki Jo's first photobook, which made Robert Frank exclaim that it was wonderful, is made of 21 monochrome photographs of waves and the movement of water, taken on the Japan Sea coast where she grew up. Readers expecting something literal from SEX will be disappointed: the book is a study of the movement of water. It is an extremely large book, which highlights the power of the waves that Jo photographs. Perhaps in showing the rushing of an ocean wave, or in plunging beneath the surface of the water to capture a turbulent image, we can find some relation between the book's title and its content. The series is a kind of self-nude, the flow of thirty years of her life, and by looking at and feeling something huge and ever-changing she undoes herself and faces what lies beyond the waves. As a Korean resident of Japan, she says the Japan Sea faces both the place where she was born and the Korea she had not yet seen. It seems possible that the photographs represent Jo's idealised vision of sex, in which the different states of water, sometimes powerful, sometimes at rest, make up a highly poetic vision.