This piece was not necessarily an ordinary painting, it consisted mainly of nails nailed to a canvas as a form of self-expression. As mentioned in his description, “Rather than creating an image with a brush and paint, Uecker attacked the canvas aggressively and repeatedly with a hammer and nails. » As the previous statement indicates, we can conclude that the artist found himself in an affirmative phase and wanted to create something realistic. Both Uecker and Tanaka expressed their realities and emotions through their abstract artworks, which truly define modernism. As Carol Duncan and Alan Wallach state in The Museum of Modern Art As Late Capitalist Ritual: An Iconographic Analysis*, “Like the church or temple of the past, the museum plays a unique ideological role. Through its objects and everything that surrounds them, the museum transforms abstract ideology into living belief. This means that museums such as MOCA play an important role for society, not only because they give people access to certain historical values, but also because it is about cultural individuality, subjective freedom, freedom of various artists after the modern era. As Carol Duncan and Alan Wallach put it: “In short, this story records the increasing dematerialization and transcendence of mundane experience. » This reflects the fact that the dematerialization of reality is part of a banal experience in which the more abstract the works of art are, the more they take you to a transcendent stage. In contrast, JANM reveals societal change by chronologically placing cultural artifacts that focus more on Japanese society.