his work from the 1980s to the 2000s, Morimura embodies the roles of eleven distinguished artists from the Art History canon: Andy Warhol, Frida Kahlo, Vincent van Gogh, Johannes Vermeer, Diego Velazquez, Jan van Eyck, Leonardo da Vinci, Albrecht Durer, Michelangelo Merisi da Caravaggio, Rembrandt van Rijn, and Louise Vigee Le Brun. This moving image work consists of vignettes in which each of the artists deliver a dramatic monologue on the nature of selfhood, identity, and how it relates to their artistry. As a humorous statement on self, Morimura expresses in the opening that Marcel Duchamp will be referenced but that “... because Mr. Duchamp is of the opinion that absence is a testament to existence, he will not be joining us today”; in his place, Morimura inserts himself as both a character and the moderator of the meeting between the eleven artists. Similar to Ego Symposium’s filmic format, Nippon Cha Cha Cha! (2018) is a multimedia work that combines film and live theatrical performance. Morimura portrays a diverse set of characters in an assessment of how Japan’s identity is shaped by American culture following the end of the Allied Occupation in 1952. As Showa Emperor Hirohito, General Douglas MacArthur, actress Marilyn Monroe, and writer Yukio Mishima, the work is a blend of historical and autobiographical references. During one of the film’s scenes, Morimura recreates the historic photograph of the meeting between Emperor Hirohito and General MacArthur but switches the original location from the American ambassador’s residence to his childhood home and parents’ tea shop. These scenes were intended to signify Morimura's understanding of the complex relationship between America's influence on Japanese culture and how it led to his internal conflict as to what it means to identify as “Japanese” in the 20th and 21st Centuries. During the live performance component, Morimura enters the stage wearing the same military uniform as Mishima and is armed with a scroll. Before the audience, Morimura reads a declaration that argues for the essentiality of art as a reference to the politically charged speech Mishima delivered on fascism at Tokyo's Ground Self-Defense Force camp before he committed ritualistic suicide on November 25, 1970. Although Morimura's art has been the subject of dozens of group and solo exhibitions around the world since his public debut in the 1980s, the 2018 retrospective of his career at The Japan Society, Yasumasa Morimura: Ego Obscura (October 2018 –