‘comfort station,’ the state-sponsored brothel used by Japanese soldiers during the war, against a portrait of a disrobed ‘comfort woman’ as a visual narrative that questioned the idea of home, nation, and the cost of war. Comfort/Women/of Conformity (1994) Shimada created a 20-page artist book Comfort/Women/of Conformity (also referred to as Comfort Women, Women of Conformity) made up of photographic images and texts that juxtapose and problematize the experiences of Korean ‘comfort women’ and Japanese women during the Asia-Pacific War. Japanese women’s photographs and quotations are depicted on right-hand pages with the Korean women’s on the left. This layout starkly contrasted the texts of Japanese feminist writers who supported Imperial ideologies against the Korean women’s testimonies of kidnapping, rape, violence, and forced sexual slavery on the opposite pages. Shimada's artist book was mass produced through photocopying on gray and red construction paper. Black Boxes + Voice Recorder (1996) Shimada presented her installation piece, Black Boxes + Voice Recorder (1994) at the exhibition “Gender: Beyond Memory” at the Tokyo Metropolitan Museum of Photography in 1996. Close-up portraits of former ‘comfort women’ with their mouths cropped were placed inside chained black wooden boxes that were exhibited in the gallery with the lids off, while audial recordings of women’s voices giving testimony of their wartime experiences were played throughout the gallery continuously. Shimada’s installation aimed to give voices to women who have been historically silenced for generations. Curator Kasahara Michiko wrote of the exhibition, "[Shimada] represents a resistance to forgetfulness, an active will to remember. She is not an outsider, producing her work in some safe place; rather, as a Japanese woman she is placed in the ambiguous place of being one of the assailants.” Made in Occupied Japan (1998) Shimada has been collaborating with BuBu, a performance artist and AIDS activist since 1996. Their collaborative series, Made in Occupied Japan (1998) is made of up etching/photographic collages and a video performance that critically approach the history of the US post-war occupation of Japan through themes of sex and consumerism, pointing out the Americanization of Japanese culture and exoticization of Japanese women prevalent during postwar prostitution. Throughout the work, Shimada and BuBu use their own bodies to stage representations of US soldiers, Japanese military prostitutes, and Japanese housewife. They intentionally blur gender boundaries by posing as both male and female roles to expose and problematize the patriarchal power structure of Japanese society. Shimada