In “super (string drawing) theory” 2023.1.31– (2023), Immanuel Kant’s Critique of Pure Reason (1,000 pages) serves as the support for countless pencil drawings that evoke doodling as the origin of art, which is also arguably the true essence of Arima Kaoru’s work. For this work, in an attempt to free the viewer from the meaning and interpretation of the original book, as well as to enjoy a one-time viewing experience in various environments and at various times in a manner resembling the one-time nature of moving images, the exhibition staff will undertake a presentation where the book appears to be read slowly throughout the exhibition period by turning the pages at regular intervals each day. We can imagine not only what is depicted, but also what might have been depicted in the margins and blank spaces precisely because we cannot see everything at any one moment. Self-evident in its approach, this work pursues the truth about drawing not only for the viewer but also for the artist.