Taking the rape of Japanese soldiers in Asian countries during the WWII, and the formal apology made by prime minister, Murayama in 1986, Koizumi created a ritualistic performance, that combined the re-enacted scene of raping and re-enacted scene of apology together with elements of pornographic imagery. By using video cameras and video mixer, Koizumi plays both the subject of raper and subject of the victim at the same time, to create a hysterical action driven by two kinds of guilts; the guilt of shameful history and the guilt of male sexuality.