至現在，我仍然忘不了那天站在Museum As It Is的展場內時的感動。眼前的展品，有在建築工地裡撿到的鐵皮，殘破而繡跡斑斑；有用來充當咖啡瀘網的綿布，被咖啡染成了深棕色；有殘舊發霉的藍染布料，是灰是藍已分不清；還有更多難以名狀的東西，它們彷彿是在哪裡被遺棄的孤兒，終於找到自己的容身之所。每件物件都看來笑容滿面。在Museum As It Is之中，我突然明白到每件物件都會有其該存在的場所，在那個場所中，它們可以自由地伸展自己的美感，展示它們最美麗的表情。
我想，Museum As It Is的館長坂田和實，定是看得到物件的美麗靈魂，才懂得讓它們的美綻放得實實在在。
坂田和實的美學脫離了一般人的標準，他總是著眼於被丟棄被忽視、被認為是垃圾的物件。在2003年時，他出版了書籍《ひとりよがりのものさし》（中譯：我行我素的標準），收錄了他在《藝術新潮》的專欄文章之外，還有他跟建築師中村好文的對談等，書的設計極為樸素卻精致，坂田先生選了自己喜愛的布料，再染成自己喜愛的顏色，作為書的封面。從他的選物，以至書的本身，就能深深感受到他對事物的獨特想法。
I can still vividly remember the striking moment viewing the exhibition at Museum As It Is, where they provided a new home for a set of randomly selected abandoned objects, for instance, torn and rusty steel sheet picked from a construction site, a piece of gauze that’d turned brown for being used as a coffee filter, a piece of blue cloth that looked rather greyish under a blanket of mold, along with many other unidentifiable items. I could sense some sort of delight from the items; they seemed to be telling me, that there is always a place for every single object to show their distinctive beauty without being limited by the norm.
Kazumi Sagada, curator of Museum As It Is, must be a person who can gaze at the core of an object that is concealed beneath its surface, and hence to liberate the soul of an object to fully demonstrate its charm.
The aesthetics promoted by Kazumi Sagada is different from the common people; his interest lies in the so-called rubbish that are abandoned and neglected. In 2003, he launched a book titled To Go Against the Accustomed Standard (ひとりよがりのものさし), which includes his articles published in the New Wave Art magazine column, as well as dialogs with his close friend, the architect Yoshifumi Nakamura. The book was subtly yet delicately designed. Sagada dyed his favorite kind of textile into his favorite color for the book cover. Through the printing material he picked and the content of the book, Sagada narrates to the readers his unique set of logic that appears quite uncommon to that of the general public.
