“This was our big break. The client was the son of a yakuza family oyabun. He loved light art. He rambled on about gases being trapped and something about being volumetric. Neon. That was his thing. I didn’t really understand it, but this was too high of paycheck to pass up. We’d pulled some big names for this project. I guess anything is possible if you have enough money. He’d requested us to fly in Dan Flavin, but of course money couldn’t solve that type of problem. We managed to get a contract with both Robert Irwin and Keith Sonnier and soon the job was underway. Conceptualized, actualized, and refined over and over. The client was very picky and specific. The artists almost quit due to feeling constrained. “This is not art!” I could see spittle flying as one the artist vented his anger. Thankfully, somehow they pulled through despite his ludicrous demands. ‘A masterpiece…’ the client had said. I wouldn’t dare say anything. Just looked like a sign to me, but the client was thrilled. He seemed like a serious collector that knew what he was doing. He certainly had the money for it. I wonder what he’ll do with it. He didn’t mention any plans for exhibition. I suppose it’s for his private collection.”

- Excerpt from This Is A Fake Story: Memoirs of an Advertising Agency