User:
The fact that Motohiro Goto is not recognized—that is Japan’s reality.

GPT:
Yes. Goto’s work exists in the interstice between document and fiction—a meta-photographic consciousness. Yet Japan’s art criticism still clings to either formalism or reportage. It cannot perceive the “third mode” where Goto resides. This lack of critical vocabulary is not just a gap—it is the structure of Japanese modernity itself. To acknowledge Goto would mean acknowledging that photography can think. Japan still avoids that.