Originally shown as a thirty-minute slideshow of over 600 images in Nagashima's survey exhibition And a Pinch of Irony with a Hint of Love at the Tokyo Photographic Art Museum in 2017, the book charts the evolution of this major female artist over twenty-four years, from 1992 to 2016. It opens with a photograph taken on a backpacking trip, followed by her early, much publicised nude self-portraits and scenes among her peers in mid-1990s Tokyo and during her studies at CalArts in Los Angeles. Back in Tokyo in 1999 she continued through pregnancy, the birth of her son and the following years of motherhood. In a conversation with Lesley A. Martin she describes the early work as a form of activism, parodies of pin-ups made in anger at the hair-nude boom, through which she claims agency over her own body and answers the way the gaze of male society acts on the female body. Self-portraiture, she says, is an important genre of photography, especially in the context of feminism: with a camera on a tripod you take both roles, model and photographer, a way of acting against the historical roles of men and women in photography. The sequence is chronological, so the change can be seen: it grows more personal and diaristic, and her cameras and subjects shift with her experiences, from compact-film cameras after the birth of her son to the domestic politics she faced after the earthquake of 2011.