Hotel Aporia (2019) was commissioned as a site-specific installation for the Aichi Triennale 2019, held at the Kiraku-tei—a Japanese-styled inn and restaurant which also hosted the final dinner for members from a special ‘Kamikaze’ squad before they embarked on their suicide mission in Okinawa during the war. The work features a cast of historical figures from Japan’s interwar period: from members of the aforementioned ‘Kamikaze’ squad, to the philosophers of the Kyoto School, and other cultural producers such as filmmaker Yasujiro Ozu who were all caught up in the heady mix of militant nationalism, anti-modernism, and cultural propaganda. The work can be described as an incantation of modern Japan’s ‘ghosts’. As the first of Ho’s trilogy of works dealing with the ghosts of Japan’s modern history, it headlines a significant chapter in Ho’s practice. In many ways, it also returns us to Ho’s broader interests in our negotiations with modernity and how the latter may have violently reconfigured our earlier systems of belief and social organisation—particularly as it pertains to East and Southeast Asia. Leveraging the ‘screen’ walls of Kiraku-tei, and utilising automated fans and lights, Hotel Aporia presents modernity as an alluring projection, not unlike a cinematic apparatus producing the illusions of agency.