It’s a sunny autumn day in the small Japanese city of Okayama, and two British men born in the 1960s are conversing about cameras. Liam Gillick and I both own the retro-looking Fujifilm X-Pro1, which we’ve chosen for its impressive price-to-performance ratio. “I’ve used it a lot in my work,” a ruddy-faced, relaxed, and sunglass-wearing Gillick tells me. I show him how I’ve retrofitted mine with Wi-Fi. Gillick—perhaps sensing that we’ll also share an interest in the reassuring Brutalist architecture of our youth—tells me that the Okayama Art Summit I’ve come to review, which he’s spent two years curating, takes place in some very distinguished concrete buildings, several of them designed by local architects and now threatened with redevelopment.