Linda and I remained shocked by the news of Arakawa's death last May, roughly a decade since we met him and Madeline Gins in 2001. In this memorial essay I am going to work backwards, chronologically, and in the writing do something of an interpersonal account of his impact upon my own thinking and philosophy. This was Linda's first trip to Japan. I had been attending the joint meetings of the Social Studies of Science and the Japanese Society for Science and Technology Studies. In spite of the hot and humid weather, we tried to get in some of the sights and (air conditioned) sites of importance and these included the National Museum of Modern Art which included displays of important Japanese artists by chronological periods. Linda wondered if Arakawa would be included—and, yes, for the 20^th century there was a whole room of Arakawa, beginning with a memorial note of his passing. Most of the art was from his conceptualist period in the 60's and through the 80's, but there were none of his more recent brightly colored architectural designs. Nevertheless we both felt this was a respectful and proper sort of "goodbye experience". Arakawa had become a famous artistic ancestor whose memorial we had now visited. We expressed this to others and soon a number of our international, post phenomenological friends from Belgium, Denmark, and the US, also visited this museum with a similar experience.