“Not in this city,” Coreysaid, returning his attention to the skyline. “There’s alwayssomething new to discover. When I get homesick, I fly to Kansas,and before long my family makes sure I want to come backhere.”
Tim chuckled. “I know thefeeling. Next time, come to Texas. We’ll take you in. Bring Kioshitoo.”
“Sounds fun. For now it’sback to work.”
That meant stopping bymore galleries, which was an education in itself. Tim had beenseeking neutral spaces, but many that they visited were gimmicky.One used LEDs to an extreme, lighting the sidewalk outside in whitewhile the inside walls changed colors. This in turn altered theviewer’s perception of each displayed piece. Tim wasn’t sure ifthat was clever or not. The walls of another gallery were coveredin a painted mural of a forest, the art for sale hanging from treebranches. After taking a break for lunch, they visited the nextgallery and discovered it was intentionally divided into windinghalls, turning it into a labyrinth.
“I think the idea is togive visitors an experience they’ll remember,” Corey said, pickingup on Tim’s disapproval.
“It detracts from theart,” he countered. “The Mori Museum got it right.”
“Then I’m interested tosee how you react to our next stop.”
The building they arrivedat looked nothing like a museum. The roof was pointed, ornate, andcurved upward at the edges, placing it in the Edo period ofarchitecture, if his college education was still worth anything.Tim stopped out front to stare.
“It’s a bath house,” Coreyexplained.
“I don’t do those,” Timsaid, taking a step back.
“Relax,” Corey said. “It’sa former bath house, and in Japan they don’t have the sameconnotation.” After a sly smile, he added, “Pervert.”
“Guilty as charged,” Timsaid, nodding at the building. “Let’s see what they’vegot.”
He was impressed by thisone more than any he had seen so far because it combined the twoconcepts seamlessly. Walking through a centuries-old building wascool. The rooms were laid out in unusual sizes and dimensions,which made exploring fun. While touring the bathhouse itself was amemorable experience, the presentation of the art was right on par.The walls were neutral, the floor dark, and the lights weretastefully mounted on industrial girders.
“Think they’ll let us buythis place?” Tim asked.
“I doubt it,” Corey said.“You like it?”
“I love it! Maybe we needto think outside the box.”
“Speaking of which, I knowa little takeout place not far away that does amazing bento boxes.Or are you more in the mood for a restaurant?”
Tim tore his eyes from their surroundings tolook at Corey. “What did you say?”
“I’m kind of hungry, so Ithought we could grab some street food or—”
“Go to a restaurant,” Timsaid, a smile developing along with an idea. “That first place welooked at, the greasy grill, can you give them a call?”
“I don’t think they’restill in business, or that I would want to eat there, even if theywere.” Corey’s mouth dropped open. “Wait, are yousaying…”
“That you’re a genius?”Tim threw an arm around him and pulled him close. “Yes. Probably.That depends on how it goes. It’s worth another look.” If a bathhouse could be turned into a gallery, why not a restaurant? “Setsomething up for tomorrow. I want to see it again. Then call thathandsome husband of yours, because dinner is on me.”
“Dinner is always on you,”Corey complained. “You haven’t let us pay for a thing!”
“Okay, dinner is on you.Drinks are on me.”
Corey sighed. “This isn’t good for myfigure.”
“Have you had anycomplaints?”
“Well… No.”
Tim squeezed Corey andreleased him. “I didn’t think so.” Then he beamed at hissurroundings, imagining a grill that served art instead burgers. Orwhatever the Japanese equivalent was.
* * * * *
Another day, the firstthat felt successful. They revisited the hibachi grill, Tim seeingit in a new light. He took notes, drew a few rough sketches, andhad Corey interrogate the real estate agent about prices. Theowners were asking a lot, but he thought the agent looked eagerenough to close the deal for lower. First he would need to run hisidea by Marcello, since that’s who would be responsible for ponyingup the dough.