When making these works, the artist keeps in mind not only the parts of the city that are defining and visible—its many-windowed buildings; the patterns of its streets and sidewalks; the unevenness of its topography, seen from a bird’s-eye view—but also the invisible (to most) substructures that power our technological revolution. These include computer motherboards and chips, as well as the thick bundles of fiber optic cables snaking through and beneath city streets and buildings. A work like Color Element Unit (2014), for example, resembles massive apartment blocks faced with colorful balconies and open windows and—at the same time—the intricate interior networks of a computer. Reflection (2014) recalls both the densest megalopolises pushing ever farther out beyond their borders and the so-called “snow” that appears on television monitors when signals become scrambled. This is what Hayakawa means when he speaks of merging the micro with the macro; hereminds us that every city encloses within it a multitude of smaller worlds.