The Venus of Milo is seen as a unique masterpiece of Greek art. However, to the great displeasure of the Greek authorities who are demanding its return, it has belonged to the French public collections since 1821. More generally, it is widely considered a European and Western heritage. And it goes without saying, its beauty is universal. But can it be Japanese? Through the examination of the reception of the Venus de Milo in Japan, the aim is to reflect on the conditions of a utopian appropriation of art works, given that, unlike texts that can be quoted, cut and mounted, paintings and statues are strongly dependant on their materiality. Against the current discourse on the dematerialization of art works, which goes hand in hand with an increasing fetishization of the originals, this article explores the path of an incorporation through practice and repetition.