Dear Friends,  We are pleased to bring you a special edition of Ambiguous Zones, 14, written by our summer intern, Jlynn Rose, who joins us from Pratt Institute where she is completing a BFA in Fine Arts with a minor in art history and philosophy. In her essay, “WORD RAIN: Poetics of Friction and Conflation,” Jlynn shares her reflections on some of Madeline Gins’s work after reading The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader, edited by Lucy Ives, in the first week of her internship. Taking Ives’s invocation of Adrian Piper in

Cover of Lincoln Center Playbill, May 1979, 124 W Houston Documents, Box 4N14, Folder 50, Reversible Destiny Archives. Dear Friends,  In Ambiguous Zones 13, RDF’s project archivist, Kathryn Dennett, delves into the story behind a mysterious find in an archival box: a Lincoln Center playbill from May 1979…mentioning Arakawa. This playbill was for an evening performance by composer Edvard Lieber that included a composition entitled “Neither Arakawa Nor Jasper Johns Are Each Other.” Taking this intriguing piece as her starting point, Kathryn outlines Lieber’s career, highlighting a second piece inspired by Arakawa’s work, in this case, Blank Stations II, 1982, performed at

Dear Friends, The new year brings with it the twelfth edition of our Ambiguous Zones newsletter, written by guest author Chaeeun Lee who thoughtfully considers Arakawa and Madeline Gins’s concept of Blank. Chaeeun is a PhD Candidate in Art History at CUNY Graduate Center and a research intern at the Reversible Destiny Foundation. She is writing her dissertation on the politics of abstraction and aesthetics in the work of Asian American and Asian immigrant artists during the 1960s and the 1970s, exploring the ways in which their work problematized the established norms of racial, cultural, and gender identification in search of alternative

Figure 1. Container of Sand (1958-59), an example of a coffin work made in Tokyo, photograph by Masataka Nakano Dear Friends, For Ambiguous Zones 11, we are pleased to introduce guest author Keenan Jay, who wrote an insightful essay on Arakawa’s solo exhibition of mainly coffin works at the Zuni Gallery in Buffalo, NY, in March of 1964. Jay is a researcher of modern and contemporary art with an interest in diasporic art and the neo-avant-garde. He was a 2021 research fellow with PoNJA-GenKon and Asia Art Archive in America and has recently presented at the annual conference of the