{"id":17523,"date":"2022-11-09T10:22:23","date_gmt":"2022-11-09T01:22:23","guid":{"rendered":"https:\/\/www.architectural-body.com\/?p=17523"},"modified":"2022-11-09T14:16:27","modified_gmt":"2022-11-09T05:16:27","slug":"ambiguous-zones-11","status":"publish","type":"post","link":"https:\/\/www.architectural-body.com\/?p=17523&lang=en","title":{"rendered":"Ambiguous Zones 11"},"content":{"rendered":"\t\t
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Figure 1. Container of Sand<\/i> (1958-59), an example of a coffin work made in Tokyo, photograph by Masataka Nakano<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dear Friends,<\/p>

For Ambiguous Zones 11<\/strong>, we are pleased to introduce guest author Keenan Jay, who wrote an insightful essay on Arakawa\u2019s 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 Association for Asian American Studies among others. He has been conducting a series of oral history interviews on Montez Press Radio since 2019.<\/p>

Yours in the reversible destiny mode,
Reversible Destiny <\/em>Foundation and ARAKAWA+GINS Tokyo Office<\/p><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Figure 2. Installation shot from 1964 Zuni exhibition, photograph by Sherwin Greenberg Studio, Inc.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In a January 1967\u00a0Artforum<\/em>\u00a0article, critic Yoshiaki Tono recalls his surprise at a new group of artists who had appeared in Tokyo during the late 1950s. He frames these artists, who called their collective Neo Dada (initially the Neo Dadaism Organizers), through their formative postwar upbringing, writing that \u201cthey desired an art which could respond more directly . . . to the chaotic realities of the world they knew.\u201d[1]\u00a0This world was that of Japan during reconstruction, a world trying to come to terms with its wartime imperialism against a backdrop of leveled cities and widespread famine. More recently, it was the world of the ensuing development and consumerism that had turned \u201cthe teeming city of Tokyo\u201d into an \u201cimmense junk-yard\u201d[2] and of the Anpo treaty\u2019s re-signing, which would establish Japan\u2019s Cold War role despite popular protests against it. Given that the works of Neo Dada were inextricable from these circumstances, Tono argued that the group\u2019s activities should be understood primarily in sociological rather than artistic terms.<\/p><\/div><\/div><\/div>

Having introduced Arakawa in this way, Tono goes on to observe in the artist\u2019s work an \u201cobsession with death and nothingness,\u201d reflecting the sensibilities of the \u201cpost-Hiroshima generation.\u201d[3]\u00a0Tono felt this was particularly true of Arakawa\u2019s coffin-like sculptures. Perhaps Arakawa\u2019s best-known works outside of his diagrammatic paintings and architectural projects with Madeline Gins, these ominous boxes confronted the viewer with dimensions suggestive of human proportions. The works required the viewer to remove the lids to reveal the biomorphic and mutant masses contained inside (fig. 1). Made primarily of cement and cotton, Arakawa also sometimes embedded objects from Tokyo\u2019s industrial refuse into his compositions. However, he typically used such discarded objects sparingly, turning their original use-values alien through their isolated appropriation.<\/p><\/div><\/div><\/div>

In this same article, Tono moves on to a discussion of Arakawa\u2019s immigration to New York in 1961 and, jumping to 1963, his abandonment of the coffin works in favor of the diagrammatic paintings for which he would become known. 1963 saw Arakawa\u2019s first Galerie Schmela exhibition in D\u00fcsseldorf and the beginning of his collaboration with Madeline Gins on\u00a0The Mechanism of Meaning<\/em>, with his work at this time employing diagrammatic and informational visual languages that marked a definitive departure from his sculptural practice. By Tono\u2019s condensed account, it would indeed seem that \u201cArakawa left his boxes in Japan.\u201d[4<\/a>]<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"Figure
Figure 3. Installation shot from 1964 Zuni exhibition, photograph by Sherwin Greenberg Studio, Inc.<\/figcaption><\/figure><\/div>
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Figure 4. Installation shot from 1964 Zuni exhibition, photograph by Sherwin Greenberg Studio, Inc.<\/figcaption><\/figure><\/div>
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Figure 5. Installation shot from 1964 Zuni exhibition, photograph by Sherwin Greenberg Studio, Inc.<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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In the period immediately following Arakawa\u2019s move to New York, however, he not only continued to produce new coffin works but also substantially developed their concept and form. In March of 1964, an exhibition at Zuni Gallery in Buffalo, NY, showcases the culmination of this brief but compelling period (figs. 2-5). At first glance, the works in the show are familiar: the coffin-like sculptures that gained Arakawa notoriety in Tokyo populate the space, punctuated by diagrammatic drawings that evoke his painterly output in New York. Yet we soon notice a difference in these coffin works, with their unusual mechanical parts conjuring the image of reanimation rather than the mortuary air of their predecessors. The Zuni exhibition therefore reveals a distinct period within an already established body of coffin works that has gone relatively unstudied, marked by an increased complexity and modification via mechanical apparatuses.<\/p><\/div><\/div><\/div>

An unpretentious gallery in a basement in Buffalo, New York, artists Ben Perrone and Adele Cohen started Zuni in 1963 and operated it for two years. Arakawa\u2019s show had been coordinated in early 1964 by Bill Dorr, whom Perrone described to the Reversible Destiny Foundation as \u201csomewhat of an entrepreneur in the arts.\u201d[5]\u00a0Dorr also helped organize a group exhibition a few months prior to Arakawa\u2019s solo show, featuring Arakawa, Ay-O, Masunobu Yoshimura (another central Neo Dada artist), Robert Morris, Dorr himself, and other artists including John Chamberlain, Robert Motherwell, Claes Oldenberg, and Jim Dine (fig. 6).[6]\u00a0The first four of these artists had in fact shown together in a separate group exhibition almost a year earlier entitled\u00a0Boxing Match<\/em>\u00a0at Gordon\u2019s Fifth Avenue Gallery in New York City, suggesting a relationship between Dorr and the gallery.<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Figure 6. Announcement for the Zuni group exhibition, 1964.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The Arakawa works in the Zuni solo show appear to be related to the works shown in the\u00a0Boxing Match<\/em>\u00a0exhibition roughly a year earlier, both of which reveal an increasing orientation toward mechanization relative to the previous coffin works.[7]\u00a0We know from a letter sent from Dorr to Arakawa that Dorr intended to exhibit at least some of the works from the\u00a0Boxing Match<\/em>\u00a0show at Zuni, with Dorr specifically mentioning\u00a0Mechanized Plant<\/em>\u00a0(1963), a work that was ultimately not included.\u00a0Be Kind Enough to Turn the Switch On\u00a0<\/em>(1962), in which a distinctive mechanical device perches atop the coffin-like box\u2019s right-hand corner, does appear to have been exhibited in both shows according to available documentation. It is impossible, however, to verify whether the contents of the coffins were the same in both exhibitions as the documentation from\u00a0Boxing Match<\/em>\u00a0only shows it with its lid closed.<\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Figure 7. The Method of Advancing a Great Distance by Descending<\/i> (1962). Photograph by O.E. Nelson. Installation shot at Gordon\u2019s Fifth Avenue Gallery.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Figure 8. The Law of Perspective Discovered for the Second Time<\/i> (1960).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In a review of\u00a0Boxing Match<\/em>, Donald Judd writes about two other works that further support mechanization as a distinctive development within Arakawa\u2019s practice. He describes a work that has \u201cparts of a chemical apparatus, a reversed plaster hand, a plastic case and a minute blinking light.\u201d[8]\u00a0The work in question appears to be\u00a0The Method of Advancing a Great Distance by Descending\u00a0<\/em>(1962) (fig. 7), which can be seen peeking out from behind Robert Morris\u2019s\u00a0Untitled (Cloud)<\/em>\u00a0(1962) in the background of one of the installation shots.[9]\u00a0Judd also mentions\u00a0The Law of Perspective Discovered for the Second Time<\/em>\u00a0(1960) (fig. 8), describing it as \u201c[a] four-by-eight black box, with a lid, [that] contains, laid out on pink silk, a bifurcated ray with a wide crest and a phallic tail of foam rubber, a body of cotton and three eyes which are lenses.\u201d[10]\u00a0This work most likely appears with its lid closed behind Yoshimura\u2019s sculptures in the photographic documentation. In the Dwan Gallery archive, this latter coffin is dated to 1960, although an October 1963 issue of\u00a0Bijutsu Techo<\/em>\u00a0contradicts this, suggesting that its production occurred after Arakawa\u2019s move in late 1961.[11]\u00a0Regardless, comparing these two works described by Judd reveals the progression that had occurred in Arakawa\u2019s coffin works within his first year of moving to New York. While the materials used in\u00a0The Law of Perspective Discovered for the Second Time<\/em>\u00a0are congruent with the materials and forms Arakawa used in the coffin works in Tokyo,\u00a0The Method of Advancing a Great Distance by Descending<\/em>\u00a0displays an increased use of mechanical and manufactured parts to new effect.<\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Figure 9. Unidentified work in Zuni exhibition.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Figure 10a. Work<\/i> (1963) in Zuni exhibition.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Figure 10b. Work (1963)<\/i>, in Mizue (January 1964). Photograph by Eric Pollitzer.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The Zuni solo exhibition of 1964, nearly one year after the\u00a0Boxing Match<\/em>\u00a0show, confirms such a trend through a new set of coffin works.[12]\u00a0These works contain long glass tubular rods arranged in organized rows, compartmentalized plexiglass structures, and an abundance of wires, switches, buzzers, and hinges (fig. 9). In general, the Zuni works are distinct in their language of technological complexity uncharacteristic of the coffin works prior to Arakawa\u2019s move to the United States. One such work, simply titled\u00a0Work<\/em>\u00a0(1963), makes apparent the extent to which the industrial parts Arakawa utilized no longer adorn the corporeal masses and instead have become incorporated in ways that imply elaborate functions (fig. 10a).[13]<\/a>\u00a0This large coffin work holds within its complex apparatus a smaller one, as if expropriating a vital resource from it. In this remarkable instance of self-referentiality, the smaller coffin\u2014reminiscent of the earlier and more simple coffin works\u2014is hooked up to a series of conduits and wires housed in different interconnected compartments. A cord spills out from the frame of the larger coffin, connecting it to a bulbous glass fixture suspended above a small vitrine resting on the floor. This work also appears in color in a January 1964 issue of\u00a0Mizue<\/em>\u00a0magazine, showing a central object on its bed of lilac satin in the smaller coffin, which itself is nested on a lilac bed within the body of the larger coffin, producing a humorous mise en abyme effect (fig. 10b).<\/p><\/div><\/div><\/div>

Arakawa\u2019s drawings exhibited in the Zuni show also seem to be in a state of transition, en route to the diagrams of his mid-career work. While these works employ the visual language familiar from the later paintings, they also feature more organic, growth-like forms and painting methods not characteristic of them. Arakawa\u2019s choice of watercolor, whose transparent wash preserves the presence of hand, heightens this effect as the brushwork does not yet display the removal of his touch seen in the later paintings. Accordingly, these works may be seen to link the corporeality of the coffin works and the diagrammatic language of the paintings to follow (fig. 11).<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Figure 11. Unidentified work in Zuni exhibition.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In this simultaneous mechanization of the coffin works and atypical biomorphism of the diagrams, we observe Arakawa thinking through new artistic ideas in his existing practice. A significant factor in this development was Arakawa\u2019s relationship with Duchamp, which began in 1961. According to an oral history interview with Arakawa conducted by Reiko Tomii and Midori Yoshimoto, Arakawa met Duchamp immediately upon his arrival in New York.[14]<\/a>\u00a0The two maintained a friendship until Duchamp\u2019s death in 1968 and his influence would have profound consequences on Arakawa\u2019s practice.<\/p><\/div><\/div><\/div>

The fact that Arakawa made reference to the older artist in his later coffin works indicates this. For example, Arakawa\u2019s use of both positive and negative casts of body parts in these late coffin works recalls Duchamp\u2019s own casts in\u00a0With my tongue in my cheek<\/em>\u00a0(1959) and his \u201cerotic objects.\u201d We also observe references in Arakawa\u2019s titling, such as\u00a0The Method of Advancing a Great Distance by Descending<\/em>, which directly alludes to Duchamp\u2019s\u00a0Nude Descending a Staircase No. 2<\/em>, (1912). Although this coffin sculpture was not shown at Zuni, likely due to the work\u2019s inclusion by John Weber in the Dwan Gallery\u2019s own box-themed show that took place around the same time, another smaller, unidentified Zuni work shares many of its distinctive features. These include its mouse-eared silhouette and the body\u2019s framing of a gridded, topological plane akin to the Euclidean space of the diagrammatic drawings (fig. 12). Such recurring features suggest that this smaller work might have served as a study or model for\u00a0The Method of Advancing a Great Distance by Descending<\/em>. This association helps to contextualize the series of square doors set into the base of the smaller Zuni work, a feature that also appears in Arakawa\u2019s\u00a0Diagram with Duchamp\u2019s Glass as a Minor Detail\u00a0<\/em>(1964). This latter sculpture, which was not a coffin work, paid homage to\u00a0The Bride Stripped Bare by Her Bachelors, Even\u00a0<\/em>(1915-1923), also known as\u00a0The Large Glass<\/em>.<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Figure 12. Unidentified works in Zuni exhibition.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Instances such as these in the later coffin works underscore the importance of Duchamp in their new integration of complex machinery. As the coffin works became more cyborgic, they also entered into close dialogue with the bachelor machines of The Large Glass<\/em>. Both reimagined the figure through a mechanics of absurd expenditure: like the bachelor machines\u2019 fruitless endeavoring, the late coffin works labor futilely. These parallels suggest that Duchamp played at least some role in the mutation of Arakawa\u2019s sculptural practice after his arrival in New York.<\/p><\/div><\/div><\/div>

Arakawa\u2019s next exhibition, Die-agrams<\/em>, marked his divergence away from the coffin sculpture format while maintaining a connection to his fascination with death in the next major period of his oeuvre. A further ode to Duchamp with its use of pun, this inaugural solo exhibition at the Dwan Gallery, Los Angeles, opened on March 29th<\/sup> of 1964, less than a week after the Zuni exhibition closed. It seems, then, that it would be more accurate to say that Arakawa left his boxes in Buffalo than in Japan as suggested in the article by Tono cited at the beginning of this essay, a misunderstanding further perpetuated by Arakawa\u2019s omission of the Zuni solo from his exhibition record altogether by the time of his show at the Stedelijk van Abbemuseum in December 1966. His reasons for this were never stated, though it suggests that he no longer saw the exhibition and its works as representative of his artistic identity. Analysis of the late coffins works, therefore, has much to tell us about Arakawa\u2019s thinking at this crucial juncture in the trajectory of his career. Further study would not only yield new insight into these relatively obscure works, but also into Arakawa\u2019s own self-conception as an artist within the social context he encountered in New York.<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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[1]\u00a0Yoshiaki Tono, \u201cShusaku Arakawa, Tomio Miki, and Tetsumi Kudo,\u201d\u00a0Artforum<\/em>\u00a0(January 1967): 53.<\/p>

[2]\u00a0Tono, \u201cShusaku Arakawa,\u201d 53.<\/p>

[3]\u00a0Tono, \u201cShusaku Arakawa,\u201d 53.<\/p>

[4]\u00a0Tono, \u201cShusaku Arakawa,\u201d 55.<\/p>

[5]\u00a0Email correspondence between Ben Perrone and Amara Magloughlin, June 9th, 2018.<\/p>

[6]\u00a0These latter artists appear to have come from Dorr\u2019s own collection. Email correspondence between Ben Perrone and Amara Magloughlin, June 9th, 2018.<\/p>

[7]\u00a0This exhibition was revisited by Castelli Gallery in 2019. The exhibition catalog includes materials crucial to this research and may be accessed at\u00a0https:\/\/www.castelligallery.com\/publications\/1963-boxing-match-revisited<\/a>.<\/p>

[8]\u00a0Donald Judd, \u201cReviews for Arts Magazine, April \u2013 May\/June 1963,\u201d in\u00a0Donald Judd: Complete Writings 1959-1975: Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints<\/em>\u00a0(Halifax: Press of the Nova Scotia College of Art and Design, 1975), 90.<\/p>

[9]\u00a0ARTnews<\/em>\u00a0reviewer K.L. writes that \u201cCloud, a horizontal box (a grey plane) suspended at eye level, gives a curious effect of blindness.\u201d K.L., \u201cBoxing Match,\u201d\u00a0ARTnews<\/em>\u00a0(March 1963): n.p. Re-printed in\u00a0Boxing Match: 4 Sculptors: Arakawa, Ay-O, Morris, Yoshimura<\/em>, ed. Castelli Gallery (New York, NY: Castelli Gallery, 2019): 24.<\/p>

[10]\u00a0Judd, \u201cReviews,\u201d 90.<\/p>

[11]\u00a0Yusuke Nakahara,\u00a0\u201cShusaku Arakawa,\u201d\u00a0Bijutsu Techo<\/em>\u00a0(October 1963): n.p.<\/p>

[12]\u00a0The possible exception of\u00a0Be Kind Enough to Turn the Switch On<\/em>\u00a0is mentioned above.<\/p>

[13]\u00a0Yoshiaki Tono, \u201cStatement by Japanese Vanguard Artists from Saito to Arakawa,\u201d\u00a0Mizue<\/em>\u00a0(January 1964): 26.<\/p>

[14] Oral History Interview with Shusaku Arakawa, conducted by Midori Yoshimoto and Reiko Tomii, April 4, 2009,\u00a0Oral History Archives of Japanese Art (URL:\u00a0https:\/\/oralarthistory.org\/archives\/arakawa_shusaku\/interview_01.php<\/a>).<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Figure 1. 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