Publisher's Synopsis
In a little less than seven years, from 1955 to 1962, between New York and Tokyo, Yoko Ono broadened the ambit of the visual arts to cover hither to unexplored areas. By pushing the physical quality of arts to the point of invisibility, to a mere shout, by using the body, by identifying with the present and the incomplete and by inviting all and sundry to join in and create or interpret her socres, she was effectively writing a new page in the history of art. What she was doing was poetry, performance, events, sound, music, conceptual art, painting - but it was also a probing the status of an original radical existence - the present, a response to the interpretation, to the transcription and the uncompleted nature of the work, the contribution of the other and the sharing of it; the social implications and status of music, and, on a board level, art in general.
