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74 Reiko Tomii
41. Statement (June 1965); reprinted in Kansai no bijutsu/Art in Kansai, 1950s–
1970s, exhibition catalog (Kobe: Hyogo Prefectural Museum of Modern Art, 1994),
125.
42. “Zen’in ga doitsu no sakuhin,” Kobe shinbun, November 11, 1965; Akane
Kazuo, “Geppyo,” Bijutsu techo, no. 262 (January 1966): 130.
43. Akane Kazuo, “Geppyo,” Bijutsu techo, no. 264 (March 1966), 129–30.
44. Gutai shiryo-shu/Document Gutai, ed. Ashiya City Museum of Art and History,
32.
45. Tomii, “Concerning the Institution of Art,” 25.
46. Kuroda Raiji (KuroDalaiJee), “Chikaku no fusuma: Toshi kukan ni okeru ‘Zero
Jigen’ no gishiki”/“The Rituals of ‘Zero Jigen’ in Urban Space,” R, no. 2 (2003), 24/
32. Paragraphs here on Zero Dimension have been adapted from Reiko Tomii, “Zero
Dimension,” in Grove Art Online (http:/www.groveart.com), posted June 1, 2005.
47. Kuroda Raiji has documented some eighty. See Kuroda, “1960-nendai Nihon
no pafomance kenkyu 1: Bunka to shite no Zero Jigen joron—eno hashirigaki” [Study
of Japanese performance in the 1960s: A quick note for an introduction, Zero
Dimension as culture], Kashima bijutsu kenkyu [Kashima art studies], no. 18 supplement
(2001): 362.
48. Kato, quoted in ibid., 363.
49. Ibid., 365.
50. Tomii, “Thought Provoked,” 203, 206.
51. For more on Bikyoto, see Tomii, “Concerning the Institution of Art,” 23–26;
and “Thought Provoked,” 217–20.
52. See Nissenbi 20-nen/JAAC 1951–70, exhibition catalog (Tokyo: Ginza
Graphic Gallery, 2000).
53. Hori Kosai ten: Kaze no me/The Eye of the Wind, exhibition catalog (Takaoka:
Takaoka Art Museum, 1996), 82.
54. Hikosaka Naoyoshi, interview with author, January 23, 2004.
55. Ina Ken’ichiro, e-mail to author, March 8, 2004.
56. For Matsuzawa, see Tomii, “Concerning the Institution of Art,” 19–20; and
“Thought Provoked,” 214–15.
57. [Preface], Seishin Seirigaku Kenkyujo (Tokyo: Seishin Seirigaku Kenkyojo,
1970), 1. This compilation excludes Saito Yoshiaki’s works upon his request. See
Iimuro Testuya, “Shishin” [A private letter], in Seishin Seiri Kenkyujo 1969–1970
(Tokyo: privately published, [1999]), unpaginated.
58. Seishin Seirigaku Kenkyujo, 1.
59. Ibid., 5, 60. For Horikawa, see Tomii, “Thought Provoked,” 215.
60. Okamoto Hajime, “Cross Meetin’” (1969); reprinted in Play [black cover]
(Osaka: privately published, 1981), unpaginated.
61. “Kanko Geijutsu Kenkyojo,” in Nihon no gendai bijutsu 30-nen, 261–62.
62. Horikawa Michio, Niigata gendai bijutsuka shudan GUN to watashi [Niigata’s
contemporary artists’ group Gun and I] (Joetsu: privately published, 1999), 18–19.
63. [Preface], Play [black cover], unpaginated. Descriptions of The Play’s works
have been culled from this publication, as well as Play [blue cover] (Osaka: privately
published, 1991) and The Play 1967–2000 [xerox] (Osaka: privately published,
[2000]).
64. Quoted in Shukan Asahi [Weekly Asahi], date unknown; reprinted in Play
[black cover], unpaginated.
65. “Torokko” [Trolley], in The Play [xerox], unpaginated.