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Neo-Dada Organizers - Wikipedia

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class="vector-toc-numb">2</span> <span>Name</span> </div> </a> <ul id="toc-Name-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Activities" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Activities"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Activities</span> </div> </a> <button aria-controls="toc-Activities-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Activities subsection</span> </button> <ul id="toc-Activities-sublist" class="vector-toc-list"> <li id="toc-Selected_events" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Selected_events"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Selected events</span> </div> </a> <ul id="toc-Selected_events-sublist" class="vector-toc-list"> <li id="toc-First_Neo-Dada_Exhibition_(April_4–9,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#First_Neo-Dada_Exhibition_(April_4–9,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.1</span> <span>First Neo-Dada Exhibition (April 4–9, 1960)</span> </div> </a> <ul id="toc-First_Neo-Dada_Exhibition_(April_4–9,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Anpo_Commemoration_Event_(June_18,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Anpo_Commemoration_Event_(June_18,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.2</span> <span><i>Anpo Commemoration Event</i> (June 18, 1960)</span> </div> </a> <ul id="toc-Anpo_Commemoration_Event_(June_18,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Second_Neo-Dada_Exhibition_(July_1–10,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Second_Neo-Dada_Exhibition_(July_1–10,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.3</span> <span>Second Neo-Dada Exhibition (July 1–10, 1960)</span> </div> </a> <ul id="toc-Second_Neo-Dada_Exhibition_(July_1–10,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Beach_Show_(July_20,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Beach_Show_(July_20,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.4</span> <span><i>Beach Show</i> (July 20, 1960)</span> </div> </a> <ul id="toc-Beach_Show_(July_20,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Third_Neo-Dada_Exhibition_(September_1–7,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Third_Neo-Dada_Exhibition_(September_1–7,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.5</span> <span>Third Neo-Dada Exhibition (September 1–7, 1960)</span> </div> </a> <ul id="toc-Third_Neo-Dada_Exhibition_(September_1–7,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bizarre_Assembly_(September_30,_1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Bizarre_Assembly_(September_30,_1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.6</span> <span><i>Bizarre Assembly</i> (September 30, 1960)</span> </div> </a> <ul id="toc-Bizarre_Assembly_(September_30,_1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dinner_Commemorating_Our_Defeat_in_the_War_(August_15,_1962)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Dinner_Commemorating_Our_Defeat_in_the_War_(August_15,_1962)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1.7</span> <span><i>Dinner Commemorating Our Defeat in the War</i> (August 15, 1962)</span> </div> </a> <ul id="toc-Dinner_Commemorating_Our_Defeat_in_the_War_(August_15,_1962)-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Photo_documentation" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Photo_documentation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Photo documentation</span> </div> </a> <ul id="toc-Photo_documentation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dissolution" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Dissolution"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Dissolution</span> </div> </a> <ul id="toc-Dissolution-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Legacy" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Legacy"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Legacy</span> </div> </a> <ul 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id="toc-Neo-Dada_sympathizers_(non-members_but_sometimes_participated)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Neo-Dada_sympathizers_(non-members_but_sometimes_participated)"> <div class="vector-toc-text"> <span class="vector-toc-numb">7.2</span> <span>Neo-Dada sympathizers (non-members but sometimes participated)</span> </div> </a> <ul id="toc-Neo-Dada_sympathizers_(non-members_but_sometimes_participated)-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>References</span> </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle References subsection</span> </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Citations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Citations"> <div class="vector-toc-text"> <span class="vector-toc-numb">8.1</span> <span>Citations</span> </div> </a> <ul id="toc-Citations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources_cited" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sources_cited"> <div class="vector-toc-text"> <span class="vector-toc-numb">8.2</span> <span>Sources cited</span> </div> </a> <ul id="toc-Sources_cited-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc 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id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><p><b>Neo-Dadaism Organizers</b><span style="font-weight: normal"> (<span title="Japanese-language text"><span lang="ja">ネオ・ダダイズム・オルガナイザーズ</span></span>, <span title="Hepburn transliteration"><i lang="ja-Latn"><i>Neo-Dadaizumu-Oruganaizāzu</i></i></span>)</span>, sometimes shortened to <b>Neo-Dada Organizers</b> or simply <b>Neo-Dada</b><span style="font-weight: normal"> (<span title="Japanese-language text"><span lang="ja">ネオ・ダダ</span></span>)</span>, was a short-lived but influential Japanese <a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dadaist</a> art collective formed by <a href="/wiki/Masunobu_Yoshimura" title="Masunobu Yoshimura">Masunobu Yoshimura</a> in 1960.<sup id="cite_ref-FOOTNOTEKapur2018195_1-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup> Composed of a small group of young, up-and-coming artists who met periodically at Yoshimura's "White House" <a href="/wiki/Atelier" title="Atelier">atelier</a> in <a href="/wiki/Shinjuku" title="Shinjuku">Shinjuku</a>, the Neo-Dada Organizers engaged in all manner of visual and performance artworks, but specialized in producing disturbing, impulsive spectacles, often involving physical destruction of objects, that the art critic <a href="/wiki/Ichir%C5%8D_Hariu" title="Ichirō Hariu">Ichirō Hariu</a> deemed "savagely meaningless," and that inspired another art critic, Yoshiaki Tōno, to coin the term "anti-art" (<i>han-geijutsu</i>).<sup id="cite_ref-FOOTNOTEKapur2018195–197_2-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195–197-2"><span class="cite-bracket">&#91;</span>2<span class="cite-bracket">&#93;</span></a></sup> Examples included filling galleries with piles of garbage, smashing furniture to the beat of jazz music, and prancing the streets of <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a> in various states of dress and undress.<sup id="cite_ref-FOOTNOTEKapur2018197_3-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> Using the human body as their medium of art, their violent performances reflected both their dissatisfaction with the restrictive environment of the Japanese art world at the time, as well as contemporary social developments, most notably the massive <a href="/wiki/Anpo_protests" title="Anpo protests">1960 Anpo protests</a> against the <a href="/wiki/U.S.-Japan_Security_Treaty" class="mw-redirect" title="U.S.-Japan Security Treaty">U.S.-Japan Security Treaty</a>.<sup id="cite_ref-FOOTNOTEKapur2018196–197_4-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196–197-4"><span class="cite-bracket">&#91;</span>4<span class="cite-bracket">&#93;</span></a></sup> </p><p>The Neo-Dada Organizers held three official exhibitions in 1960, as well as a number of bizarre "actions," "events," and "happenings" in which they sought to mock, deconstruct, and in many cases, physically destroy conventional forms of art. Many of the group's members and participants would go on to become noted artists in their own right, including <a href="/wiki/Genpei_Akasegawa" title="Genpei Akasegawa">Genpei Akasegawa</a>, <a href="/wiki/Sh%C5%ABsaku_Arakawa" class="mw-redirect" title="Shūsaku Arakawa">Shūsaku Arakawa</a>, <a href="/wiki/Sayako_Kishimoto" title="Sayako Kishimoto">Sayako Kishimoto</a>, <a href="/wiki/Tetsumi_Kudo" title="Tetsumi Kudo">Tetsumi Kudō</a>, <a href="/wiki/Natsuyuki_Nakanishi" title="Natsuyuki Nakanishi">Natsuyuki Nakanishi</a>, and <a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Artistic_stance">Artistic stance</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=1" title="Edit section: Artistic stance"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Neo-Dada Organizers was formed at a time when Japan was rapidly modernizing after the destruction of <a href="/wiki/World_War_II" title="World War II">World War II</a>. The group positioned themselves in opposition to all established art forms and institutions, especially the strains of <a href="/wiki/Humanism" title="Humanism">humanism</a> and <a href="/wiki/Socialist_realism" title="Socialist realism">socialist realism</a> that dominated Japanese art circles in the 1950s,<sup id="cite_ref-FOOTNOTEKapur2018181–182_5-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018181–182-5"><span class="cite-bracket">&#91;</span>5<span class="cite-bracket">&#93;</span></a></sup> but also the recent tendency toward wholesale importation of foreign art trends, such as <a href="/wiki/Abstract_art" title="Abstract art">abstract art</a> and <i><a href="/wiki/Art_Informel" class="mw-redirect" title="Art Informel">Art Informel</a>.</i><sup id="cite_ref-FOOTNOTEKapur2018196_6-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196-6"><span class="cite-bracket">&#91;</span>6<span class="cite-bracket">&#93;</span></a></sup> But beyond opposing the dominant art forms of the time, the Neo-Dada Organizers reacted to the efforts by the <a href="/wiki/Liberal_Democratic_Party_(Japan)" title="Liberal Democratic Party (Japan)">Liberal Democratic Party</a> government, led by conservative Prime Minister <a href="/wiki/Nobusuke_Kishi" title="Nobusuke Kishi">Nobusuke Kishi</a>, to revise and extend the <a href="/wiki/Treaty_of_Mutual_Cooperation_and_Security_between_the_United_States_and_Japan" title="Treaty of Mutual Cooperation and Security between the United States and Japan">United States Japan Security Treaty</a> (known as "Anpo" in Japanese), which led to the massive <a href="/wiki/Anpo_protests" title="Anpo protests">Anpo protests</a> across the country.<sup id="cite_ref-FOOTNOTEKapur2018194–198_7-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018194–198-7"><span class="cite-bracket">&#91;</span>7<span class="cite-bracket">&#93;</span></a></sup> Because it locked Japan into a quasi-permanent <a href="/wiki/U.S.-Japan_Alliance" class="mw-redirect" title="U.S.-Japan Alliance">military alliance with the United States</a>, the treaty led many Japanese to fear that Japan would become a target should a nuclear war break out.<sup id="cite_ref-FOOTNOTEKapur201822_8-0" class="reference"><a href="#cite_note-FOOTNOTEKapur201822-8"><span class="cite-bracket">&#91;</span>8<span class="cite-bracket">&#93;</span></a></sup> </p><p>At their first exhibition, held at the Ginza Gallery in Tokyo in April, 1960, the Neo-Dada Organizers released a list of their guiding principles: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>We are Neo-Dadaists. </p><p>—Neo-Daddists are uncultured.<br /> —Neo-Daddists are not Japanese.<br /> —Neo-Daddists are not human beings.<br /> —Neo-Daddists are a group devoted to artistic revolution.<br /> —Neo-Daddists reject the abstract art movement entirely.<br /> —Neo-Daddists have a thirst for killing.<sup id="cite_ref-FOOTNOTEKapur2018196_6-1" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196-6"><span class="cite-bracket">&#91;</span>6<span class="cite-bracket">&#93;</span></a></sup><br /> </p> </blockquote> <p>These principles signaled the group's devotion to what group member <a href="/wiki/Genpei_Akasegawa" title="Genpei Akasegawa">Genpei Akasegawa</a> would later term "creative destruction" whereby the group sought to create a space for new types of art to emerge by systematically seeking out and destroying all existing artistic norms and conventions.<sup id="cite_ref-FOOTNOTEKapur2018196_6-2" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196-6"><span class="cite-bracket">&#91;</span>6<span class="cite-bracket">&#93;</span></a></sup> </p><p>In June 1960, Akasegawa read out the group's "manifesto" (written by group member <a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a>) to a group of reporters: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><p>No matter how much we fantasize about procreation in the year 1960, a single atomic explosion will casually solve everything for us, so Picasso’s fighting bulls no longer move us any more than the spray of blood from a run-over stray cat. As we enter the blood-soaked ring in this 20.6th century—a century which has trampled on sincere works of art—the only way to avoid being butchered is to become butchers ourselves.<sup id="cite_ref-FOOTNOTEKapur2018196_6-3" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196-6"><span class="cite-bracket">&#91;</span>6<span class="cite-bracket">&#93;</span></a></sup></p></blockquote> <p>This statement conveyed a sense of hopeless desperation that, at a time when attempts to create new forms of art were being suffocated by oppressive ideologies and hide-bound institutions, the only way to save art was to kill it.<sup id="cite_ref-FOOTNOTEKapur2018197_3-1" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Name">Name</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=2" title="Edit section: Name"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term "<a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dada</a>" was first used in May 1957 in <a href="/wiki/Robert_Rosenblum" title="Robert Rosenblum">Robert Rosenblum</a>'s "Castelli Group" article for <i><a href="/wiki/Arts_Magazine" title="Arts Magazine">Arts Magazine</a></i>, and then, more dramatically, in January 1958, in the New York art monthly <i><a href="/wiki/ARTnews" title="ARTnews">ARTnews</a></i>, to describe the style of the most recent collage and assemblage artists - primarily <a href="/wiki/Jasper_Johns" title="Jasper Johns">Jasper Johns</a> and <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Robert Rauschenberg</a>.<sup id="cite_ref-FOOTNOTEHapgood1994112_9-0" class="reference"><a href="#cite_note-FOOTNOTEHapgood1994112-9"><span class="cite-bracket">&#91;</span>9<span class="cite-bracket">&#93;</span></a></sup> The latter became known in Japan primarily through the art critic Yoshiaki Tōno, who published an article about them in the November 1959 issue of <i>Geijutsu shinchō</i>.<sup id="cite_ref-FOOTNOTEIkegami2010162_10-0" class="reference"><a href="#cite_note-FOOTNOTEIkegami2010162-10"><span class="cite-bracket">&#91;</span>10<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTETōno1959104–112_11-0" class="reference"><a href="#cite_note-FOOTNOTETōno1959104–112-11"><span class="cite-bracket">&#91;</span>11<span class="cite-bracket">&#93;</span></a></sup> </p><p>The use of the term "Neo-Dada" did not mean that the group claimed any direct link to the original Japanese <a href="/wiki/Dadaism" class="mw-redirect" title="Dadaism">Dadaists</a> of the 1920s (such as <a href="/wiki/Tomoyoshi_Murayama" title="Tomoyoshi Murayama">Tomoyoshi Murayama</a> or the group <a href="/wiki/MAVO" class="mw-redirect" title="MAVO">MAVO</a>). The term "Neo-Dada" in this usage was as much a wink to the New York avant-garde as a reference to historical Dadaism. That said, relations between certain members of the Neo-Dada Organizers and their American counterparts could be tense, as exemplified most notably in a confrontation between <a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a> and <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Robert Rauschenberg</a> during the performance <i>Twenty Questions to Bob Rauschenberg</i>, which took place at the <a href="/wiki/Sogetsu_Art_Center" title="Sogetsu Art Center">Sōgetsu Art Center</a> on November 28, 1964.<sup id="cite_ref-FOOTNOTEIkegami2010184–185_12-0" class="reference"><a href="#cite_note-FOOTNOTEIkegami2010184–185-12"><span class="cite-bracket">&#91;</span>12<span class="cite-bracket">&#93;</span></a></sup> </p><p>By adding the English word "organizers" to their name, the group indicated their interest in appropriating (and possibly mocking) the left-wing jargon of the ongoing <a href="/wiki/Anpo_protests" title="Anpo protests">Anpo protests</a>.<sup id="cite_ref-FOOTNOTEKapur2018195_1-1" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup> The group's Japanese name, written <i>Neo・dada・oruganaizāzu</i> in <a href="/wiki/Katakana" title="Katakana">katakana</a> script with dots in between the words, would normally translate to "Neo-Dada Organizers" in a standard English translation. However, the group's usage of this name was inconsistent, and increasingly came to be abbreviated simply "Neo-Dada" over time. In the announcement for their first exhibition, the group called the exhibition the "Neo-Dadaism Organizer Exhibition" without an "s" at the end,<sup id="cite_ref-FOOTNOTEChong201263_13-0" class="reference"><a href="#cite_note-FOOTNOTEChong201263-13"><span class="cite-bracket">&#91;</span>13<span class="cite-bracket">&#93;</span></a></sup> but "Organizers" with an "s" was used in other contexts.<sup id="cite_ref-FOOTNOTETomii2005b53_14-0" class="reference"><a href="#cite_note-FOOTNOTETomii2005b53-14"><span class="cite-bracket">&#91;</span>14<span class="cite-bracket">&#93;</span></a></sup> </p><p>Art historian <a href="/wiki/Reiko_Tomii" title="Reiko Tomii">Reiko Tomii</a> has argued, in a 2005 "Translator's Note," that the group's name should be spelled "Neo Dada" without a hyphen, despite the fact that the term "<a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dada</a>" is almost invariably hyphenated in English.<sup id="cite_ref-FOOTNOTETomii2005b53_14-1" class="reference"><a href="#cite_note-FOOTNOTETomii2005b53-14"><span class="cite-bracket">&#91;</span>14<span class="cite-bracket">&#93;</span></a></sup> However, hyphens do not ordinarily exist in Japanese script, and group members often employed the Japanese <a href="/wiki/Interpunct" title="Interpunct">interpunct</a> (a centrally-aligned black dot, the closest Japanese equivalent to a hyphen) between the words "Neo" and "Dada," as attested in their flyers, writings, and artworks.<sup id="cite_ref-FOOTNOTEKuroda200562_15-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200562-15"><span class="cite-bracket">&#91;</span>15<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEChong201263_13-1" class="reference"><a href="#cite_note-FOOTNOTEChong201263-13"><span class="cite-bracket">&#91;</span>13<span class="cite-bracket">&#93;</span></a></sup> In any case, the term "Neo-Dada Organizers" (with hyphen and in the plural), has become a standard term for the group in English language scholarship,<sup id="cite_ref-FOOTNOTEHapgood199441_16-0" class="reference"><a href="#cite_note-FOOTNOTEHapgood199441-16"><span class="cite-bracket">&#91;</span>16<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEYoshimoto200526_17-0" class="reference"><a href="#cite_note-FOOTNOTEYoshimoto200526-17"><span class="cite-bracket">&#91;</span>17<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEHavens2006138_18-0" class="reference"><a href="#cite_note-FOOTNOTEHavens2006138-18"><span class="cite-bracket">&#91;</span>18<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEFuruhata201351_19-0" class="reference"><a href="#cite_note-FOOTNOTEFuruhata201351-19"><span class="cite-bracket">&#91;</span>19<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEKapur2018177–178_20-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018177–178-20"><span class="cite-bracket">&#91;</span>20<span class="cite-bracket">&#93;</span></a></sup> as well as in standard art historical reference works.<sup id="cite_ref-FOOTNOTEChilversGlaves-Smith2009503_21-0" class="reference"><a href="#cite_note-FOOTNOTEChilversGlaves-Smith2009503-21"><span class="cite-bracket">&#91;</span>21<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Activities">Activities</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=3" title="Edit section: Activities"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The Neo-Dada group members gathered at their leader <a href="/wiki/Masunobu_Yoshimura" title="Masunobu Yoshimura">Masunobu Yoshimura</a>'s atelier, called the "White House" (<i>Howaito Hausu</i>), which had been designed by <a href="/wiki/Arata_Isozaki" title="Arata Isozaki">Arata Isozaki</a> and built by <a href="/wiki/Junz%C5%8D_Yoshimura" title="Junzō Yoshimura">Junzō Yoshimura</a> in <a href="/wiki/Shinjuku" title="Shinjuku">Shinjuku</a> in 1958. It would serve as their main base of operations until 1962.<sup id="cite_ref-FOOTNOTEChong201262_22-0" class="reference"><a href="#cite_note-FOOTNOTEChong201262-22"><span class="cite-bracket">&#91;</span>22<span class="cite-bracket">&#93;</span></a></sup> </p><p>At the "White House," they spent day and night discussing, writing leaflets, organizing performances-cum-parties, and working towards the <a href="/wiki/Yomiuri_Ind%C3%A9pendant_Exhibition" title="Yomiuri Indépendant Exhibition">Yomiuri Indépendant Exhibition</a> and other group shows.<sup id="cite_ref-FOOTNOTETōno1986331_23-0" class="reference"><a href="#cite_note-FOOTNOTETōno1986331-23"><span class="cite-bracket">&#91;</span>23<span class="cite-bracket">&#93;</span></a></sup> They arranged a rapid-fire series of exhibitions in 1960, at times accompanied by guerrilla actions on the street.<sup id="cite_ref-FOOTNOTEChong201262_22-1" class="reference"><a href="#cite_note-FOOTNOTEChong201262-22"><span class="cite-bracket">&#91;</span>22<span class="cite-bracket">&#93;</span></a></sup> </p><p>In 1960, the movement against the renewal of the <a href="/wiki/Treaty_of_Mutual_Cooperation_and_Security_Between_the_United_States_and_Japan" class="mw-redirect" title="Treaty of Mutual Cooperation and Security Between the United States and Japan">U.S.-Japan Security Treaty</a> had spread throughout the country and formed the background to the violent political upheaval of the time.<sup id="cite_ref-FOOTNOTEKapur2018194–195_24-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018194–195-24"><span class="cite-bracket">&#91;</span>24<span class="cite-bracket">&#93;</span></a></sup> In Tokyo, the <a href="/wiki/National_Diet" title="National Diet">Diet</a> was surrounded by the crowd of demonstrators, and in the middle of the ranting and tumult, <a href="/wiki/Sh%C5%ABsaku_Arakawa" class="mw-redirect" title="Shūsaku Arakawa">Shūsaku Arakawa</a> threw a brick at the police: legend has it that, as a result, the demonstration turned into a riot.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">&#91;<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2021)">citation needed</span></a></i>&#93;</sup> The Neo-Dada Organizers actively took part in the anti-Treaty protests on the streets of Tokyo, but deliberately sought to conflate political revolution with artistic revolution.<sup id="cite_ref-FOOTNOTEKapur2018178_25-0" class="reference"><a href="#cite_note-FOOTNOTEKapur2018178-25"><span class="cite-bracket">&#91;</span>25<span class="cite-bracket">&#93;</span></a></sup> For example, they paraded through the streets with leaflets, lightbulbs, or other bizarre paraphernalia attached all over their bodies and replaced shouts of "Anpo hantai" ("down with the Security Treaty") with cries of "Anfo hantai" ("down with <a href="/wiki/Art_Informel" class="mw-redirect" title="Art Informel">Art Informel</a>").<sup id="cite_ref-FOOTNOTEKapur2018178_25-1" class="reference"><a href="#cite_note-FOOTNOTEKapur2018178-25"><span class="cite-bracket">&#91;</span>25<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTETōno1986329_26-0" class="reference"><a href="#cite_note-FOOTNOTETōno1986329-26"><span class="cite-bracket">&#91;</span>26<span class="cite-bracket">&#93;</span></a></sup> </p><p>In parallel with these activist activities, the group organized three official exhibitions and individual members of the collective participated in the major events of the early 1960s, especially the Yomiuri Indépendant Exhibition cycle (1949-1963) and at the <a href="/wiki/Sogetsu_Art_Center" title="Sogetsu Art Center">Sogetsu Art Center</a> (1958-1971). </p> <div class="mw-heading mw-heading3"><h3 id="Selected_events">Selected events</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=4" title="Edit section: Selected events"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="First_Neo-Dada_Exhibition_(April_4–9,_1960)"><span id="First_Neo-Dada_Exhibition_.28April_4.E2.80.939.2C_1960.29"></span>First Neo-Dada Exhibition (April 4–9, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=5" title="Edit section: First Neo-Dada Exhibition (April 4–9, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first "official" Neo-Dada Organizers exhibition was held at the Ginza Gallery in Tokyo.<sup id="cite_ref-FOOTNOTECollinsLiuYang20134_27-0" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="cite-bracket">&#91;</span>27<span class="cite-bracket">&#93;</span></a></sup> The group displayed found objects and garbage while playing jazz tapes and "sexy whispers."<sup id="cite_ref-FOOTNOTEYoshida2020126_28-0" class="reference"><a href="#cite_note-FOOTNOTEYoshida2020126-28"><span class="cite-bracket">&#91;</span>28<span class="cite-bracket">&#93;</span></a></sup> Meanwhile, a half-naked man hacked at the "artworks" with an axe.<sup id="cite_ref-FOOTNOTEYoshida2020126_28-1" class="reference"><a href="#cite_note-FOOTNOTEYoshida2020126-28"><span class="cite-bracket">&#91;</span>28<span class="cite-bracket">&#93;</span></a></sup> The sounds of objects being destroyed were recorded, and then played loudly out into the street from the gallery's window.<sup id="cite_ref-FOOTNOTENakazawa2008_29-0" class="reference"><a href="#cite_note-FOOTNOTENakazawa2008-29"><span class="cite-bracket">&#91;</span>29<span class="cite-bracket">&#93;</span></a></sup> <a href="/w/index.php?title=Betsujin_Ishibashi&amp;action=edit&amp;redlink=1" class="new" title="Betsujin Ishibashi (page does not exist)">Betsujin Ishibashi</a> also performed his work <i>Fifteen Minutes in a Waseda Street in the Morning,</i> reminiscent of American Neo-Dadaist <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Robert Rauschenberg</a>’s <i>Automobile Tire Print</i> (1951), in which Ishibashi laid a large sheet of paper in the street and let passing automobiles run it over before retrieving the dirtied paper 15 minutes later.<sup id="cite_ref-FOOTNOTENakazawa2008_29-1" class="reference"><a href="#cite_note-FOOTNOTENakazawa2008-29"><span class="cite-bracket">&#91;</span>29<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTECollinsLiuYang20134_27-1" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="cite-bracket">&#91;</span>27<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTETomii2007b60n46_30-0" class="reference"><a href="#cite_note-FOOTNOTETomii2007b60n46-30"><span class="cite-bracket">&#91;</span>30<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Anpo_Commemoration_Event_(June_18,_1960)"><span id="Anpo_Commemoration_Event_.28June_18.2C_1960.29"></span><i>Anpo Commemoration Event</i> (June 18, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=6" title="Edit section: Anpo Commemoration Event (June 18, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On June 18, 1960, just three days after student activist <a href="/wiki/Michiko_Kanba" title="Michiko Kanba">Michiko Kanba</a> was killed in a clash with police at the <a href="/wiki/National_Diet" title="National Diet">National Diet</a> as part of the ongoing <a href="/wiki/Anpo_protests" title="Anpo protests">Anpo protests</a>, group members convened at Yoshinobu's "White House" atelier and staged a performance called <i>Anpo Commemoration Event</i> (安保記念エベント) for gathered reporters and television cameras, supposedly to "commemorate" the failure of the protests to stop the passage of the <a href="/wiki/U.S.-Japan_Security_Treaty" class="mw-redirect" title="U.S.-Japan Security Treaty">U.S.-Japan Security Treaty</a>.<sup id="cite_ref-FOOTNOTEKapur2018197_3-2" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> Several group members group stripped naked and danced wildly.<sup id="cite_ref-FOOTNOTEKapur2018197_3-3" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> Yoshimura appeared with a massive erect penis and testicles made of cloth, paper, and string tied to his loins, white arrows painted on his chest, and a gaping red wound painted on his stomach that looked as if he had just disembowled himself in a <i><a href="/wiki/Seppuku" title="Seppuku">seppuku</a></i> suicide ritual, and Arakawa appeared in a grotesque, monster-like costume and gulped directly from a bottle of strong <i><a href="/wiki/Sh%C5%8Dch%C5%AB" title="Shōchū">shōchū</a></i> while dancing around and making strange noises.<sup id="cite_ref-FOOTNOTEKapur2018197_3-4" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> The performance concluded with the group gathering around a large plywood panel and taking turns ritualistically destroying it with acid, fire, and a hatchet.<sup id="cite_ref-FOOTNOTEKapur2018197_3-5" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> Shortly after this somber event concluded, the Security Treaty was automatically passed in the Upper House of the Japanese Diet, in accordance with Japanese law.<sup id="cite_ref-FOOTNOTEKapur2018197_3-6" class="reference"><a href="#cite_note-FOOTNOTEKapur2018197-3"><span class="cite-bracket">&#91;</span>3<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Second_Neo-Dada_Exhibition_(July_1–10,_1960)"><span id="Second_Neo-Dada_Exhibition_.28July_1.E2.80.9310.2C_1960.29"></span>Second Neo-Dada Exhibition (July 1–10, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=7" title="Edit section: Second Neo-Dada Exhibition (July 1–10, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The second "official" Neo-Dada Exhibition took place at Yoshimura's atelier in Shinjuku. Group member <a href="/w/index.php?title=Tatsumi_Yoshino&amp;action=edit&amp;redlink=1" class="new" title="Tatsumi Yoshino (page does not exist)">Tatsumi Yoshino</a> set his aptly-named work <i>Danger</i> alight inside the atelier.<sup id="cite_ref-FOOTNOTECollinsLiuYang20134_27-2" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="cite-bracket">&#91;</span>27<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Beach_Show_(July_20,_1960)"><span id="Beach_Show_.28July_20.2C_1960.29"></span><i>Beach Show</i> (July 20, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=8" title="Edit section: Beach Show (July 20, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The <i>Beach Show</i> was performed at Zaimokuza Beach in <a href="/wiki/Kamakura,_Japan" class="mw-redirect" title="Kamakura, Japan">Kamakura</a>. In a performance filmed by television station <a href="/wiki/TBS_Television_(Japan)" title="TBS Television (Japan)">TBS</a>, male members carried out sadistic acts against women associated with the group, including <a href="/wiki/Sayako_Kishimoto" title="Sayako Kishimoto">Sayako Kishimoto</a>.<sup id="cite_ref-FOOTNOTEKuroda200569n16_31-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200569n16-31"><span class="cite-bracket">&#91;</span>31<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEYoshimoto200527–28_32-0" class="reference"><a href="#cite_note-FOOTNOTEYoshimoto200527–28-32"><span class="cite-bracket">&#91;</span>32<span class="cite-bracket">&#93;</span></a></sup> The event was representative of the male oppression reigning in the group, where women - already in the minority - were subjected to physical abuse and their work was not regarded as equal to that of other male members. These behaviors reflected the idea in vogue at the time in certain artistic circles that the subversion of societal norms required, among other things, the liberalization of violence, particularly sexist violence.<sup id="cite_ref-FOOTNOTEKagawa1997264_33-0" class="reference"><a href="#cite_note-FOOTNOTEKagawa1997264-33"><span class="cite-bracket">&#91;</span>33<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Third_Neo-Dada_Exhibition_(September_1–7,_1960)"><span id="Third_Neo-Dada_Exhibition_.28September_1.E2.80.937.2C_1960.29"></span>Third Neo-Dada Exhibition (September 1–7, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=9" title="Edit section: Third Neo-Dada Exhibition (September 1–7, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The third and final "official" Neo-Dada Exhibition was put on at the Hibiya Gallery near <a href="/wiki/Hibiya_Park" title="Hibiya Park">Hibiya Park</a>. <a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a>, sporting his trademark <a href="/wiki/Mohawk_hairstyle" title="Mohawk hairstyle">mohawk hairstyle</a>, installed a temporary installation in Hibiya Park and then slashed it to ribbons.<sup id="cite_ref-FOOTNOTECollinsLiuYang20133–4_34-0" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20133–4-34"><span class="cite-bracket">&#91;</span>34<span class="cite-bracket">&#93;</span></a></sup> <a href="/wiki/Masunobu_Yoshimura" title="Masunobu Yoshimura">Masunobu Yoshimura</a> wrapped his naked body with the group's exhibition flyers and <a href="/w/index.php?title=Kinpei_Masuzawa&amp;action=edit&amp;redlink=1" class="new" title="Kinpei Masuzawa (page does not exist)">Kinpei Masuzawa</a> covered himself in fragile glass lightbulbs before proceeding to stroll through downtown Tokyo.<sup id="cite_ref-FOOTNOTECollinsLiuYang20133–4_34-1" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20133–4-34"><span class="cite-bracket">&#91;</span>34<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Bizarre_Assembly_(September_30,_1960)"><span id="Bizarre_Assembly_.28September_30.2C_1960.29"></span><i>Bizarre Assembly</i> (September 30, 1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=10" title="Edit section: Bizarre Assembly (September 30, 1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The <i>Bizarre Assembly</i>, an outdoor destructive performance, was held at Yoshimura's "White House" atelier in Shinjuku.<sup id="cite_ref-FOOTNOTECollinsLiuYang20134_27-3" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="cite-bracket">&#91;</span>27<span class="cite-bracket">&#93;</span></a></sup> Yoshimura, Masuzawa, and Shinohara struck jagged holes into a metal sheet. Shinohara also performed his now-famous “boxing painting,” in which he punched a large piece of paper with boxing gloves that had been dipped in ink.<sup id="cite_ref-FOOTNOTECollinsLiuYang20134_27-4" class="reference"><a href="#cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="cite-bracket">&#91;</span>27<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Dinner_Commemorating_Our_Defeat_in_the_War_(August_15,_1962)"><span id="Dinner_Commemorating_Our_Defeat_in_the_War_.28August_15.2C_1962.29"></span><i>Dinner Commemorating Our Defeat in the War</i> (August 15, 1962)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=11" title="Edit section: Dinner Commemorating Our Defeat in the War (August 15, 1962)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On the 17th anniversary of Japan's surrender in World War II, some members from Neo-Dada reunited along with <a href="/wiki/Group_Ongaku" title="Group Ongaku">Group Ongaku</a> and <a href="/wiki/Tatsumi_Hijikata" title="Tatsumi Hijikata">Tatsumi Hijikata</a> to stage a collaborative performance, entitled <i>Dinner Commemorating Our Defeat in the War</i> (敗戦記念晩餐会), in a Tokyo suburb with the help of art critic Yoshida Yoshie.<sup id="cite_ref-FOOTNOTETomii2007b60n48_35-0" class="reference"><a href="#cite_note-FOOTNOTETomii2007b60n48-35"><span class="cite-bracket">&#91;</span>35<span class="cite-bracket">&#93;</span></a></sup> The event consisted of the performers eating a sumptuous dinner eaten before an audience, whose members had unwittingly purchased a 200-yen ticket for the privilege of watching them.<sup id="cite_ref-FOOTNOTETomii2007a56_36-0" class="reference"><a href="#cite_note-FOOTNOTETomii2007a56-36"><span class="cite-bracket">&#91;</span>36<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTETomii2007b60n48_35-1" class="reference"><a href="#cite_note-FOOTNOTETomii2007b60n48-35"><span class="cite-bracket">&#91;</span>35<span class="cite-bracket">&#93;</span></a></sup> The night was subtitled "Art minus Art" (Geijutsu mainasu geijutsu).<sup id="cite_ref-FOOTNOTEGossot20172_37-0" class="reference"><a href="#cite_note-FOOTNOTEGossot20172-37"><span class="cite-bracket">&#91;</span>37<span class="cite-bracket">&#93;</span></a></sup> During the evening, several performances followed one another: Masunobu Yoshimura brushed his teeth for about 30 minutes until his mouth ran with blood, <a href="/w/index.php?title=Sh%C5%8D_Kazakura&amp;action=edit&amp;redlink=1" class="new" title="Shō Kazakura (page does not exist)">Shō Kazakura</a> stood on a chair and pressed a hot iron to his chest as part of a "ritual to execute the will of the <a href="/wiki/Marquis_de_Sade" title="Marquis de Sade">Marquis de Sade</a>," <a href="/wiki/Yasunao_Tone" title="Yasunao Tone">Yasunao Tone</a> and Group Ongaku gave a concert of experimental music, and <a href="/wiki/Tatsumi_Hijikata" title="Tatsumi Hijikata">Tatsumi Hijikata</a> stripped naked and performed <a href="/wiki/Butoh" title="Butoh">Butoh</a>, among others.<sup id="cite_ref-FOOTNOTEGalliano201846_38-0" class="reference"><a href="#cite_note-FOOTNOTEGalliano201846-38"><span class="cite-bracket">&#91;</span>38<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTETomii2007b60n48_35-2" class="reference"><a href="#cite_note-FOOTNOTETomii2007b60n48-35"><span class="cite-bracket">&#91;</span>35<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEGossot20174–5_39-0" class="reference"><a href="#cite_note-FOOTNOTEGossot20174–5-39"><span class="cite-bracket">&#91;</span>39<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Photo_documentation">Photo documentation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=12" title="Edit section: Photo documentation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In addition to the above named events and activities, the group also engaged in a number of spontaneous performative acts, including street demonstrations, stage performances, outdoor performances, and social gatherings. These events became the source of media spectacle, and were avidly documented by photographers, including <a href="/wiki/Kenji_Ishiguro" title="Kenji Ishiguro">Kenji Ishiguro</a>, Takeo Ishimatsu, Masanori Kobayashi, <a href="/wiki/Sh%C5%8Dmei_T%C5%8Dmatsu" title="Shōmei Tōmatsu">Shōmei Tōmatsu</a>, <a href="/wiki/William_Klein_(photographer)" title="William Klein (photographer)">William Klein</a> and Jacqueline Paul.<sup id="cite_ref-FOOTNOTEKuroda200559,_61,_63,_64,_67_40-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200559,_61,_63,_64,_67-40"><span class="cite-bracket">&#91;</span>40<span class="cite-bracket">&#93;</span></a></sup> </p><p>Compared to <a href="/wiki/Kyushu-ha" class="mw-redirect" title="Kyushu-ha">Kyūshū-ha</a>, which was based in a remote region, Neo-Dada was able to exploit the power of the mass media concentrated in Tokyo. As curator Raiji Kuroda has pointed out, members of Neo-Dada seemed to know the value of getting themselves seen; with the mass audience in mind they performed in front of photographers and television camera crews. <sup id="cite_ref-FOOTNOTEKuroda199311_41-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda199311-41"><span class="cite-bracket">&#91;</span>41<span class="cite-bracket">&#93;</span></a></sup><sup id="cite_ref-FOOTNOTEYoshimoto200527_42-0" class="reference"><a href="#cite_note-FOOTNOTEYoshimoto200527-42"><span class="cite-bracket">&#91;</span>42<span class="cite-bracket">&#93;</span></a></sup> </p><p>According to art historian <a href="/wiki/Reiko_Tomii" title="Reiko Tomii">Reiko Tomii</a>, these different forms of photographic and videographic captures are typical of the networks of artistic collaborations (intrinsically collaborative practices of the group and then collaboration with photographers), while being essential for the preservation and sharing of these anti-art practices, of which few physical traces remain.<sup id="cite_ref-FOOTNOTETomii2005a7_43-0" class="reference"><a href="#cite_note-FOOTNOTETomii2005a7-43"><span class="cite-bracket">&#91;</span>43<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Dissolution">Dissolution</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=13" title="Edit section: Dissolution"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Although the Neo-Dada Organizers never officially disbanded, they did not hold any major public events after the fall of 1960, after which time many of the group's leading members began to pursue their own individual artistic activities. In October 1960, five female dancers from the Nobutoshi Tsuda Dance Studio in Meguro visited the White House, and Yoshimura shocked everyone by suddenly proposing to and marrying one of them. Thereafter, according to Shinohara Ushio, the Neo-Dada Organizers group "was essentially dissolved."<sup id="cite_ref-FOOTNOTEShinohara1968_44-0" class="reference"><a href="#cite_note-FOOTNOTEShinohara1968-44"><span class="cite-bracket">&#91;</span>44<span class="cite-bracket">&#93;</span></a></sup> </p><p>In 1962, Yoshimura sold his White House atelier and decamped to New York City.<sup id="cite_ref-FOOTNOTEMitsuda2012167_45-0" class="reference"><a href="#cite_note-FOOTNOTEMitsuda2012167-45"><span class="cite-bracket">&#91;</span>45<span class="cite-bracket">&#93;</span></a></sup> <a href="/wiki/Sh%C5%ABsaku_Arakawa" class="mw-redirect" title="Shūsaku Arakawa">Shūsaku Arakawa</a>, <a href="/wiki/Tetsumi_Kudo" title="Tetsumi Kudo">Tetsumi Kudō</a>, and a bit later <a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a>, despairing of the reception of their work in their own country, similarly went into exile in New York or Paris. </p> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=14" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Although short-lived, Neo-Dada's bizarre and spectacular performances received outsized media attention, and proved influential on a number of Japanese artistic collectives active later in the 1960s and associated with the "anti-art" movement, including Zero Jigen, Group Ongaku, and <a href="/wiki/Hi-Red_Center" title="Hi-Red Center">Hi-Red Center</a>.<sup id="cite_ref-FOOTNOTEKapur2018196_6-4" class="reference"><a href="#cite_note-FOOTNOTEKapur2018196-6"><span class="cite-bracket">&#91;</span>6<span class="cite-bracket">&#93;</span></a></sup> </p><p>In retrospect, the Tokyo art world was clearly on the verge of a fundamental shift. One figure from the Neo-Dada circle who chose to remain in Japan was <a href="/wiki/Genpei_Akasegawa" title="Genpei Akasegawa">Genpei Akasegawa</a>. He joined forces with <a href="/wiki/Jiro_Takamatsu" title="Jiro Takamatsu">Jirо̄ Takamatsu</a> and <a href="/wiki/Natsuyuki_Nakanishi" title="Natsuyuki Nakanishi">Natsuyuki Nakanishi</a> to form <a href="/wiki/Hi-Red_Center" title="Hi-Red Center">Hi-Red Center</a>, and together they continued agitating within the Tokyo art scene. Not unlike Neo-Dada, <a href="/wiki/Hi-Red_Center" title="Hi-Red Center">Hi-Red Center</a> had a relatively open approach to membership, with other artists often joining their actions and events.<sup id="cite_ref-FOOTNOTEChong201262_22-2" class="reference"><a href="#cite_note-FOOTNOTEChong201262-22"><span class="cite-bracket">&#91;</span>22<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notable_members">Notable members</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=15" title="Edit section: Notable members"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Membership in the group was fluid and hard to pinpoint. However, art historian Raiji Kuroda defines the group's core members as follows: artists listed on two promotional fliers (announcements) made for the first and second group exhibitions, plus those who participated directly in the third exhibition.<sup id="cite_ref-FOOTNOTEKuroda200555_46-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200555-46"><span class="cite-bracket">&#91;</span>46<span class="cite-bracket">&#93;</span></a></sup> <a href="/wiki/Tetsumi_Kudo" title="Tetsumi Kudo">Tetsumi Kudō</a> and <a href="/w/index.php?title=Tomio_Miki&amp;action=edit&amp;redlink=1" class="new" title="Tomio Miki (page does not exist)">Tomio Miki</a> refused to officially join the group, but almost invariably participated in their events and activities.<sup id="cite_ref-FOOTNOTENakazawa2008_29-2" class="reference"><a href="#cite_note-FOOTNOTENakazawa2008-29"><span class="cite-bracket">&#91;</span>29<span class="cite-bracket">&#93;</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Neo-Dada_Organizers">Neo-Dada Organizers</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=16" title="Edit section: Neo-Dada Organizers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Masunobu_Yoshimura" title="Masunobu Yoshimura">Masunobu Yoshimura</a>, founder (1932–2011)<sup id="cite_ref-FOOTNOTEKapur2018195_1-2" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Genpei_Akasegawa" title="Genpei Akasegawa">Genpei Akasegawa</a> (1937-2014)<sup id="cite_ref-FOOTNOTEKapur2018195_1-3" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Sh%C5%ABsaku_Arakawa" class="mw-redirect" title="Shūsaku Arakawa">Shūsaku Arakawa</a> (1936-2010)<sup id="cite_ref-FOOTNOTEKapur2018195_1-4" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Hiroko_Hiraoka&amp;action=edit&amp;redlink=1" class="new" title="Hiroko Hiraoka (page does not exist)">Hiroko Hiraoka</a><sup id="cite_ref-FOOTNOTEKuroda200569n16_31-1" class="reference"><a href="#cite_note-FOOTNOTEKuroda200569n16-31"><span class="cite-bracket">&#91;</span>31<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Betsujin_Ishibashi&amp;action=edit&amp;redlink=1" class="new" title="Betsujin Ishibashi (page does not exist)">Betsujin Ishibashi</a> (born 1938)<sup id="cite_ref-FOOTNOTEKuroda200558_47-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200558-47"><span class="cite-bracket">&#91;</span>47<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Sh%C5%8D_Kazakura&amp;action=edit&amp;redlink=1" class="new" title="Shō Kazakura (page does not exist)">Shō Kazakura</a> (1936-2007)<sup id="cite_ref-FOOTNOTEKapur2018195_1-5" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Sayako_Kishimoto" title="Sayako Kishimoto">Sayako Kishimoto</a> (1939-1988)<sup id="cite_ref-FOOTNOTEKuroda200569_48-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200569-48"><span class="cite-bracket">&#91;</span>48<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Kinpei_Masuzawa&amp;action=edit&amp;redlink=1" class="new" title="Kinpei Masuzawa (page does not exist)">Kinpei Masuzawa</a><sup id="cite_ref-FOOTNOTEKapur2018195_1-6" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Ushio_Shinohara" title="Ushio Shinohara">Ushio Shinohara</a> (born 1932)<sup id="cite_ref-FOOTNOTEKapur2018195_1-7" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Santar%C5%8D_Tanabe&amp;action=edit&amp;redlink=1" class="new" title="Santarō Tanabe (page does not exist)">Santarō Tanabe</a><sup id="cite_ref-FOOTNOTENakazawa2008_29-3" class="reference"><a href="#cite_note-FOOTNOTENakazawa2008-29"><span class="cite-bracket">&#91;</span>29<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Shintar%C5%8D_Tanaka&amp;action=edit&amp;redlink=1" class="new" title="Shintarō Tanaka (page does not exist)">Shintarō Tanaka</a><sup id="cite_ref-FOOTNOTEKuroda200557_49-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200557-49"><span class="cite-bracket">&#91;</span>49<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=S%C5%8Droku_Toyoshima&amp;action=edit&amp;redlink=1" class="new" title="Sōroku Toyoshima (page does not exist)">Sōroku Toyoshima</a><sup id="cite_ref-FOOTNOTEKuroda200559_50-0" class="reference"><a href="#cite_note-FOOTNOTEKuroda200559-50"><span class="cite-bracket">&#91;</span>50<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Jun_Ueda&amp;action=edit&amp;redlink=1" class="new" title="Jun Ueda (page does not exist)">Jun Ueda</a><sup id="cite_ref-FOOTNOTENakazawa2008_29-4" class="reference"><a href="#cite_note-FOOTNOTENakazawa2008-29"><span class="cite-bracket">&#91;</span>29<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Tatsumi_Yoshino&amp;action=edit&amp;redlink=1" class="new" title="Tatsumi Yoshino (page does not exist)">Tatsumi Yoshino</a><sup id="cite_ref-FOOTNOTEKuroda200557_49-1" class="reference"><a href="#cite_note-FOOTNOTEKuroda200557-49"><span class="cite-bracket">&#91;</span>49<span class="cite-bracket">&#93;</span></a></sup></li></ul> <div class="mw-heading mw-heading3"><h3 id="Neo-Dada_sympathizers_(non-members_but_sometimes_participated)"><span id="Neo-Dada_sympathizers_.28non-members_but_sometimes_participated.29"></span>Neo-Dada sympathizers (non-members but sometimes participated)</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=17" title="Edit section: Neo-Dada sympathizers (non-members but sometimes participated)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Tatsumi_Hijikata" title="Tatsumi Hijikata">Tatsumi Hijikata</a> (1928-1986)<sup id="cite_ref-FOOTNOTEMarotti2013xv_51-0" class="reference"><a href="#cite_note-FOOTNOTEMarotti2013xv-51"><span class="cite-bracket">&#91;</span>51<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Toshi_Ichiyanagi" title="Toshi Ichiyanagi">Toshi Ichiyanagi</a> (1933-2022)<sup id="cite_ref-FOOTNOTEMerewether2007121_52-0" class="reference"><a href="#cite_note-FOOTNOTEMerewether2007121-52"><span class="cite-bracket">&#91;</span>52<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Arata_Isozaki" title="Arata Isozaki">Arata Isozaki</a> (born 1931)<sup id="cite_ref-FOOTNOTEChong201262_22-3" class="reference"><a href="#cite_note-FOOTNOTEChong201262-22"><span class="cite-bracket">&#91;</span>22<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Tetsumi_Kudo" title="Tetsumi Kudo">Tetsumi Kudō</a> (1935-1990)<sup id="cite_ref-FOOTNOTEKapur2018195_1-8" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/w/index.php?title=Tomio_Miki&amp;action=edit&amp;redlink=1" class="new" title="Tomio Miki (page does not exist)">Tomio Miki</a> (1937-1978)<sup id="cite_ref-FOOTNOTEKapur2018195_1-9" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Natsuyuki_Nakanishi" title="Natsuyuki Nakanishi">Natsuyuki Nakanishi</a> (1935-2016)<sup id="cite_ref-FOOTNOTEKapur2018195_1-10" class="reference"><a href="#cite_note-FOOTNOTEKapur2018195-1"><span class="cite-bracket">&#91;</span>1<span class="cite-bracket">&#93;</span></a></sup></li> <li><a href="/wiki/Yasunao_Tone" title="Yasunao Tone">Yasunao Tone</a> (born 1935)<sup id="cite_ref-FOOTNOTEMarotti200629_53-0" class="reference"><a href="#cite_note-FOOTNOTEMarotti200629-53"><span class="cite-bracket">&#91;</span>53<span class="cite-bracket">&#93;</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=18" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Citations">Citations</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=19" title="Edit section: Citations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-FOOTNOTEKapur2018195-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKapur2018195_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018195_1-10"><sup><i><b>k</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, p.&#160;195.</span> </li> <li id="cite_note-FOOTNOTEKapur2018195–197-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018195–197_2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;195–197.</span> </li> <li id="cite_note-FOOTNOTEKapur2018197-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKapur2018197_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018197_3-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, p.&#160;197.</span> </li> <li id="cite_note-FOOTNOTEKapur2018196–197-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018196–197_4-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;196–197.</span> </li> <li id="cite_note-FOOTNOTEKapur2018181–182-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018181–182_5-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;181–182.</span> </li> <li id="cite_note-FOOTNOTEKapur2018196-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKapur2018196_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018196_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018196_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018196_6-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018196_6-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, p.&#160;196.</span> </li> <li id="cite_note-FOOTNOTEKapur2018194–198-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018194–198_7-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;194–198.</span> </li> <li id="cite_note-FOOTNOTEKapur201822-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur201822_8-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, p.&#160;22.</span> </li> <li id="cite_note-FOOTNOTEHapgood1994112-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHapgood1994112_9-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHapgood1994">Hapgood 1994</a>, p.&#160;112.</span> </li> <li id="cite_note-FOOTNOTEIkegami2010162-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEIkegami2010162_10-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFIkegami2010">Ikegami 2010</a>, p.&#160;162.</span> </li> <li id="cite_note-FOOTNOTETōno1959104–112-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETōno1959104–112_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTōno1959">Tōno 1959</a>, pp.&#160;104–112.</span> </li> <li id="cite_note-FOOTNOTEIkegami2010184–185-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEIkegami2010184–185_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFIkegami2010">Ikegami 2010</a>, pp.&#160;184–185.</span> </li> <li id="cite_note-FOOTNOTEChong201263-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChong201263_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChong201263_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChong2012">Chong 2012</a>, p.&#160;63.</span> </li> <li id="cite_note-FOOTNOTETomii2005b53-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTETomii2005b53_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTETomii2005b53_14-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTomii2005b">Tomii 2005b</a>, p.&#160;53.</span> </li> <li id="cite_note-FOOTNOTEKuroda200562-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200562_15-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;62.</span> </li> <li id="cite_note-FOOTNOTEHapgood199441-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHapgood199441_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHapgood1994">Hapgood 1994</a>, p.&#160;41.</span> </li> <li id="cite_note-FOOTNOTEYoshimoto200526-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEYoshimoto200526_17-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFYoshimoto2005">Yoshimoto 2005</a>, p.&#160;26.</span> </li> <li id="cite_note-FOOTNOTEHavens2006138-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHavens2006138_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHavens2006">Havens 2006</a>, p.&#160;138.</span> </li> <li id="cite_note-FOOTNOTEFuruhata201351-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFuruhata201351_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFuruhata2013">Furuhata 2013</a>, p.&#160;51.</span> </li> <li id="cite_note-FOOTNOTEKapur2018177–178-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018177–178_20-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;177–178.</span> </li> <li id="cite_note-FOOTNOTEChilversGlaves-Smith2009503-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChilversGlaves-Smith2009503_21-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChilversGlaves-Smith2009">Chilvers &amp; Glaves-Smith 2009</a>, p.&#160;503.</span> </li> <li id="cite_note-FOOTNOTEChong201262-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChong201262_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChong201262_22-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChong201262_22-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChong201262_22-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChong2012">Chong 2012</a>, p.&#160;62.</span> </li> <li id="cite_note-FOOTNOTETōno1986331-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETōno1986331_23-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTōno1986">Tōno 1986</a>, p.&#160;331.</span> </li> <li id="cite_note-FOOTNOTEKapur2018194–195-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapur2018194–195_24-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, pp.&#160;194–195.</span> </li> <li id="cite_note-FOOTNOTEKapur2018178-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKapur2018178_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapur2018178_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKapur2018">Kapur 2018</a>, p.&#160;178.</span> </li> <li id="cite_note-FOOTNOTETōno1986329-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETōno1986329_26-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTōno1986">Tōno 1986</a>, p.&#160;329.</span> </li> <li id="cite_note-FOOTNOTECollinsLiuYang20134-27"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECollinsLiuYang20134_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECollinsLiuYang20134_27-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTECollinsLiuYang20134_27-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTECollinsLiuYang20134_27-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTECollinsLiuYang20134_27-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCollinsLiuYang2013">Collins, Liu &amp; Yang 2013</a>, p.&#160;4.</span> </li> <li id="cite_note-FOOTNOTEYoshida2020126-28"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEYoshida2020126_28-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEYoshida2020126_28-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFYoshida2020">Yoshida 2020</a>, p.&#160;126.</span> </li> <li id="cite_note-FOOTNOTENakazawa2008-29"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTENakazawa2008_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTENakazawa2008_29-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTENakazawa2008_29-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTENakazawa2008_29-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTENakazawa2008_29-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFNakazawa2008">Nakazawa 2008</a>.</span> </li> <li id="cite_note-FOOTNOTETomii2007b60n46-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETomii2007b60n46_30-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTomii2007b">Tomii 2007b</a>, p.&#160;60n46.</span> </li> <li id="cite_note-FOOTNOTEKuroda200569n16-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKuroda200569n16_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKuroda200569n16_31-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;69n16.</span> </li> <li id="cite_note-FOOTNOTEYoshimoto200527–28-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEYoshimoto200527–28_32-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFYoshimoto2005">Yoshimoto 2005</a>, pp.&#160;27–28.</span> </li> <li id="cite_note-FOOTNOTEKagawa1997264-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKagawa1997264_33-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKagawa1997">Kagawa 1997</a>, p.&#160;264.</span> </li> <li id="cite_note-FOOTNOTECollinsLiuYang20133–4-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECollinsLiuYang20133–4_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECollinsLiuYang20133–4_34-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCollinsLiuYang2013">Collins, Liu &amp; Yang 2013</a>, pp.&#160;3–4.</span> </li> <li id="cite_note-FOOTNOTETomii2007b60n48-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTETomii2007b60n48_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTETomii2007b60n48_35-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTETomii2007b60n48_35-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTomii2007b">Tomii 2007b</a>, p.&#160;60n48.</span> </li> <li id="cite_note-FOOTNOTETomii2007a56-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETomii2007a56_36-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTomii2007a">Tomii 2007a</a>, p.&#160;56.</span> </li> <li id="cite_note-FOOTNOTEGossot20172-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGossot20172_37-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGossot2017">Gossot 2017</a>, p.&#160;2.</span> </li> <li id="cite_note-FOOTNOTEGalliano201846-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGalliano201846_38-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGalliano2018">Galliano 2018</a>, p.&#160;46.</span> </li> <li id="cite_note-FOOTNOTEGossot20174–5-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGossot20174–5_39-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGossot2017">Gossot 2017</a>, pp.&#160;4–5.</span> </li> <li id="cite_note-FOOTNOTEKuroda200559,_61,_63,_64,_67-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200559,_61,_63,_64,_67_40-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, pp.&#160;59, 61, 63, 64, 67.</span> </li> <li id="cite_note-FOOTNOTEKuroda199311-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda199311_41-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda1993">Kuroda 1993</a>, p.&#160;11.</span> </li> <li id="cite_note-FOOTNOTEYoshimoto200527-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEYoshimoto200527_42-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFYoshimoto2005">Yoshimoto 2005</a>, p.&#160;27.</span> </li> <li id="cite_note-FOOTNOTETomii2005a7-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETomii2005a7_43-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTomii2005a">Tomii 2005a</a>, p.&#160;7.</span> </li> <li id="cite_note-FOOTNOTEShinohara1968-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEShinohara1968_44-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFShinohara1968">Shinohara 1968</a>.</span> </li> <li id="cite_note-FOOTNOTEMitsuda2012167-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMitsuda2012167_45-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMitsuda2012">Mitsuda 2012</a>, p.&#160;167.</span> </li> <li id="cite_note-FOOTNOTEKuroda200555-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200555_46-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;55.</span> </li> <li id="cite_note-FOOTNOTEKuroda200558-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200558_47-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;58.</span> </li> <li id="cite_note-FOOTNOTEKuroda200569-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200569_48-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;69.</span> </li> <li id="cite_note-FOOTNOTEKuroda200557-49"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKuroda200557_49-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKuroda200557_49-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;57.</span> </li> <li id="cite_note-FOOTNOTEKuroda200559-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKuroda200559_50-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKuroda2005">Kuroda 2005</a>, p.&#160;59.</span> </li> <li id="cite_note-FOOTNOTEMarotti2013xv-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMarotti2013xv_51-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMarotti2013">Marotti 2013</a>, p.&#160;xv.</span> </li> <li id="cite_note-FOOTNOTEMerewether2007121-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMerewether2007121_52-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMerewether2007">Merewether 2007</a>, p.&#160;121.</span> </li> <li id="cite_note-FOOTNOTEMarotti200629-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMarotti200629_53-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMarotti2006">Marotti 2006</a>, p.&#160;29.</span> </li> </ol></div></div> <div class="mw-heading mw-heading3"><h3 id="Sources_cited">Sources cited</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Neo-Dada_Organizers&amp;action=edit&amp;section=20" title="Edit section: Sources cited"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and 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Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=A+Dictionary+of+Modern+and+Contemporary+Art&amp;rft.pub=Oxford+University+Press&amp;rft.date=2009&amp;rft.aulast=Chilvers&amp;rft.aufirst=Ian&amp;rft.au=Glaves-Smith%2C+John&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChong2012" class="citation book cs1">Chong, Doryun (2012). <i>Tokyo, 1955-1970: A New Avant-Garde</i>. New York: Museum of Modern Art. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0870708343" title="Special:BookSources/978-0870708343"><bdi>978-0870708343</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Tokyo%2C+1955-1970%3A+A+New+Avant-Garde&amp;rft.place=New+York&amp;rft.pub=Museum+of+Modern+Art&amp;rft.date=2012&amp;rft.isbn=978-0870708343&amp;rft.aulast=Chong&amp;rft.aufirst=Doryun&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCollinsLiuYang2013" class="citation book cs1">Collins, Brady; Liu, Lyo Heng; Yang, Yang (2013). <i>BODY/VIOLENCE/CITY: The Neo-Dada Art Actions in 1960 Tokyo</i>. Urban Humanities Initiative, UCLA.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=BODY%2FVIOLENCE%2FCITY%3A+The+Neo-Dada+Art+Actions+in+1960+Tokyo&amp;rft.pub=Urban+Humanities+Initiative%2C+UCLA&amp;rft.date=2013&amp;rft.aulast=Collins&amp;rft.aufirst=Brady&amp;rft.au=Liu%2C+Lyo+Heng&amp;rft.au=Yang%2C+Yang&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGalliano2018" class="citation book cs1">Galliano, Luciana (2018). <i>Japan Fluxus</i>. Lexington Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1498578257" title="Special:BookSources/978-1498578257"><bdi>978-1498578257</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Japan+Fluxus&amp;rft.pub=Lexington+Books&amp;rft.date=2018&amp;rft.isbn=978-1498578257&amp;rft.aulast=Galliano&amp;rft.aufirst=Luciana&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGossot2017" class="citation book cs1">Gossot, Anne (2017). "Refoulement de l'histoire et engagement des corps&#160;: naissance de l'art de l'action au début des années 1960 [Repression of History and Engagement of the Body: The Birth of Action Art at the Beginning of the 1960s". <i>Sengo, Le Japon après la guerre [Sengo, Japan after the war]</i>. Paris: Presses de l’Inalco. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/9782858312467" title="Special:BookSources/9782858312467"><bdi>9782858312467</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Refoulement+de+l%E2%80%99histoire+et+engagement+des+corps+%3A+naissance+de+l%E2%80%99art+de+l%E2%80%99action+au+d%C3%A9but+des+ann%C3%A9es+1960+%5BRepression+of+History+and+Engagement+of+the+Body%3A+The+Birth+of+Action+Art+at+the+Beginning+of+the+1960s&amp;rft.btitle=Sengo%2C+Le+Japon+apr%C3%A8s+la+guerre+%5BSengo%2C+Japan+after+the+war%5D&amp;rft.place=Paris&amp;rft.pub=Presses+de+l%E2%80%99Inalco&amp;rft.date=2017&amp;rft.isbn=9782858312467&amp;rft.aulast=Gossot&amp;rft.aufirst=Anne&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFuruhata2013" class="citation book cs1">Furuhata, Yuriko (2013). <i>Cinema of Actuality: Japanese Avant-Garde Filmmaking in the Season of Image Politics</i>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0822355045" title="Special:BookSources/978-0822355045"><bdi>978-0822355045</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Cinema+of+Actuality%3A+Japanese+Avant-Garde+Filmmaking+in+the+Season+of+Image+Politics&amp;rft.pub=Duke+University+Press&amp;rft.date=2013&amp;rft.isbn=978-0822355045&amp;rft.aulast=Furuhata&amp;rft.aufirst=Yuriko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHapgood1994" class="citation book cs1">Hapgood, Susan (1994). <i>Neo-Dada: Redefining Art, 1958-62</i>. New York: American Federation of Arts in association with Universe Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/0-87663-629-6" title="Special:BookSources/0-87663-629-6"><bdi>0-87663-629-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Neo-Dada%3A+Redefining+Art%2C+1958-62&amp;rft.place=New+York&amp;rft.pub=American+Federation+of+Arts+in+association+with+Universe+Publishing&amp;rft.date=1994&amp;rft.isbn=0-87663-629-6&amp;rft.aulast=Hapgood&amp;rft.aufirst=Susan&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHavens2006" class="citation book cs1"><a href="/wiki/Thomas_Havens" title="Thomas Havens">Havens, Thomas R. H.</a> (2006). <i>Radicals and Realists in the Japanese Nonverbal Arts: The Avant-garde Rejection of Modernism</i>. University of Hawai'i Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0824830113" title="Special:BookSources/978-0824830113"><bdi>978-0824830113</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Radicals+and+Realists+in+the+Japanese+Nonverbal+Arts%3A+The+Avant-garde+Rejection+of+Modernism&amp;rft.pub=University+of+Hawai%27i+Press&amp;rft.date=2006&amp;rft.isbn=978-0824830113&amp;rft.aulast=Havens&amp;rft.aufirst=Thomas+R.+H.&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFIkegami2010" class="citation book cs1">Ikegami, Hiroko (2010). <i>The Great Migrator: Robert Rauschenberg and the Global Rise of American Art</i>. MIT Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/9780262014250" title="Special:BookSources/9780262014250"><bdi>9780262014250</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Great+Migrator%3A+Robert+Rauschenberg+and+the+Global+Rise+of+American+Art&amp;rft.pub=MIT+Press&amp;rft.date=2010&amp;rft.isbn=9780262014250&amp;rft.aulast=Ikegami&amp;rft.aufirst=Hiroko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKapur2018" class="citation book cs1">Kapur, Nick (2018). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Re5hDwAAQBAJ"><i>Japan at the Crossroads: Conflict and Compromise after Anpo</i></a>. Cambridge, MA: <a href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0674984424" title="Special:BookSources/978-0674984424"><bdi>978-0674984424</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Japan+at+the+Crossroads%3A+Conflict+and+Compromise+after+Anpo&amp;rft.place=Cambridge%2C+MA&amp;rft.pub=Harvard+University+Press&amp;rft.date=2018&amp;rft.isbn=978-0674984424&amp;rft.aulast=Kapur&amp;rft.aufirst=Nick&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DRe5hDwAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKagawa1997" class="citation book cs1">Kagawa, Mayumi (1997). "Neo dada, aruiwa houkai no tampon perojekuto [Neo-Dada, or A Project for Destruction]". <i>Neodada kara 21seikigata majo e — Kishimoto Sayako no hito to sakuhin [From Neo-Dada to 21st Century Witches: The Art and Life of Kishimoto Sayako]</i>. Yokohama, Japan: Josei to Āto purojekuto. pp.&#160;49–50.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Neo+dada%2C+aruiwa+houkai+no+tampon+perojekuto+%5BNeo-Dada%2C+or+A+Project+for+Destruction%5D&amp;rft.btitle=Neodada+kara+21seikigata+majo+e+%E2%80%94+Kishimoto+Sayako+no+hito+to+sakuhin+%5BFrom+Neo-Dada+to+21st+Century+Witches%3A+The+Art+and+Life+of+Kishimoto+Sayako%5D&amp;rft.place=Yokohama%2C+Japan&amp;rft.pages=49-50&amp;rft.pub=Josei+to+%C4%80to+purojekuto&amp;rft.date=1997&amp;rft.aulast=Kagawa&amp;rft.aufirst=Mayumi&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span> cited in Yoshimoto, 2005, 28.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKuroda1993" class="citation book cs1">Kuroda, Raiji (1993). <i>Akarui satsurikusha, sono shunkangei no jutsu [Lighthearted Murderers and Their Art of Instantaneous Expression], in Ryūdо̄ suru Bijutsu III: Neo-dada no shashin [Changing Art III: Photographs of Neo-Dada]</i>. Fukuoka: Fukuoka City Art Museum.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Akarui+satsurikusha%2C+sono+shunkangei+no+jutsu+%5BLighthearted+Murderers+and+Their+Art+of+Instantaneous+Expression%5D%2C+in+Ry%C5%ABd%D0%BE%CC%84+suru+Bijutsu+III%3A+Neo-dada+no+shashin+%5BChanging+Art+III%3A+Photographs+of+Neo-Dada%5D&amp;rft.place=Fukuoka&amp;rft.pub=Fukuoka+City+Art+Museum&amp;rft.date=1993&amp;rft.aulast=Kuroda&amp;rft.aufirst=Raiji&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKuroda2005" class="citation journal cs1">Kuroda, Raiji (December 2005). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/42801111">"A Flash of Neo Dada: Cheerful Destroyers in Tokyo (1993)"</a>. <i>Review of Japanese Culture and Society</i>. <b>17</b>. Translated by Tomii, Reiko: 51–71. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a>&#160;<a rel="nofollow" class="external text" href="https://www.jstor.org/stable/42801111">42801111</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Review+of+Japanese+Culture+and+Society&amp;rft.atitle=A+Flash+of+Neo+Dada%3A+Cheerful+Destroyers+in+Tokyo+%281993%29&amp;rft.volume=17&amp;rft.pages=51-71&amp;rft.date=2005-12&amp;rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F42801111%23id-name%3DJSTOR&amp;rft.aulast=Kuroda&amp;rft.aufirst=Raiji&amp;rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F42801111&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMarotti2006" class="citation book cs1">Marotti, William (2006). "Sounding the Everyday: The Music Group and Yasunao Tone's Early Work". <i>Yasunao Tone: Noise Media Language</i>. Errant Bodies Press. pp.&#160;13–33. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-9655570-8-5" title="Special:BookSources/978-0-9655570-8-5"><bdi>978-0-9655570-8-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Sounding+the+Everyday%3A+The+Music+Group+and+Yasunao+Tone%E2%80%99s+Early+Work&amp;rft.btitle=Yasunao+Tone%3A+Noise+Media+Language&amp;rft.pages=13-33&amp;rft.pub=Errant+Bodies+Press&amp;rft.date=2006&amp;rft.isbn=978-0-9655570-8-5&amp;rft.aulast=Marotti&amp;rft.aufirst=William&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMarotti2013" class="citation book cs1">Marotti, William (2013). <i>Money, Trains, and Guillotines: Art and Revolution in 1960s Japan</i>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0822349808" title="Special:BookSources/978-0822349808"><bdi>978-0822349808</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Money%2C+Trains%2C+and+Guillotines%3A+Art+and+Revolution+in+1960s+Japan&amp;rft.pub=Duke+University+Press&amp;rft.date=2013&amp;rft.isbn=978-0822349808&amp;rft.aulast=Marotti&amp;rft.aufirst=William&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMerewether2007" class="citation book cs1">Merewether, Charles, ed. (2007). <i>Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970</i>. Getty Research Institute. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0892368662" title="Special:BookSources/978-0892368662"><bdi>978-0892368662</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Art%2C+Anti-Art%2C+Non-Art%3A+Experimentations+in+the+Public+Sphere+in+Postwar+Japan%2C+1950%E2%80%931970&amp;rft.pub=Getty+Research+Institute&amp;rft.date=2007&amp;rft.isbn=978-0892368662&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMitsuda2012" class="citation book cs1">Mitsuda, Yuri (2012). "Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970". In Chong, Doryun (ed.). <i>Tokyo 1955-1970: A New Avant-Garde</i>. Translated by Tomii, Reiko. The Museum of Modern Art, New York. pp.&#160;158–177. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-87070-834-3" title="Special:BookSources/978-0-87070-834-3"><bdi>978-0-87070-834-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Trauma+and+Deliverance%3A+Portraits+of+Avant-Garde+Artists+in+Japan%2C+1955-1970&amp;rft.btitle=Tokyo+1955-1970%3A+A+New+Avant-Garde&amp;rft.pages=158-177&amp;rft.pub=The+Museum+of+Modern+Art%2C+New+York&amp;rft.date=2012&amp;rft.isbn=978-0-87070-834-3&amp;rft.aulast=Mitsuda&amp;rft.aufirst=Yuri&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNakazawa2008" class="citation book cs1">Nakazawa, Hideki (2008). "Neo Dadaism Organizers". <a rel="nofollow" class="external text" href="https://www.aloalo.co.jp/arthistoryjapan/3a.html"><i>Contemporary Art History: Japan</i></a><span class="reference-accessdate">. Retrieved <span class="nowrap">August 27,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Neo+Dadaism+Organizers&amp;rft.btitle=Contemporary+Art+History%3A+Japan&amp;rft.date=2008&amp;rft.aulast=Nakazawa&amp;rft.aufirst=Hideki&amp;rft_id=https%3A%2F%2Fwww.aloalo.co.jp%2Farthistoryjapan%2F3a.html&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShinohara1968" class="citation book cs1">Shinohara, Ushio (1968). <i>Zen'ei no michi</i>. Tokyo: Bijutsu Shuppansha.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Zen%27ei+no+michi&amp;rft.place=Tokyo&amp;rft.pub=Bijutsu+Shuppansha&amp;rft.date=1968&amp;rft.aulast=Shinohara&amp;rft.aufirst=Ushio&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTomii2005a" class="citation journal cs1">Tomii, Reiko (December 2005a). "<span class="cs1-kern-left"></span>"Art Outside the Box" in 1960s Japan: An Introduction and Commentary". <i>Review of Japanese Culture and Society</i>. <b>17</b>: 1–11.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Review+of+Japanese+Culture+and+Society&amp;rft.atitle=%22Art+Outside+the+Box%22+in+1960s+Japan%3A+An+Introduction+and+Commentary&amp;rft.volume=17&amp;rft.pages=1-11&amp;rft.date=2005-12&amp;rft.aulast=Tomii&amp;rft.aufirst=Reiko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTomii2005b" class="citation journal cs1">Tomii, Reiko (December 2005b). "Translator's Note" [to Kuroda Raiji, "A Flash of Neo Dada: Cheerful Destroyers in Tokyo (1993)"]". <i>Review of Japanese Culture and Society</i>. <b>17</b>: 53.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Review+of+Japanese+Culture+and+Society&amp;rft.atitle=Translator%27s+Note%22+%5Bto+Kuroda+Raiji%2C+%22A+Flash+of+Neo+Dada%3A+Cheerful+Destroyers+in+Tokyo+%281993%29%22%5D&amp;rft.volume=17&amp;rft.pages=53&amp;rft.date=2005-12&amp;rft.aulast=Tomii&amp;rft.aufirst=Reiko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTomii2007a" class="citation book cs1">Tomii, Reiko (2007a). <i>"After the "Descent to the Everyday": Japanese Collectivism from Hi Red Center to The Play, 1964–1973" in Collectivism after Modernism - The Art of Social Imagination after 1945</i>. Minnesota: University of Minnesota Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8166-4462-9" title="Special:BookSources/978-0-8166-4462-9"><bdi>978-0-8166-4462-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=%22After+the+%22Descent+to+the+Everyday%22%3A+Japanese+Collectivism+from+Hi+Red+Center+to+The+Play%2C+1964%E2%80%931973%22+in+Collectivism+after+Modernism+-+The+Art+of+Social+Imagination+after+1945&amp;rft.place=Minnesota&amp;rft.pub=University+of+Minnesota+Press&amp;rft.date=2007&amp;rft.isbn=978-0-8166-4462-9&amp;rft.aulast=Tomii&amp;rft.aufirst=Reiko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTomii2007b" class="citation book cs1">Tomii, Reiko (2007b). "<i>Geijutsu</i> on Their Minds: Memorable Words on Anti-Art". In Merewether, Charles (ed.). <i>Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970</i>. Getty Research Institute. pp.&#160;35–58. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0892368662" title="Special:BookSources/978-0892368662"><bdi>978-0892368662</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=bookitem&amp;rft.atitle=Geijutsu+on+Their+Minds%3A+Memorable+Words+on+Anti-Art&amp;rft.btitle=Art%2C+Anti-Art%2C+Non-Art%3A+Experimentations+in+the+Public+Sphere+in+Postwar+Japan%2C+1950%E2%80%931970&amp;rft.pages=35-58&amp;rft.pub=Getty+Research+Institute&amp;rft.date=2007&amp;rft.isbn=978-0892368662&amp;rft.aulast=Tomii&amp;rft.aufirst=Reiko&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTōno1959" class="citation journal cs1">Tōno, Yoshiaki (November 1959). "狂気とスキャンダル-型破りの世界の新人たち [Madness and Scandal&#160;: Fantastic New Faces of the World]". <i>Geijutsu Shinchō</i>. <b>10</b> (11): 104–112.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Geijutsu+Shinch%C5%8D&amp;rft.atitle=%E7%8B%82%E6%B0%97%E3%81%A8%E3%82%B9%E3%82%AD%E3%83%A3%E3%83%B3%E3%83%80%E3%83%AB-%E5%9E%8B%E7%A0%B4%E3%82%8A%E3%81%AE%E4%B8%96%E7%95%8C%E3%81%AE%E6%96%B0%E4%BA%BA%E3%81%9F%E3%81%A1+%5BMadness+and+Scandal+%3A+Fantastic+New+Faces+of+the+World%5D&amp;rft.volume=10&amp;rft.issue=11&amp;rft.pages=104-112&amp;rft.date=1959-11&amp;rft.aulast=T%C5%8Dno&amp;rft.aufirst=Yoshiaki&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTōno1986" class="citation book cs1">Tōno, Yoshiaki (1986). <i>"Neo Dada et Anti- Art," in Japon des avant-gardes , exh. cat</i>. Paris: Centre Georges Pompidou. pp.&#160;329–337. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/2858503451" title="Special:BookSources/2858503451"><bdi>2858503451</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=%22Neo+Dada+et+Anti-+Art%2C%22+in+Japon+des+avant-gardes+%2C+exh.+cat&amp;rft.place=Paris&amp;rft.pages=329-337&amp;rft.pub=Centre+Georges+Pompidou&amp;rft.date=1986&amp;rft.isbn=2858503451&amp;rft.aulast=T%C5%8Dno&amp;rft.aufirst=Yoshiaki&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFYoshida2020" class="citation book cs1">Yoshida, Kenichi (2020). <i>Avant-Garde Art and Non-Dominant Thought in Postwar Japan</i>. Oxfordshire: Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/9780367427870" title="Special:BookSources/9780367427870"><bdi>9780367427870</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Avant-Garde+Art+and+Non-Dominant+Thought+in+Postwar+Japan&amp;rft.place=Oxfordshire&amp;rft.pub=Routledge&amp;rft.date=2020&amp;rft.isbn=9780367427870&amp;rft.aulast=Yoshida&amp;rft.aufirst=Kenichi&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFYoshimoto2005" class="citation book cs1">Yoshimoto, Midori (2005). <i>Into Performance: Japanese Women Artists in New York</i>. London: Rutgers University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/0813535212" title="Special:BookSources/0813535212"><bdi>0813535212</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Into+Performance%3A+Japanese+Women+Artists+in+New+York&amp;rft.place=London&amp;rft.pub=Rutgers+University+Press&amp;rft.date=2005&amp;rft.isbn=0813535212&amp;rft.aulast=Yoshimoto&amp;rft.aufirst=Midori&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3ANeo-Dada+Organizers" class="Z3988"></span></li></ul> <!-- NewPP limit report Parsed by mw‐web.codfw.main‐f69cdc8f6‐6xdtf Cached time: 20241124203703 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.733 seconds Real time usage: 0.807 seconds Preprocessor visited node count: 7011/1000000 Post‐expand include size: 69869/2097152 bytes Template argument size: 9005/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 2/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 96433/5000000 bytes Lua time usage: 0.502/10.000 seconds Lua memory usage: 24390908/52428800 bytes Number of Wikibase entities loaded: 0/400 --> <!-- Transclusion expansion time report (%,ms,calls,template) 100.00% 732.814 1 -total 37.35% 273.738 93 Template:Sfn 26.70% 195.678 23 Template:Cite_book 20.26% 148.483 2 Template:Nihongo 5.85% 42.902 1 Template:Citation_needed 5.07% 37.190 1 Template:Fix 3.79% 27.752 1 Template:Reflist 3.62% 26.494 2 Template:Blockquote 3.04% 22.310 2 Template:Category_handler 2.66% 19.503 4 Template:Cite_journal --> <!-- Saved in parser cache with key enwiki:pcache:idhash:48707826-0!canonical and timestamp 20241124203703 and revision id 1252842606. 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