When I returned to Tokyo in 1959 from my first trip through Europe and America, I was surprised to find a new, bizarre group of young artists, mostly in their twenties, called the Neo-Dada Organizers. They exhibited primarily in the Yomiuri Independent Show, the Japanese equivalent to France’s Salon de Refuses. The Neo-Dada Organizers could be considered an updated version of the older Gutai group, who produced its first Happenings in the ’50s. The younger artists were characterized by a disenchantment with the Abstract Expressionism which had so tremendously influenced the Japanese art world: