Kamakura Gallery

Mono-ha (the French translation, Ecole des Choses, always sounds better than something like the “Things group”) flourished as a loosely unified movement from the late ’60s to the mid ’70s and, with the possible exception of the Gutai group, was the most important postwar art movement in Japan. This three-part miniretrospective of Mono-ha featured nine of its leading artists.

What was it? Well, for example: Lee U-Fan (a Korean) dropped a stone on a plate of glass, and the glass cracked. Nobuo Sekine laid a large plate of polished black stone on a huge column of white sponge, and the sponge half collapsed. Kishio Suga laid a number of wire grids atop one another and placed a few wooden pegs in some of the intersecting holes. Noriyuki Haraguchi arranged eight iron sawhorses in an overlapping formation and laid a plate of glass over five of them. Within a big paper “box,” Susumu Koshimizu

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.