The 1960s in Japan gave rise to a variety of unorthodox practices by young, ambitious, and rebellious avant-garde artists. Some artists applied unconventional materials such as cloth, rocks, sand, and metal to canvas, while others created sculptures made from everyday junk. Described by critics as a “descent to the mundane,” such practices were branded “anti-Art,” because they opposed the conventions that had previously bound artists to specific styles, processes and media. The critical character of anti-Art activity mirrored the political climate of the time. Driven by youthful energy and almost naïve passion, the subversive practices of anti-Art creators challenged the modern perception of art with a capital “A” and contested its underpinning by institutions, including the museum.
 
           Signal works: Yukiko Katsura’s Collage, oil and wood on canvas (1961); Shin Kuno’s Work 1964-1, steel on board (1964); and Kunie Sugiura’s Tsukushi, string and acrylic on canvas (1974).