"Japanese artists in the 1960s and 1970s were already debating lots of criticism from Europe, from Sartre’s Being and Nothingness to Benjamin’s 'Critique of Violence.' Although I had already read lots of Benjamin because of his key place in critical theory in the humanities, reading him through the eyes of Japanese artists theorizing their work in the 1960s-70s gave me a whole new way to understand both Benjamain and the Japanese experimental arts."

Recommended by Miryam Sas, Professor of Comparative Literature and Film & Media and author of Experimental Arts in Postwar Japan.