Piece, 1964 Ono was a pioneer of conceptual art and performance art. A seminal performance work is Cut Piece, first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at the Sogetsu Art Centre in Tokyo that same year, New York's Carnegie Hall in 1965 and London's Africa Center as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art." Other performers of the piece have included Charlotte Moorman and John Hendricks. Ono reprised the piece in Paris in 2003, in the low post-9/11 period between the US and France, saying she hoped to show that this is "a time where we need to trust each other". In 2013, the Canadian singer Peaches reprised it at the multi-day Meltdown festival at the Southbank Centre in London, which Ono curated. Grapefruit book, 1964 Ono's small book titled Grapefruit is another seminal piece of conceptual art. First published in 1964, the book reads as a set of instructions through which the work of art is completed-either literally or in the imagination of the viewer participant. One example is "Hide and Seek Piece: Hide until everybody goes home. Hide until everybody forgets about you. Hide until everybody dies." Grapefruit has been published several times, most widely distributed by Simon & Schuster in 1971, who reprinted it again in 2000. , art critic for The Village Voice and Vogue, called Grapefruit "one of the monuments of conceptual art of the early 1960s". He noted that her conceptual approach was made more acceptable when white male artists like Joseph Kosuth and Lawrence Weiner came in and "did virtually the same things" she did, and that her take also has a poetic and lyrical side that sets