her work to George Maciunas who was apparently so enamored of the work that he had it turned into the edition that funded her flight to New York. From 1964 to 1965, Shiomi lived in New York City, working closely with George Maciunas and contributing to Fluxus events, editions, and communal life. Shiomi and Shigeko Kubota had flown over together on the same flight, and both initially lived near Maciunas's loft in Soho. As a result, Shiomi worked closely with Maciunas, Kubota, and Takako Saito, hosting communal fluxus dinners whose labor primarily ended up falling to the women, and producing Fluxus editions in the evenings until Kubota and Shiomi took up part-time evening work. After her arrival in New York, Maciunas continued to incorporated many of her works, such Water Music (1965) and Disappearing Music for Face (1965), into Fluxus editions. His enthusiasm for incorporating her work into Fluxus editions secured her place as a seminal member of the loose collective, and has led many artists and musicians—both in and beyond Fluxus—to perform her work at both impromptu events and formal concerts. While based in New York, Shiomi participated in several live performances, including the Perpetual Fluxfest at Washington Square Gallery in 1964 where she performed six pieces—Double Windows, Direction Event, Air Event, Passing Music, Water Music, and Disappearing Music for Face—which all incorporated audience participation, expanding the role of "performer" within her work. While living among other New York-based Fluxus artists, she also came to more actively re-conceive of the boundaries of performance beyond formal events. Upon her arrival, Maciunas had secured temporary living arrangements for Kubota and her and helped them move extra furniture from his loft to theirs in what Maciunas jokingly referred to as a "carrying event." Of her experience in New York, she described it as a time in which she, "looked at various things in her daily life from different viewpoints and transformed them into nondaily actions (performance), and made a feedback of these actions into my daily life again." Late 1960s She returned to Japan in 1965 when she could no longer extend her tourist visa, but continued her relationship with Fluxus artists through mail art correspondence. She began her Spatial Poem series while still in New York. Shiomi solicited Fluxus members from all over the globe to participate by inviting them to respond to an instruction and the collected responses constituted the