curvilinear lines instead of orthogonals to manifest a perspective, with reciprocal curved triangular sections on the floor and the ceiling. The ceiling pieces appeared to grow out from the horizon (situated near the corner of the exhibition walls), curving upwards towards the ceiling. The floor sections resembled his previous work, with distorted or canted Chairs and Tables, while the ceiling sections were embellished with dots of varying sizes. Compared to Chairs and the Table in Perspective, this installation was more aesthetically playful, with the ceiling pieces emphasising a fuller distortion of space. Despite the call to boycott the Biennale due to student protests in Italy, the artists represented at the Japan pavilion decided collectively to move forward with the Biennale as they believed their actions would not contribute in a meaningful way to the Italian students plight. They collectively echoed Hariu's ambition to elevate Japanese presence on the international art stage. Expo '70 (1970) Takamatsu designed Sunday Plaza (1970) for Expo '70, considering Suita's landscape in his preparatory sketches. It is one of the few more architecturally-scaled works in his Perspective series. Similar to his Slack and earlier Perspective works, Takamatsu envisioned Sunday Plaza as a curvilinear forced perspective marked with curved grid lines, yet distinct as visitors were supposed to be able to traverse from the foreground into the viewing area of raised background. The inverse perspective background was to be an inclined structure that visitors could use as a viewing vantage point. It was to be made of glass, as compared to the concrete on the floor grids, reflecting the sky and hence further complicating this perspective. Alternate grids in the receding perspective area would be raised to be seats for visitors (which was eventually actualised, unlike the rest of his designed features). Notably, Takamatsu had planned to install Sunday Plaza in a location that was situated near existing hills, with the inclined background at the highest point, in order to pronounced the distorted and inverse perspective lines. Unfortunately, Takamatsu's plans were not fully executed, with another large installation positioned right behind Sunday Plaza and compressing the optical effects of this Perspective piece. The eventual inclined background was not walkable, though it still reflected the sky. Tokyo Biennale '70—Between Man and Matter (1970) Curated by the art critic Yusuke Nakahara, Tokyo Biennale '70 established the foundations of contemporary Japanese art by emphasising the importance of concepts (gainen), processes