of "events," "plans," and "happenings." For example in Dropping Event (October 10, 1964), the group heaved various objects from the roof of Ikenobo Kaikan hall. After dropping the objects they collected and packed them all into a suitcase, placing it in a public locker and sending the key to the locker to someone chosen at random from a phone book. For Shelter Plan (1964), they booked a room at the Imperial Hotel and invited guests to have themselves custom-fitted for a personal nuclear fallout shelter. Participants included Yoko Ono and Nam June Paik, and were photographed from six sides to create a quasi-medical document ostensibly meant for the outfitting of personal fallout shelters. The group carried out its final happening, The Movement for the Promotion for a Clean and Organized Metropolitan Area (abbreviated as Cleaning Event) on October 16, 1964. The artists and their assistants dressed in goggles and lab coats, roped off small areas of public sidewalk and meticulously cleaned them to mock the efforts to beautify the streets ahead of the 1964 Tokyo Olympics. The events and happenings were subjected to documentation by both collaborators and strangers; Takamatsu in particular hoped that outsider [gaibusha] who had no knowledge of their existence or intention would document these events, in order to confirm the multiplicity (fukusūsei) or externalization (kyakutaika) of their works. Although Hi-Red Center succeeded in attracting media attention and has come to be considered highly influential on later Japanese artists, its activities were short-lived; the group would dissolve only a year and a half after its inception, with Akasegawa recounting cryptically that “after Cleaning Event there was simply nothing left to do.” Return to painting In 1964, Takamatsu began his signature Shadows (影, kage) series of paintings (which he continued until the end of his life). With Shadows, Takamatsu launched a critical inquiry into the nature of painting by realistically painting images of people's shadows cast on white walls, uneven surfaces, or wooden planks to create a trompe l’oeil effect. This series of works recalls Plato's "Allegory of the Cave" as well as Pliny the Elder's account of the origins of painting, in which the daughter of the famed Greek potter Dibutades creates the first painting by tracing the silhouette of her lover. Institutional recognition When Takamatsu was around 30 years old (1966), he received a number of prizes including the Shell Art Award and the Nagaoka Museum