for many avant-garde-minded younger artists, especially from 1958 onward. From 1958 to 1961, Takamatsu submitted works to the painting section, but re-conceived his practice as sculptural from 1961 to 1963. Takamatsu has attributed this shift to "sculptural" to the Point series of works he submitted in 1961, which consisted of masses of wire in varying states of being pulled from two dimensions to three dimensions. This evolved into the series String: Black, which Takamatsu showed at the 14th Yomiuri Indépendant in 1962, and which marked the beginning of a long series of artworks making use of string as an eminently portable medium which could be used to infiltrated and cordon off artistic space even beyond and outside the art gallery itself. One of these works was interactive, allowing viewers to don gloves and unravel a ball of black string along sheets of cloth. Art critic Tōno Yoshiaki characterized artists participating in Yomiuri Indépendant as developing Anti-Art practices, departing from the conventional notion of art. Takamatsu and his peers became increasingly interested in moving beyond figural representation and into the mediation of performance and environments, causing the Tokyo Metropolitan Art Museum to institute rules banning obtrusive materials and installation arrangements for the 14th edition. Some artists continued their subversive strategy, leading to the suspension of the exhibition in January 1964. Thus, artists like Takamatsu relocated their practice from the exhibition space into the urban environments of Tokyo. This transition is best exemplified by Takamatsu's submissions to the final edition of the Yomiuri Indépendant in 1963, On the Anti-Existence of the Curtain (Kāten ni kansuru hanjitsuzaisei ni tsuite) and Cord (Himo), a single piece of black string against a white cloth background and a 1000 meter long string extending out of the museum space to the Ueno Station respectively. Yamanote Line Incident (1962) On October 18, 1962, Takamatsu along with future Hi-Red Center collaborator Natsuyuki Nakanishi and others, carried out an artistic happening they titled the "Yamanote Line Incident" (山手線事件, Yamanote-sen jiken), in which they boarded a Yamanote loop line train heading counter-clockwise on its route, disrupting the normalcy of passenger's commutes with a series of bizarre performative actions. Takamatsu served as the main photographer documenting the event. On the Fluxus-produced map of Hi-Red Center's activities, compiled and edited with the help of Shigeko Kubota, the Yamanote Line Incident is listed as number three. This is despite the fact that the Yamanote