and systems in international art practices. The exhibition traveled from Tokyo, to other cities such as Nagoya, Kyoto, and Fukuoka. Nakahara produced two catalogues for the exhibition (the first with Nakahira Takuma's cover photo and the second documentary volume with a black cover). The first catalogue includes the participating artists own contributions of their biography and tentative work plans. Takamatsu chose to show installations from his Oneness series, and included the development of his varied series in his list of activities and exhibitions. He wrote the following text, which succinctly describes the philosophical tenets of his practice. "It seems that there is always great uncertainty in our being concerned only with particular (partial) elements of s matter. I think therefore it is necessary to have more total relation to a matter within the range of our own capacity. Some times such relation arises merely from our being aware of s matter and hardly with any effort but for most occasions some action is required. To me this action is artistic creation. A huge problem here is how to reject and eliminate ss much ss possible what compells us to be related merely to particular elements, for example, feelings and ideas in general, imaginations, memories, conventions, and the knowledge which we have already acquired. The solution of this problem always requires that fats/ compromise which is inevitable in any process of actualization, which however tends towards impossibility. Because it is impossible to have a perfectly total relation to a matter. Nevertheless it seems to me that all the problems do not exist in the sphere far from our familiar world, but most problems should be found in the world which is even too familiar to us." Takamatsu decided to show Oneness (16 Oneness) (1970) and Oneness (30 Oneness) (1970), the former consisting of partially carved Japanese cedar trunks, and the later being made out of paper. Takamatsu had originally envisaged the Oneness (16 Oneness) installation as a 3x3 grid (9 Oneness), but adapted the installation to fit the dimensions of the gallery space he was allocated. Takamatsu insisted upon carving the cedar blocks in the space itself, after they were placed within their 4x4 grid formation. Takamatsu deliberately chipped away at these blocks with varied levels of resultant exposure, producing a range of how much each block was carved out. Documenta 6 (1977) Takamatsu's chosen work for Documenta 6 in 1977