form square shapes. Both are formed with a taut square perimeter, but are constructed to have slack in the centre of the square. The works are displayed on walls and on the floor, in order to visualise the gravity affected the slacked construction and the space it occupied in the gallery space respectively. Slackcan be understood as a continuation of the Perspective series, in which the representation and perception of space is distorted by Takamatsu's mode of centering optical effects in the physical construct of these installations. However, unlike Perspective, Slack was not well received, its immediate visual appearance of sagging in the centre of the square (grids) deemed ineffective as a structure or visualisation. However, this doubt is easily quelled when one views Takamatsu's Slack plans on grid paper, in which he details the dimensions of the individual pieces compromising the internal grids of the nets that are irregular parallelograms on the grid paper. Oneness (1969-70) Takamatsu chiseled the top of logs with their bark intact to reveal square-shaped cores within, halting this process of revelation in a hanging suspension. Lee Ufan describes this hanging state as showing "what is there is visible to us, no longer as wood, lumber, or any other such similar thing. In this state, the wood's internal idea intersects, dually and reciprocally, with its externality." By exposing the relationship between lumber and log, Takamatsu occasions a situatedness in which wood can be seen beyond (its objectivity as) wood. That is why most people will gradually notice that they are looking not at mere "wood" but at a "relationship" in the delimited situatedness of the wood. Duncan observes Takamatsu's process of transforming the ordinary object and material to be secondary to his questioning of our ability to conceive the one-ness of things in their different and multiple forms. Takamatsu was interested in the totality of an object, “If one were to only create a relationship with a specific (a partial) element of a thing, a strong feeling of uncertainty toward that thing would always remain . . . I feel that it is necessary for one to create a relationship with that thing in its entirety within the extent of one's capability.” Takamatsu would go on to develop the Onenessseries by utilising other kinds of materials (singular per edition), such as concrete and paper. Compound Continuing a deregulation of form, Takamatsu's Compound series poses objects