of Contemporary Art Award. He was also awarded the Grand International Prize at the Tokyo Print Biennial (1972). Takamatsu also held his first solo exhibition in 1966 at Tokyo Gallery, entitled Identification. It featured the early works in his Shadows series. During this period of his career, Takamatsu, along with other Japanese artists like Nakahira Takuma, Enokura Koji and Terayama Shuji, were actively interested in literature from Europe. Namely, they studied J.M.G. Le Clézio's novels, Takamatsu designing the covers for their Japanese translations. Takamatsu's artworks were also used for book covers of Japanese authors, such as Hajime Shinoda and Yuko Tsushima. From Space to Environment (1966) In November of 1966, Takamatsu participated in From Space to Environment, a landmark two-part exhibition and event program in Tokyo that greatly influenced architecture, design, visual art, and music in Japan. Namely, the Environment Society (Enbairamento no Kai] (which held the event) put forth the notion of kanyko geijutsu [environment art], which considered the chaotic site as a locus for artists and viewers to consider the limitations of medium conventions and institutional spaces—which naturally related to Takamatsu's practice. While kankyo referred specifically to the location of such artistic activity, the practices of the 38 participating artists reflected a vested interested in intermedia art, envisage and enacted in the spatial dimensions of kankyo. Many of these artists, including Takamatsu, would go on to participate in Expo '70, conflating the terms intermedia, kankyo and technology in art discourse. Takamatsu's entry to this exhibition was Chairs and the Table in Perspective (1966), a sculpture-installation work from his Perspective series. He would later continue presenting works from this series at Venice Biennale and Expo '70. Chairs and the Table in Perspectively perspectivally distorted a dining set rendered with a grid-line veneer, the slanted base of the installation demonstrating linear perspective for the viewer. However, manifesting perspective meant the chair and tables were effectively unusable. Tōno Yoshiaki suggested that Takamatsu's work assaulted the normative human perception of single-point perspective as well as the assumption that everyday objects should always look the same. Tama Art University (1968-72) and Mono-ha Between 1968 and 1972, Takamatsu taught at Tama Art University, Tokyo, and was a key figure in the development of the Mono-ha movement. Takamatsu's deep knowledge of topological geometry and principles of absence/emptiness were particularly influential on his students, such as Nobuo Sekine and other Mono-ha artists. However, one of the