key differences that distinguishes Takamatsu's practice from Mono-ha is the presence, or direct influence, of an artists' creative subjectivity in the final form of the work. While many Mono-ha artists like Lee Ufan centered the objecthood of things as they were through his principle renunciation of his artistic subjectivity, Takamatsu's work featured objects that were clearly manipulated with through meticulous plans. During Takamatsu's tenure at Tama Art University, there were resurgences of student protests over the impending renewal of the Anpo US-Japan security treaty in 1970. Artists in Japan were critical of the Japanese establishment for their handling of the student protests and the unrest caused some art schools to become closed temporarily and in some cases, permanently. During partial closures, Takamatsu would review student's work and hold free classes outside the university. Interestingly enough, Takamatsu would go on to show at many international exhibitions that were situated within similar anti-government protests, both at the Venice Biennale and Expo '70. Venice Biennale (1968) Takamatsu was included in the Japanese Pavilion for the 33th Venice Biennale (1968) by art critic Hariu Ichirō, alongside Miki Tomio, Sugai Kumi, and Yamaguchi Katsuhiro. Takamatsu was awarded the Carlo Cardazzo Prize, which was an award intended for an outstanding Italian or foreign artist (only for the 34th Venice Biennale). Hariu was a proponent that Japan's pavilion should be conceived as providing a platform for “international contemporaneity” [kokusaiteki dōjisei], where Japanese artists could appear in dialogue with their peers overseas. Hariu did not envisage this as mere assimilation, but rather recognised that the difference of Japanese experimental practices would have to be pronounced. His vision was consistent with the leading art critics in the 1960s, Sano Takahiko noting that the Biennale was shifting to prioritising experimental practices, and should be seen as a form of cultural diplomacy. Their commentaries led to the International Art Association supporting and restructuring the planning for the Japanese pavilion, namely allowing commissioners to serve two consecutive terms. This was intended to enable continuity across editions, as well as allowing for additional lead time in preparing the latter pavilion. The first three commissioners selected in this period (1968–78) were the progressive critics Hariu Ichirō, Tōno Yoshiaki, and Nakahara Yūsuke, also known in Japan as the “Big Three” [go-sanke]. Takamatsu presented a work from his Perspective series that was similar to Chairs and the Table in Perspective, though in this installation he used