consisting of assemblages which undo our assumptions of form. Chairs are rendered unseat-able by positioning a brick underneath its leg, slabs of iron and brass posed as weightless by being held up by a piece of thin string. Whether shapes are generated or undermined. Takamatsu's interest exclusively centers on shapes, not on materials. Photograph of a Photograph (1972-3) Takamatsu hired a professional photographer to capture snapshots taken from Takamatsu's family albums, which were placed on various walls and surfaces in his home and study. This series was Takamatsu's investigation into how photography relates to memory and appropriation. In each image, the contextualised image, and act of viewing a photograph, are perceived with some form of obfuscation—by glare, reflection, or shadow. This series shows photographing as a nonelite activity, the internal images showing everyday subject matter while being shot in relation the floor, in the darkroom chemical bath, or casually held by visible hands. The viewer of Takamatsu's Photograph of a Photograph is prompted to contemplate with a surreal gaze-within-a-gaze, drawn into a ritualistic reenactment of personal history and hazy recollection. Andromeda (1998-9) From 1988 to 1989 he worked on a series of screen prints entitled Andromeda. Illustrations As noted above, Takamatsu was very precise about his artwork plans, which was consistent with his illustrations. Quite a number of his drawings were rendered on graph paper, with scale calculation figures in the margin. In some pictures. lines were clearly re-drawn, which serves as evidence of how he worked hard to adjust outlines until he formed a satisfactory shape. He also attached color reference samples and detailed color instructions to sketches and original pictures for book illustrations. indicating that he wanted his intentions about color to be fully understood. Printmaking English Words (1970) and Japanese Letters (1970) As with his approach to form, Takamatsu processed language as material to be broken down. Takamatsu created these offset lithograph works in a project sponsored by Xerox. In an iterative process, Takamatsu photocopied paper with the text "These/Three/Words" and “この七つの文字 [Kono nanatsu no moji/these seven characters]” respectively, enlarged through 100 rounds. Takamatsu signed each iteration, noting the individual details of defects and decay in each piece.These works have been compared to Joseph Joseph Kosuth's text based work.. The Story (1972) In 1972 Takamatsu received the Grand International Prize for The Story at the eighth Tokyo Kokusai Hanga Biennāre[Tokyo International Biennial of Prints]. "The Story" was