of as line,or point extended), Takamatsu started from the concept of a line in Euclidean geometry as “breadth-less length,” in other words, a line according to metaphysics. String (1962-98) String plays on the extension and contraction of length, challenging the unit of measure as a stable mode of cognition dependent upon subdivision. Takamatsu was not primarily interested with the figural or aesthetic (thick/thin/color) properties of string, but rath er understood it as length itself. Takamatsu saw string as a form of minimal materiality that could be abstracted and contrasted against the concept of volume, when string is placed within different containers such as a bottle. This led to his The String in the Bottle series (1963-85), each edition of the work demonstrating the string-line contracted (within the bottle) and expanded (leading out of the bottle), irrespective of the form of the bottle. One of the most noted editions is no. 1125, featuring the iconographically infamous Coca-cola bottle; yet the appearance and branding of the bottle was insignificant to Takamatsu in relation to his conception of string. In some editions, such as with no. 1133, Takamatsu used two strings, again illustrating that the form of the string was not of priority to him. Beyond the abstracted length exemplified by string, Takamatsu also used to series to worlds—prompting things enter into unexpected associations by attaching everyday objects to his ropes and cords. Shadow (1964-98) Takamatsu was inspired to paint the Shadow in order to create images that exist solely in our imagination, using his theory of absence to world what actually exists nowhere. These paintings, ranging in scale, figure, complexity and light source, show an object that is both present and absent, traced and imagined. These are shadows of people and objects long since departed, prompting viewers to consider the anti-reality or existence beyond the third dimension. Perspective (1966-71) Yoshiaki Tōno noted that the Perspective series can be considered a logical evolution of the Shadow paintings. The space created in the Perspective series using reverse perspective effects was a three-dimensional variation of that in the "Shadow" series. Takamatsu models worlds that are discomforting, proposing a perceivable dimension where the rule of perspective that underlies our sense of perception is reversed, or recanted. Slack (1968-72) Slack is Takamatsu's grid installation series. Slack of Net features cords tied into a grid-like net, while Slack of Clothconsists of rectangular pieces of cloth sewn together to