This article foregrounds the Japanese artist Imai Norio’s contribution to the development and critique of the moving image in the context of Japanese contemporary art and society in the 1970s. While existing art historical scholarship has primarily discussed Imai’s work as a part of the collective activities of the Gutai Art Association (1954–72), I focus on his film and video works created after the dissolution of the group in 1972. The 1970 World Exposition in Osaka served as a critic...
