Acknowledgments  ix

Chronology of Select Events  xiii

Introduction  1

Part I. Art against the Police: Akasegawa Genpei's 1,000-Yen Prints, the State, and the Borders of the Everyday  9

1. The Vision of the Police  15

2. The Occupation, the New Emperor System, and the Figure of Japan  37

3. The Process of Art  74

Part II. Artistic Practice Finds Its Object: The Avant-Garde and the Yomiuri Indépendant  111

4. The Yomiuri Indépendant: Making and Displacing History  117

5. The Yomiuri Anpan  152

Part III. Theorizing Art and Revolution  201

6. Beyond the Guillotine: Speaking of Art / Art Speaking  207

7. Naming the Real  245

8. The Moment of the Avant-Garde  284

Epilogue  317

Notes  319

Select Bibliography  393

Index  405

“William Marotti explicates the social and political context of the Yomiuri Independent avant-garde. . . . [A] remarkably detailed and vivid view of the activities of Akasegawa and his circle.”—Mark Schilling, Japan Times

“William Marotti explicates the social and political context of the Yomiuri Independent avant-garde. . . . [A] remarkably detailed and vivid view of the activities of Akasegawa and his circle.”—Mark Schilling, Japan Times

"The annual Yomiuri Indépendant exhibition, the Hi Red Center group, and the ¥1000 Note Trial are surely among the most significant avant-garde initiatives anywhere in the world in the 1960s. This stunning study assesses the oppositional politics of these and other Japanese avant-garde undertakings by probing deep into the history of that which they opposed: the arrogation of power by the postwar Japanese state over everyday life. In William Marotti's hard-hitting theoretical analysis and accessible prose, the seemingly nonsensical antics of avant-gardists become occasions for grasping fundamental truths about the political makeup of postwar Japanese society."—Bert Winther-Tamaki, author of Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955

"Money, Trains, and Guillotines is the first extended study of art and activism in Japan during the 1960s, and as such it constitutes a major contribution not only to the history of Japanese art and politics but also to our knowledge of activism in the 1960s."—Thomas LaMarre, author of The Anime Machine: A Media Theory of Animation

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