“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.
“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.

“There exists my action, regardless of whether or not it is secured,” Kazuo Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s.

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