The very idea of a comprehensive retrospective of Tadanori Yokoo’s work is a daunting one. How to bring together an oeuvre that spans almost a half-century and is, by turns, strident, nationalistic, homoerotic, funny and cosmic; that is both representational and abstract; that comprises posters, photographs, paintings, sculpture, installation, and thousands of vintage picture postcards of waterfalls?
Somehow, the Museum of Contemporary Art, Tokyo (MoT) has succeeded swimmingly, with “All Things in the Universe.”
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