Thisbook would be very helpful to my research,
please consider the purchase:

After several years in making, the special issue on "Expo '70 and
Japanese Art" of Review of Japanese Culture and Society (Josai
University) has finally been published.
I guest-edited this volume and solicited many important contributions
from artists and colleagues in the field. The volume includes some
color reproductions and many illustrations.

The purpose of this special volume, “Expo ’70 and Japanese Art:
Dissonant Voices,” is to present Expo ’70 as a cacophony of dissonant
voices rather than a harmonious chorus orchestrated by one ideology.
By featuring wide-ranging attitudes and strategies of artists who
participated in Expo ’70 as well as those who opposed it, the volume
seeks to reclaim the richness of Expo ’70, which has been overlooked.
This volume not only features current research on Expo ’70 by
international scholars, but also English translations of contemporary
writings and visual statements by Japanese artists and writers.

If you're interested, you can order a copy directly from Josai
University for ¥2,000 (inside Japan) by postal transfer to (Tokyo
6-62423) or for U.S. $20.00 (plus handling and postage $5; all other
countries). For details of ordering information, please visit
http://www.josairjcs.com/subscriptions.html or contact
rev-jou@josai.ac.jp directly.

Below is the Table of Contents, which you can also see on
http://www.josairjcs.com/issues.html
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Review of Japanese Culture and Society

Volume XXIII December 2011
Expo '70 and Japanese Art: Dissonant Voices

Guest Editor: Midori Yoshimoto

Midori Yoshimoto, "Expo ’70 and Japanese Art: Dissonant Voices,” An
Introduction and Commentary (1-12)
Nakai Yasuyuki, “Japan World Exposition—Reconsidering Expo Art, 2007” (13-25)
(translated by Mika Yoshitake))
William O. Gardner, “The 1970 Osaka Expo and/as Science Fiction” (26-43)
Haryū Ichirō, "Expo ’70 as the Ruins of Culture, 1970" (44-56)
(translated by Ignacio Adriasola)
Hyunjung Cho, "Expo ’70: The Model City of an Information Society"( 57-71)
Isozaki Arata, "Recalling The Days of Expo Art (?)," 2001 (72-80)
(translated by Machida Gen)
Bert Winther-Tamaki, "To Put On A Big Face: The Globalist Stance of
Okamoto Tarō’s Tower of the Sun for the Japan World Exposition"
(81-101)
Okamoto Tarō, "Ancient Blood, Contemporary Blood," 1971 (102-112)
(translated by Reiko Tomii)
Midori Yoshimoto, "Textiles Pavilion: An Anomaly and Critique of Expo
’70" (113-131)
Yasufumi Nakamori, "Criticism of Expo ’70 in Print: Journals Ken,
Bijutsu techō, and Dezain hihyō " (132-144)

Artists’ Pages:
Tōmatsu Shōmei, "Untitled," 1970 (146-147)
Akasegawa Genpei, "A Redevelopment Proposal for the Expo ’70 Site,”
1970 (148-149)
(translated by Reiko Tomii)
Matsuzawa Yutaka, "Matter Must Vanish: A Proposal for Redevelopment of
the Former Expo Site,” 1970, (150-153) (translated by Reiko Tomii)

KuroDalaiJee, "Performance Art and/as Activism: Expo ’70 Destruction
Joint-Struggle Group” (154-173)
Hiroko Ikegami, “World Without Boundaries?” E.A.T. and the Pepsi
Pavilion at Expo ’70, Osaka (174-190)
Reiko Tomii, "Toward Tokyo Biennale 1970: Shapes of the
'International' in the Age of International Contemporaneity" (191
-210)

Fiction:
Uehara Noboru, "Our Gang Age," 1970 (211-224)
(translated by Kyoko Selden and Alisa Freedman)
Shōji Kaoru, "Watch Out, Little Red Riding Hood" (224-230)
(Chapter One, 1969) (translated by Kyoko Selden and Alisa Freedman)

Bibliography:
Hyunjung Cho, Select Annotated Bibliography of Expo ’70 (231-242)

On the Contributors (243)

Cheers,
Makiko
PhD candidate, School of Languages and Comparative Cultural Studies