Editing Yasunao Tone (section)

== Jury Event: Tone Prize Exhibition ==
In September 1964, Tone published an ad in “Ongaku Geijutsu” magazine that read, “Call for Entries: 1st Tone-Prize Composition.” Details read:

“Tone Prizes are given to all entries.

Deadline: October 1.

Certificates will be mailed in lieu of official announcement in early October.

There is no restriction on form or content. However, phenomena will not be accepted for they are impossible to present; instead please submit texts, etc. For further details, please contact: Yasunao Tone, 11 Asakusa Shōtenchō, Taitō-ku, Tokyo.

Announcement of Prizes

Works that receive Tone Prizes automatically qualify for the following individual prizes, which will be presented at a concert as Sogetsu Hall in late November.

Prizes include: Kosugi Prize, Ichiyanagi Prize, Okuyama Prize, Ono Prize, Akasegawa Prize, Nakanishi Prize, Takiguchi Prize, Takeda Prize, Ishizaki Prize, Shinohara Prize, Kobayashi Prize, Hijikata Prize, etc.

Performed and juried by: Kosugi Takehisa, Ichiyanagi Toshi, Okuyama Jūnosuke, Yoko Ono, Akasegawa Genpei, Nakanishi Natsuyuki, Takiguchi Shuzo, Takeda Akimichi, Ishizaki Koichiro, Shinohara Ushio, Hijikata Tatsumi, etc. 

Cocurrence [sic] event 1964 Tokyo<ref>Yasunao Tone, translated by Reiko Tomii. Quoted from: Reiko Tomii, “Concerning the Institution of Art: Conceptualism in Japan,” in ''Global Conceptualism'' (New York, NY: Queens Museum of Art, 1999), pp. 15-29, 21.</ref>

The exhibition was conceived by Tone in response to the closure of the [[Yomiuri Indépendant Exhibition|Yomiuri Independent]], which was, according to [[Reiko Tomii|Tomii]], “the principle forum of anti-Art” and whose closure “prompted discussion of the dependency of vanguard artists on the corporate-sponsored ‘independent.’”<ref>Reiko Tomii, “Concerning the Institution of Art: Conceptualism in Japan,” in ''Global Conceptualism'' (New York, NY: Queens Museum of Art, 1999), pp. 15-29, 20.</ref> One entry to the Tone Prize Exhibition was [[Hi-Red Center]]’s canonical ''Cleaning Event'' (1964), a work that Tone participated in himself.<ref>Dasha Dekleva, “In Parallel,” in ''Yasunao Tone: Noise Media Language'' (Errant Bodies Press, 2007), pp. 39-54, 47.</ref>