[7] Inspired by the calendar with which she counted days, Tanaka began to make a series of works that consisted of handwritten numbers on various collaged materials, including hemp cloth, tracing paper, and newspaper.

[1] As Tanaka's solo artistic career soared throughout the late 50s and early 60s, her relationship with Yoshihara Jiro became strained.

[1] Due to her mental instability and the tension within the group, Tanaka decided to leave Gutai in 1965 and married Kanayama.

[10] She developed unique motifs of colorful circles and intertwining lines from her earlier drawings inspired by Electric Dress and Bell.

[11][1] In 1952, Akira Kanayama introduced Tanaka to his colleagues in Zero-kai (Zero Society), an experimental art group he co-founded with Shiraga Kazuo and Murakumi Saburo.

[12] In the meantime, Jiro Yoshihara, an established artist and critic, was offering private lessons on Western-style oil painting.

[3] Her use of everyday materials, such as factory-dyed textiles, electric bells, and light bulbs revealed the artistic beauty of mundane objects.

[7] In Yellow Cloth, Tanaka cut three pieces of plain cotton fabric and tacked them to a gallery's wall.

[7] Gutai member Shiraga Fujiko's review of Bell interpreted the work as an empowering opportunity for viewers to "stand on the very edge of the act of creating" and experience the joy of making art.

Photographs of the performance show Tanaka covered from head to toe in the garment, with only her face and hands visible.

[1] The colored light bulbs flickered randomly, giving off the sensation of an alien creature and, according to Tanaka, "blink[ing] like fireworks.

Tanaka herself noticed the trepidation at the moment when the electricity of the work was switched on: "I had the fleeting thought: Is this how a death-row inmate would feel?

[1] In post-war Japan, monochromatic wartime costumes gradually gave way to bright clothes, which were manufactured, advertised, and worn widely.

Although the performance resembled a striptease show, Tanaka's expressionless face and unemotional movements refused an eroticized reading of her body and actions.

The Grey Art Gallery focuses on Tanaka's Gutai period and also includes a video and documentation of the movement plus a reconstructed version of Electric Dress.

MoMA's online collection features a large, untitled 1964 work by Tanaka (synthetic polymer paint on canvas).

"[21][22] The Centre Pompidou in Paris, France, owns a reconstruction of Tanaka's Electric Dress made in 1999 at the occasion of a Gutai retrospective held at the Jeu de Paume.