[4] The exhibition is seen as a reaction against the concurrent Expo ‘70 in Osaka for embodying the attributes of Japan's Post-World War II economic resurgence and ascension to major world status.

[6] The text operates as both a work on art theory and the physical sciences as he expresses disapproval for both the emerging field of cybernetics and the emphasis placed on mechanization as signifiers of scientific and civilization's progress.

Contextually, Nakahara's research occurred during an increasing interest in Japanese academia and politics to invest more money and resources into the study of atomic energy and nuclear reactor technology.

[9] With ten participating artists, the exhibition displayed furniture and related domestic items to subtly critique the power and influence of commodity systems and consumerism on Japanese home life.

[10] Recognized as a major proponent of the latest developments in Japanese avant-garde art of the 1960s, Nakahara was simultaneously intent on the promotion and exhibition of international artists who also worked in non-traditional mediums and styles.

[14] The exhibition addressed the lack of attention surrounding the little studied sub-movement of "tricky art", a style and idea that examines the nature of sight and its susceptibility to encounter visual tricks.

[19] Although the fair attracted a record-breaking attendance of 64 million people to witness the modern technological, artistic, and cultural marvels of 77 countries (including Japan), Nakahara's organization of the 10th Tokyo Biennale, Between Man and Matter, is perceived as a reaction against Expo ‘70.

[24] In defiance of traditional art festival regulations, no juried prizes were awarded and an international pool of artists chosen to participate not as representatives of their respective countries, but for their individualized artistry.

In 1972, Nakahara and his colleagues Yoshishige Saito and Jiro Takamatsu visited South Korea to discover novel approaches to art production that were unique from his previous engagements with Japanese, European, and American artists.

[30] He grew enamored with the indigenous movement Dansaekhwa (also spelled as Tansaekhwa), which is a form of monochromatic painting that sought to strip Korean art of any references to Western and Japanese painterly influences.

[32] Impressed by the works of Wong Young-Woo, Park Seo-bo, Sun Seung-Won, Hur Hwang, and Lee Dong-Youb, Nakahara exhibited their paintings in Five Korean Artists, Five Kinds of White at The Tokyo Gallery in May 1975.

[36] From 1982 to 1995, Nakahara directed the curation of multiple exhibitions at the Ginza-based LIXIL Gallery whose prominent reputation is grounded in the display of innovative art and architectural designs that blend Japanese craftsmanship with contemporary home aesthetics.

Held every three years in Japan's Niigata region, the festival attracts hundreds of Japanese and international artists to exhibit works that reflect the concept of satoyama (the convergence of people and nature) via environmentally-conscious art and designs.