“We’re all water in different containers,” writes Ono in 1967. “But even after the water’s gone we’ll probably point to the containers and say, ‘that’s me there, that one.’” Ono concludes, “We’re container minders.”
Guilty as charged. I am a furtive container-minder. But wandering through YOKO ONO: HALF-A-WIND SHOW at the Schirn Kunsthalle in Frankfurt, the most comprehensive survey of Ono’s career to date, I soon give up trying to pin Ono’s work to a given practice or idea.