[1] Yoshiaki Tono, “Shusaku Arakawa, Tomio Miki, and Tetsumi Kudo,” Artforum (January 1967): 53.
[2] Tono, “Shusaku Arakawa,” 53.
[3] Tono, “Shusaku Arakawa,” 53.
[4] Tono, “Shusaku Arakawa,” 55.
[5] Email correspondence between Ben Perrone and Amara Magloughlin, June 9th, 2018.
[6] These latter artists appear to have come from Dorr’s own collection. Email correspondence between Ben Perrone and Amara Magloughlin, June 9th, 2018.
[7] This exhibition was revisited by Castelli Gallery in 2019. The exhibition catalog includes materials crucial to this research and may be accessed at https://www.castelligallery.com/publications/1963-boxing-match-revisited.
[8] Donald Judd, “Reviews for Arts Magazine, April – May/June 1963,” in Donald Judd: Complete Writings 1959-1975: Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints (Halifax: Press of the Nova Scotia College of Art and Design, 1975), 90.
[9] ARTnews reviewer K.L. writes that “Cloud, a horizontal box (a grey plane) suspended at eye level, gives a curious effect of blindness.” K.L., “Boxing Match,” ARTnews (March 1963): n.p. Re-printed in Boxing Match: 4 Sculptors: Arakawa, Ay-O, Morris, Yoshimura, ed. Castelli Gallery (New York, NY: Castelli Gallery, 2019): 24.
[10] Judd, “Reviews,” 90.
[11] Yusuke Nakahara, “Shusaku Arakawa,” Bijutsu Techo (October 1963): n.p.
[12] The possible exception of Be Kind Enough to Turn the Switch On is mentioned above.
[13] Yoshiaki Tono, “Statement by Japanese Vanguard Artists from Saito to Arakawa,” Mizue (January 1964): 26.
[14] Oral History Interview with Shusaku Arakawa, conducted by Midori Yoshimoto and Reiko Tomii, April 4, 2009, Oral History Archives of Japanese Art (URL: https://oralarthistory.org/archives/arakawa_shusaku/interview_01.php).