Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)
新闻记者未洙(Sun-Ju)怀疑灵异体与她侄女之死有关,因为她发觉有个青年人及其三个朋友都是死于同一时间。她旅行回来之后,未洙发觉与其侄女之验尸官蔡先生(Choi-yeol)都有同一个可怕预感。未洙及重访那班青年走过的小径时发现了一盘没有名字之录像带,当她看这盘带时,发现了线索。这带内容透露了可怕怪诞图像及生命受威胁的信息,而其中最重要的救命信息却被咒诅因而不可理解。其后蔡先生未洙更进而探究,解开死亡之谜。