Yayoi Kusama herself is not a minimalist, but she did have contact with minimal artists such as Donald JUDD and Eva HESSE. Judd praised Kusama's Infinity Net Paintings from the start, especially her obsessional repetition. According to Judd, the new art trend of the 60s were represented by three-dimensional works which were neither paintings nor sculptures. Kusama's Compulsion Furniture was one of them and Judd himself was making such works. On the other hand, Michael FRIED attacked minimal art because Specific Objects, as Judd had called them, had objecthood, and even though one looks at such works which depend on installation, all the viewer can feel is his or her own duration. Then, what kind of time can we experience by appreciating Kusama's works? Comparing Kusama's works with Hesse's ones and so on, the relation of repetition and time is explained in order to describe the originality of Kusama's works.

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Postminimalism, in the narrow sense, means the art by the generation next to minimalist artists, such as Eva Hesse and Richard Serra, who were representative artists at that time, and in the broad sense, it means "a series of art movements in the decade from 1965 to 1975, " which indicates the coinstantaneous developments of the time, including process art, earthworks, conceptual art, performance, and installations. Postminimalism, as well as minimalism, seems to correspond to the turning point from modernism to postmodernism, and therefore, seems to be one of the important clues, when we consider the argument about art and sites, such as current installations and public art. Arthur Danto, in his essay "Postminimalist Sculpture, " found the end of modern art in these works. The object made of daily and ephemeral materials, or the "dematerialized" work as an idea or a plan itself, for instance, as the object approaches zero, the environment or space where it stands is emphasized all the more, and in the end, art replaces the reality itself. However, I wonder if it is not until viewers participation in the empty space that postminimalist art takes shape, and we could find the potentialities of art in the setting and presentation of such devices.

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Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

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