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C magazine review/feature/etc. /writing sample
Yuling Chen
2026 June 7th
The Yoko ono music of the mind exhibition at the broad says a lot with very little. It criticizes Israel Palestine wars, conflicts and political events through on screen performances and scores. It is a story telling people about how backward and conservative people in China, Japan and Korea are. The textual textures of the instructions and scores trace the lineage of the artist to the early Japan in the World War II. It speaks of China in a discriminating way. The exhibition makes China look rather nice in terms of its trade partnership through a focus on bodies. China’s contentious relations with UK over Hong Kong, trades and unity is especially highlighted in the exhibition. It cash in on the tension between China, us and UK making a splash in the water of post capitalistic digital frenzy. People are jealous. This is the truth. Can China withstand the scrutiny of the masses? The cut pieces has always stand out from the crowd. The video recording of the performance points out the identity of China often gets mired in the concerns with sensitivity. People avoid talking about China due to politically sensitive materials produced on the web. They are worried about offending Chinese people and China. Etc.
Having visited the Yoko Ono exhibition 'Music of the Mind' at the Broad, I found it fascinating how the artist uses minimalistic performances and textual instructions to narrate complex political narratives. The exhibition pushes viewers to reflect on entrenched conflicts like Israel-Palestine, while simultaneously drawing attention to the cultural conservatism prevalent in East Asia — particularly China, Japan, and Korea. One aspect that really stood out to me was how the exhibition frames China's role in the global trade landscape, portraying it not just as an economic powerhouse, but through the lens of human bodies and interactions. The artworks highlighted China's controversial relationship with the UK, especially regarding Hong Kong’s political status, shedding light on the underlying tensions in a globalized world. It felt like a raw exposure of geopolitical struggles employing a unique artistic medium. Moreover, the exhibition touched on the issues of censorship and the sensitivity surrounding China's portrayal on international platforms. This resonated with my experience of how topics related to China’s politics often get avoided online or in media discussions due to fear of backlash or offending national sentiments. The video performances raised important questions about identity and the challenges faced in discussing politically sensitive subjects. From a personal perspective, I appreciated how the exhibition forced me to reconsider the power of contemporary art as a means to critique and dialogue about global issues. It’s rare to see art that so effectively combines historical references—such as ties to Japan’s World War II past—with current digital and political realities. This creates a layered narrative that is both educational and emotionally compelling. If you’re interested in politically charged art that intersects with modern global conflicts and cultural identity, Yoko Ono’s exhibit is an eye-opening experience. It also invites viewers to confront their own biases and the broader societal discomfort with openly discussing China's complex global position. This kind of engagement enriches anyone’s understanding of present-day geopolitical dynamics beyond conventional news cycles.
