At 93, Yoko Ono has seen successive generations wrestle with the questions that have long defined her art, questions rooted in humanity and in our obligations to one another.
Los Angeles Times music critic Mark Swed, writing about recent performances of Ono’s works, including “Cut Piece,” describes her body of work as something alive and continually unfolding, one that reveals new insights each time it is revisited.
In that sense, Ono’s oeuvre functions less like a fixed archive than a living organism, with each presentation offering another chance to confront its enduring ideas. The performances underscore how her practice continues to resonate across time.
