ABSTRACT
This chapter explores the approach to incorporating tactile experience into the 2023 exhibition Ay-Ō’s Happy Rainbow Hell. The first US museum exhibition dedicated to the work of Japanese Fluxus artist Ay-Ō (b. 1931), Happy Rainbow Hell, featured over seventy of Ay-Ō’s rainbow prints alongside examples of the Finger Boxes he made as part of his Fluxus activities. Ay-Ō focused on sensory exploration, and his Finger Boxes and larger-scale Tactile Boxes engage the participant’s sense of touch, containing tactile materials in discrete hidden chambers. In a post–COVID-19 context characterized by heightened caution around contact with potentially infected surfaces, the exhibition team faced challenges integrating tactility into the visitor experience. To bridge this gap, the National Museum of Asian Art collaborated with ARTECHOUSE to create Haptic Boxes, which used mid-air haptic technology to simulate touch without physical contact. These touchless experiences engaged visitors’ senses and evoked Ay-Ō’s artistic vision by promoting bodily curiosity and playfulness. Visitor feedback indicated the Haptic Boxes delivered surprising and joyful interactions, although some confusion surrounding the technology emerged. Navigating the interplay between preservation and engagement, insights generated from this curatorial experience provide a foundation for future exhibitions, emphasizing the importance of encouraging sensory engagement while maintaining clarity about artistic authorship and intent.
