Across a wall in Tate Modern stretch 150 typescripts for Grapefruit, Yoko Ono’s self-published book of “instruction works”. They range from the simple and achievable, like Pea Piece (1960) – “Carry a bag of peas. Leave a pea wherever you go” – to the surreal or philosophical, like Clock Piece (1963), which urges setting every clock and watch in a town to an arbitrary but incorrect time. They’re intended to trigger imaginations, to unlock our minds as to what art – and life – could be.
Much of this show is like a conversation with us, an invitation to collaborate. Indeed, it begins with the sound work Telephone Piece (1964): “Hello. This is Yoko.”
