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Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

上海地质学院的肖继业和林育生毕业后，满怀革命热情来到青海高原地质队工作。肖继业的小队发现了新矿，领导让他回上海参与地质报告审批答辩，治疗自己砸伤的腿，并了解离队半年未归的林育生的情况。回到上海后，肖继业发现林育生是因为害怕艰苦生活，才托病不肯回青海，还在其未婚妻夏倩如的毕业分配上拖后腿。肖继业一面忙于做地质报告答辩，一面与林育生的妹妹林岚一起对林育生做思想工作。医生诊断肖继业的腿长了骨瘤，有截肢的可能。更令肖继业痛心的是，他发现林育生的疾病证明是伪造的。于是，他找到林育生，帮助他分析错误的严重性，指出改正方向。林育生的养父也拿出他亲生父母就义前的遗书，对林育生进行教育，终于使他醒悟。最后，肖继业的腿治好了，地质报告审查通过，林育生和夏倩如跟肖继业一起回到地质队，林岚也积极响应党的号召，去了新疆农场工作。

陽は西の地平に傾き、闇がすぐそこに迫りつつあった湾岸の工業地帯。どこからともなく飛来した銀翼が人気のない砂浜に不時着する。それは55年前に起きた事故を未然に防ぐために、ペガッサ星人が生み出したタイムパラドックスによって現出したウルトラホーク１号だった。地球の軌道に入るペガッサ市を破壊する決断を下して生き延びた地球人、同胞たちが暮らす都市を爆破され天涯孤独で地球で生きてきた宇宙人、そして地球外から訪れて地球を愛し、地球に暮らしたウルトラセブン。それぞれの世界線が絡み合い、55年の時を経て、巡り合う未来の物語―2023年、モロボシ・ダンが時空を超えてやって来る。

The adorable Tinkles has more energy than ever and just wants to play ball. Drac is determined to find a suitable playmate for his huge furry friend. After several attempts, Drac's plan crumbles when Tinkles chooses an unlikely partner.