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.)

唐（雷·米兰德 Ray Milland 饰）都不知道自己能否称自己为一个失意的作家，因为一个作品从来没有被公众所接受过的作家怎么能是作家呢？为了排遣心中的愤懑，唐选择了向酒精寻求安慰，殊不知，酒精只会让他的情况变得更糟。海伦（简·怀曼 Jane Wyman 饰）的出现将唐从酗酒的泥潭中拉了出来，她的温柔和善解人意温暖了唐孤寂的生活，也令他找到了心灵的归属，他决定重新振作起来。好景不长，海伦的父亲对唐和女儿的关系十分不满，在他的眼中，唐只是一个一事无成的浪荡儿而已。感情遭到否定的汤再次陷入了酗酒的危机中，甚至动起了自杀的念头。面对心灰意冷的爱人，海伦能否再一次将唐从死亡边缘中解救回来呢？

在留下了痛苦的过去之后，莎拉搬入新公寓中生活，原本以为可亲的邻居却隐藏着可怕的秘密。

無照持刀，珍姐騰出上門女孩的肚腹，珍姐女兒Kiki卻一心只想要媽媽的房子。把香港人身心健康檢查寫成一頁房地產報告，子宮滿了，請出房客，心裡空了，住不進任何人。誰的靈魂裡都是空房間，神來拜神，人來求人，給什麼就信什麼。彼此關係都成危樓，母女活在一個屋簷下，腳下難容寸土，距離卻越行越遠，豈是大起來的肚子阻隔她們，而是整個東方之珠橫亙在母女之間。看遍香港怪現狀，越有愛，才相欠債，心懷善念，必遭惡意。憐母心中苦，吾女腹內酸，香港不寬，地獄不空，嘻笑怒罵，荒謬怪誕，怪味人間。生活若是三昧真火，陳果便順勢煉成火眼金睛，耳邊重新響起《餃子》清脆咀嚼聲響，白靈這回要給你端上酸辣湯。咬牙切齒，囓斷舌尖，卻又含嗔帶笑，舉重若輕。直把當代香港生活的清明上河圖拍成地獄變。