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On the Form’s Edge

This essay looks at postwar painter Adaniya Masayoshi's abstract landscape paintings of U.S. military bases in Okinawa in the 1960s as well as the painter's own theoretically sophisticated reflections on them. By situating Adaniya's painterly figurations of landscape, military infrastructure, and soldiers' bodies alongside recent Foucauldian and autonomist Marxist analyses of "Okinawa" as an effect and product of global imperial politics, this essay seeks to closely analyse Adaniya's lifelong effort to make visible his torqued forms as a rupturing of the mode of racializing biopolitics in U.S.-occupied Okinawa in the time of the Vietnam War.