This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

中文翻译：

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流行作为翻译策略：冲木真史的政治流行

本文是对冲绳艺术家牧史真史（1941–2015）的首次持续研究，他使用美国流行艺术的词汇来描述美国占领冲绳的复杂现实。本文着重于1972年的装置作品《纪念日本大帝复归》，研究了牧志的《政治波普》作为翻译策略的关键矛盾性。尽管牧志对美帝国主义和日本帝国主义都提出了批评，但他还是意识到冲绳密不可分，特别是在越南战争的背景下，这给冲绳带来了暴力和经济利益。尽管他将“美国流行”成语用作当代艺术的一种新的通用语言，但由于这位画家几乎仅在冲绳岛上展出，因此他的作品并未触及大陆或国际观众。