The objects presented in this vitrine serve as artifacts of the most notorious scandal in the history of Japanese postwar avant-garde art. Akasegawa Genpei, who founded a trio of performance artists known as Hi Red Center, addressed the fundamental questions of art's authorship, value, and "place" in the realm of everyday society--issues that operated with special significance for these works. In an attempt to operate outside of the gallery system, he created fake banknotes in 1963, which he used as gallery invitations and as "packaging" for everyday objects, sparking a criminal investigation for currency fraud. A highly publicized trial ensued in 1966, which the artist and his defense team used to leverage courtroom dialogue about art's status and value. Ironically, while Akasegawa is commonly positioned within a conceptual anti-art discourse, the trial resulted in art's legitimation, though the artist himself was found guilty of fraud. As if in defiance of these results, Akasegawa went on to generate more currency, this time in the form of "Greater Japan Zero-Yen Notes"--his version of "no-value money."