A Life in Art: Beyond the Beatles Narrative

Entering the first gallery, visitors are immediately confronted with a large reproduction of the poster for Ono’s Carnegie Hall debut on November 24, 1961 – a powerful statement establishing her artistic presence long before her relationship with Lennon. This placement, alongside works like “A Work to Be Stepped On” and “Waterdrop Painting (Version 1),” immediately signals the exhibition’s intent: to showcase Ono’s artistic evolution and conceptual rigor on its own terms.

The exhibition, comprised of over 200 works, unfolds chronologically, organized around key projects. This structure allows for a clear understanding of how Ono’s ideas have been revisited, refined, and expanded over time. From early conceptual pieces to later, large-scale installations, the curation highlights the consistent thread of participation and provocation that runs through her oeuvre.

Ono’s willingness to challenge artistic boundaries is evident in pieces like “Film No. 4 (Bottoms),” a controversial film banned by the BBC for its extended footage of human posteriors. The exhibition doesn’t shy away from these provocative works, presenting them alongside documentation of “Cut Piece,” a performance where Ono invited audience members to cut away pieces of her clothing, a visceral exploration of vulnerability and societal expectations. The inclusion of the script and the empty chairs from the “Strip Tease Show” adds another layer of context, revealing the deliberate construction behind these seemingly spontaneous acts.

Interactive Art and the Power of Suggestion

Beyond the historical documentation, “Music of the Mind” emphasizes the interactive nature of Ono’s art. “Box of Smile,” a simple silver box containing a mirror, exemplifies her ability to create intention and invite completion from the viewer. Nearby, suspended military helmets filled with blue puzzle pieces evoke a fragmented sky, a poignant symbol of hope and resilience.

Other notable works include “Ceiling Painting,” a piece designed to be viewed through a magnifying glass revealing a tiny “YES” painted on the ceiling – sadly inaccessible due to safety concerns – and “Half-A-Room,” a starkly divided space that forces viewers to question their perception of reality. The “Acorn Piece,” a collaborative project with Lennon where they sent acorns to world leaders as a gesture for peace, underscores Ono’s lifelong commitment to activism.

The fourth floor offers a particularly immersive experience with Ono’s “Wish Trees.” Visitors are encouraged to write wishes on tags and hang them on the branches of olive trees, creating a collective expression of hope. Adjacent to this is “My Mommy Is Beautiful,” an installation inviting contributions of love and remembrance for mothers, fostering a sense of communal connection.

Perhaps one of the most unsettling, yet compelling, pieces is “bag-ism,” where participants are invited to enter a cloth bag, initially instructed to remove their clothing before emerging. The experience, even simply entering the bag, is designed to be disorienting and isolating, prompting reflection on identity and perception.

“Mend Piece,” with its broken ceramic shards and invitation to reconstruct, embodies Ono’s belief in the power of healing and transformation. The deliberate absence of matching pieces forces participants to create new forms, symbolizing the potential for renewal even in fragmentation. As one visitor noted, the accidental creation of a lotus flower from the broken pieces perfectly illustrates how Ono embraces serendipity and allows for unexpected interpretations.

Reclaiming the Narrative: Beyond Lennon

The exhibition deliberately delays the introduction of John Lennon, only acknowledging him in the “London Years” section as a collaborator and partner. This strategic choice is profoundly impactful, allowing Ono’s artistic identity to stand independently. It’s a powerful statement, particularly for those familiar with the decades of blame unfairly directed at Ono for the breakup of The Beatles.

For many, like this writer, encountering Ono’s work was initially through the lens of Beatlemania. A pilgrimage to “Beatlefest” in the late 1970s revealed a surprising level of hostility towards Ono, a visceral reaction rooted in misogyny and a refusal to acknowledge her artistic merit. This experience sparked a lifelong fascination with her work, a desire to understand the artist behind the scapegoat.

What do you think about the historical tendency to define artists through their relationships? And how can museums play a role in rectifying these imbalances?

The exhibition subtly acknowledges this history, presenting Ono’s accomplishments alongside the timeline of The Beatles’ career, a quiet assertion of her independent artistic trajectory. It’s a reminder that Ono was a significant artist long before, and entirely separate from, her association with Lennon.

“Yoko Ono: Music of the Mind” is a testament to Ono’s enduring vision, a celebration of her artistic courage, and a long-overdue reclamation of her legacy. It’s an exhibit that challenges perceptions, provokes thought, and ultimately, invites us to listen to the music of her mind.

“Yoko Ono: Music of the Mind” is currently on exhibit at Chicago’s Museum of Contemporary Art until February 22, 2026, before traveling to The Broad in Los Angeles beginning in May of 2026.

Frequently Asked Questions About Yoko Ono’s “Music of the Mind”

• What is the central theme of Yoko Ono’s “Music of the Mind” exhibition?

  The exhibition focuses on showcasing Yoko Ono’s artistic journey across multiple disciplines, emphasizing her conceptual and performance art, peace activism, and independent artistic identity beyond her association with John Lennon.

• Where can I see the “Yoko Ono: Music of the Mind” exhibition?

  The exhibition is currently at the Museum of Contemporary Art in Chicago until February 22, 2026, and will then move to The Broad in Los Angeles in May of 2026.

• What kind of art does Yoko Ono create?

  Yoko Ono’s art encompasses a wide range of mediums, including film, music, conceptual art, performance art, and interactive installations. Her work often challenges conventional artistic boundaries and encourages audience participation.

• How does the exhibition address the criticism Yoko Ono faced during her relationship with John Lennon?

  The exhibition deliberately presents Ono’s artistic achievements independently of her relationship with Lennon, highlighting her career before and alongside his, and subtly challenging the historical narrative that often blames her for The Beatles’ breakup.

• What is the “Wish Tree” installation at the exhibition?

  The “Wish Tree” is an interactive installation where visitors are invited to write wishes or thoughts on tags and hang them on olive tree branches, creating a collective expression of hope and positivity.