This article examines the solo work Lovers (1994) by Teiji Furuhashi, a prominent member of the influential Dumb Type group in Japan’s theatre and dance scene from the 1980s onwards. Lovers was Furuhashi’s only solo work; he died shortly after its installation at a Tokyo art centre in 1994. The essay examines the work in the context of themes of mobility, migration, and shifting corporealities in Japan across the post-war decades, especially through the key event for art and technology of those decades, which was the Osaka World Exposition of 1970. Lovers was commissioned by the arts laboratory of a Japanese technology corporation, Canon Inc., and incorporated what at the time were innovations in moving-image elements within theatre and dance. But those technologies rapidly became obsolete, and the essay explores the dilemmas about the digital experienced by the curators of the New York Museum of Modern Art in ‘upgrading’ Lovers to show it in their galleries in 2016–17.

Now considered a quintessential Hong Kong household food product, Vitasoy won the approval of local consumers only in the post–World War II period as its producer capitalized on the discourse of modern nutritional science, leveraged technological breakthroughs, and positioned the soy beverage to respond to a growing clientele experiencing economic growth and lifestyle transformation. In the emerging market and sociocultural conditions of postwar Hong Kong, Vitasoy's producer created a local beverage that articulated for the city a modernity that originated in a Chinese national discourse but then blossomed into a celebration of the lifestyle that economic progress enabled.