Scissors and silence: yoko ono’s ‘cut piece’ returns to la with a stark new edge

Los Angeles’s The Broad museum is preparing to host a visceral reimagining of Yoko Ono’s iconic performance Art piece, ‘Cut Piece,’ promising a confrontation with vulnerability and the unpredictable nature of artistic reception.

A moment of raw exposure

Projected onto a gallery wall is a stark black and white film documenting Ono’s 1964 Carnegie Hall performance, where she invited strangers to dissect her clothing with scissors – a radical act that hinged entirely on the audience’s response. The original piece, a documented risk of complete exposure, remains a chilling testament to Ono’s willingness to relinquish control, a point echoed by the artist herself, who described it as “a frightening piece to perform.”

Now, artist MPA, invited by Ono’s studio, is taking on the challenge of recreating this landmark work, not as a simple ‘restaging’ but as a fresh exploration of the piece’s enduring themes. MPA, known for her politically charged and often deeply personal work, approaches ‘Cut Piece’ with a measured intensity, acknowledging the work’s legacy and its considerable impact on artists like Marina Abramović.

Beyond the reproduction

“I’m not scared of having scissors near me,” MPA stated, her focus shifting to the broader questions the piece raises – the ways in which political realities intersect with the body and the role of the viewer in shaping artistic meaning. She’s less concerned with the physical demands, and more intrigued by the potential for this potent piece to resonate in 2026, questioning whether its sting will still hold.

The museum is staging two performances, on July 17th and 18th, at the Redcat Theater, offering a chance to witness the evolution of ‘Cut Piece’ through MPA’s lens. Ono herself, reflecting on the piece’s genesis, described it initially as an expression of anger at the treatment of women’s bodies, which subsequently transformed into a gesture of peace. This journey, she noted, underscores the piece’s capacity to shift and evolve with each presentation.

A legacy of choice

Connor Monahan, Ono’s studio director, emphasizes that each iteration of ‘Cut Piece’ is fundamentally new, shaped by the specific context of its presentation. The instructions remain constant – the audience’s actions dictate the outcome – but the individuals and circumstances involved are never identical. This inherent fluidity, Monahan argues, is what truly defines the work’s power.

MPA’s preparations have involved deep research into Ono’s evolving relationship with ‘Cut Piece,’ observing the subtle shifts in her posture and expression captured in archival footage. She's drawn parallels to her own early work, characterized by prolonged stillness and a confrontation with vulnerability – pieces like ‘Directing Light onto Fist of Father’ and ‘A performance for Emma Goldman and Ulrike Meinhof.’ These earlier explorations, she explains, stemmed from a need to process personal trauma and to advocate for marginalized voices.

For this latest rendition, MPA is incorporating garments by Victor Barragán and Aliona Kononova, both artists known for their explorations of war and state violence. She’s meditating and taking long walks, tapping into her background in figure modeling – a deliberate attempt to cultivate the stillness and composure required for the piece. Despite the inherent risks – a lingering concern about a stray snip to her ponytail – MPA remains driven by a desire to fully comprehend the piece’s emotional landscape.

“There really is such a potency in remaining wordless and having such a commanding presence,” MPA concluded. “It reaffirms for me within live Art what our power is.” The performances on July 17th and 18th promise to be a reckoning with a piece that continues to challenge and provoke, reminding us of the enduring power of Art to confront uncomfortable truths and to invite unexpected participation.”n