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| rdfs:comment | - As a 'basically untrained' artist in Tokyo, Saito's opportunities to exhibit work were severely limited . After taking English lessons, Saito arrived in New York in 1963 on a work visa as an assistant textile wholesaler, 'vaguely [dreaming] of engaging herself in the unknown New York avant-garde' . Unaware of Fluxus, she concentrated on her own work for a few months before meeting George Maciunas through a mutual friend, Ay-O. An admirer of Japanese art, Maciunas asked Saito if she could make boxes similar to the Paulownia boxes he owned, which had been made to protect expensive ceramics. Her skill exceeded expectations, leading him to write that 'her craftmanship springs from Japanese tradition for perfection and is unmatched among contemporary artists working in wood and paper.'
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| abstract | - As a 'basically untrained' artist in Tokyo, Saito's opportunities to exhibit work were severely limited . After taking English lessons, Saito arrived in New York in 1963 on a work visa as an assistant textile wholesaler, 'vaguely [dreaming] of engaging herself in the unknown New York avant-garde' . Unaware of Fluxus, she concentrated on her own work for a few months before meeting George Maciunas through a mutual friend, Ay-O. An admirer of Japanese art, Maciunas asked Saito if she could make boxes similar to the Paulownia boxes he owned, which had been made to protect expensive ceramics. Her skill exceeded expectations, leading him to write that 'her craftmanship springs from Japanese tradition for perfection and is unmatched among contemporary artists working in wood and paper.'
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