At the Addison, Yoko Ono invites you to look and please touch
By Murray Whyte Globe Staff,Updated February 4, 2021, 11:57 a.m.
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Gallery-goer Sarah Arcotta worked with the broken bits of Mend Piece. Jonathan Wiggs/Globe Staff
ANDOVER â It takes no great insight to grasp the intentions of Yoko Onoâs âMend Piece,â by now a chestnut of conceptual participatory performance (which sounds complicated, but itâs not). That it was first made in the 1960s, the last time the country fell apart so completely, has special resonance here and now, given the mess weâre in. âMend Pieceâ is, literally and metaphorically, exactly what it says it is: Things break; what can we do but put them back together? Inevitably, they wonât be as they were. Thatâs not all bad,