This essay considers the theory and practice of avant-garde manga in Japan in the 1960s and early ’70s, focusing on the work of Sasaki Maki and Hayashi Seiichi in the alt-manga magazine Garo and on the writings of Ishiko Junzō, Nakahara Yūsuke, and Nakamura Hiroshi, with a view to related theories in contemporary Japanese art and experimental film, particularly “anti-art” and “image theory.”