From the very beginning of his career, Jiro Yoshihara led the group with a strategy that focused on the global art scene. It was also one of the reasons why he decided to publish the journal before the exhibitions. This would later produce great results, and at the time, the group was better known overseas than in Japan. When Hisao Domoto, the nephew of the Japanese painter Inshou Domoto, with whom Yoshihara had been close, went to Paris, he entrusted him with a copy of the paper and asked him to distribute it. Domoto gave the booklet to Michel Tapié, a famous art critic in Paris who was advocating “Informel”. Tapie saw the booklet and sympathized with Gutai's activities, which led to a subsequent visit to Japan. It was in 1957 that Tapié met Yoshihara and saw Gutai's work firsthand, and further appreciated its appeal. After that, Tapié has been involved with Gutai for such a long time that Gutai's works
Tapie's involvement with Gutai led to the introduction of the group to the world. As a result, they were encouraged to produce two-dimensional works, which were easier to sell and transport, and their works became mainly two-dimensional paintings.