A common subject of Tsuyoshi Ozawa's practice is the international development of dialogue and exchange. The work Soy sauce print: Altamira Cave + Marcel Duchamp is from Ozawa's 'Soy sauce print' series, which humorously and provocatively challenges accepted notions and institutions. For his earlier, related 'Museum of Soy Sauce Art' (1998-2000) series Ozawa used soy sauce to create parodies of historical and contemporary Japanese masterpieces. These were displayed in a re-created museum, complete with wall texts, wax 'historical' figures, and implements supposedly used in the creation of these 'masterpieces'. Replicas of artworks from the Kamakura (1185-1333) and Momoyama (1573-1615) periods existed alongside meticulous reconstructions in soy sauce of avant-garde artists of the post-war period, such as Yayoi Kusama, Lee Ufan (both represented in Queensland Art Gallery's Collection) and On Kawara. By creating a fictitious history of soy sauce art, Ozawa comically challenges the authority of the museum and art history, while satirizing Western stereotypes of Japanese culture.

Soy sauce print: Altamira Cave + Marcel Duchamp is Ozawa's first work from his 'Soy sauce print' series. In this work, Ozawa has humorously mixed two very different eras, combining Marcel Duchamp's image of a chocolate grinder from his iconic The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23) and a painting from the prehistoric site of the Altamira Cave in Spain. This print creates an ongoing dialogue about the nature of art and the way it is displayed and presented in museums and galleries. The paintings from the Altamira caves, while very different, similarly suggest an earlier alternative 'venue' for art, different from the modern museum in which art is shown in an artificial and isolated space.

Ozawa was deeply influenced by the Neo Dadaism Organizers, an art group active in Tokyo in the 1960s, and by the international avant-garde movement Fluxus, both of which attempt to bring art and life together.