In a second example, "Gretel", a young girl can be seen gnawing on the finger of an unseen witch. This leaves the viewer wondering which is the captor. This series is the complete opposite of "Elevator Girls", where the models are shown as pretty, have little emotion and are similar. In the video "Suna Onna" (i.e. "sand woman", 2005) Yanagi shows the relationship between a child and her grandmother. The grandmother tells the granddaughter of her meeting with a sand woman as a child. It is meant to be a tale of transformation and the supernatural world. In other videos she shows uniformed women who change their surroundings with a wave of their hand. Although known more for photography and video, Yanagi also did performance pieces before she switched to photography. The main subject was what she was going through as a young woman in Japan. "Elevator Girls" was originally a performance piece. Yanagi also did another performance piece in which she hired someone who was to show contemporary art in a museum to visitors as a real guide would. Yanagi gave them a script on what to say and at what points during the tour that they were supposed to perform certain gestures. The guide was totally believable in this performance, wearing the same uniform as regular tour guides and speaking in the same manner. People seemed more interested in the tour guide than the actual art work. Some people even left the museum after the guide finished speaking. In Yanagi's view the performance is about the feeling of pleasure and the experience. It was more about the performance by the guide than actual artwork in the museum. Yanagi's current subjects are the lives of women and how they are perceived in the modern world. Here she looks on how women are treated and viewed by society and also how women culturally view themselves. In 2013, "Zero Hour: Tokyo Rose's Last Tape" was performed at the Japan Society in New York. "Zero Hour" deals with the story of Iva Toguri D'Aquino, a Japanese-American DJ for a propagandist radio program who was arrested upon return to the US in 1950 and wrongly found guilty of treason. Employing interpretive dance, projected images and traditional dialogue, Yanagi says Zero Hour "explores the role of media in the context of theatre". In 1993 Yanagi held her first solo exhibition, and since 1996 her work has been exhibited in both solo and group shows throughout Europe and the United States. Her solo shows include:  Her group exhibitions include: