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On that committee, I beneﬁted from the patient eyes of Reinhold Heller of the University of Chicago and Charles Harrison of the Open University, whose complex perspectives on modernism let me assume nothing. I am the author because, by good fortune, I found a way to articulate a view of Fluxus that could ﬁnally be heard, ﬁrst by my dissertation committee at the University of Chicago, then by my mother and father, and ﬁnally by the greater community of Fluxus artists and scholars, without whom this project would have been, literally, unimaginable. The many voices of consent and dissent, personal, professional, and all manner of in-between, make it impossible to feel that it is, strictly speaking, mine. Introduction 1 1 Information and Experienceģ Experience in Context: Fluxus, Happenings, Conceptual and Pop Art 101 4 Great Expectations: A Reception Typology 147 5 Teaching and Learning as Art Forms: Toward a Fluxus-Inspired Pedagogy 187 NotesĪCKNOWLEDGMENTS This project has passed through me, but is not of me.

Manufactured in the United States of America 11ġ0 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper).I

Includes bibliographical references and index. London, England © 2002 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Higgins, Hannah, 1964–. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. The publisher gratefully acknowledges the generous contribution to this book provided by the Art Endowment of the University of California Press Associates, which is supported by a major gift from the Ahmanson Foundation.

Published with the assistance of the Getty Grant Program.

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