PRINT February 1989


IF PART OF OUR somewhat dated model of heroic greatness in the arts seems to be the neglect and misunderstanding of our artists in their day, then let’s get a head start on the (perhaps) inevitable—a long-overdue reassessment and appreciation of the work of Yoko Ono. Much of the neglect of Ono is a subdivision of the lack of interest that has obscured many of the important artists who, like her, were part of the Fluxus movement, which, in the ’60s, brought together a number of diverse talents in an inspired proliferation of events, publications, and other activities under the umbrella of an elusive sensibility. Considering the remarkable multimedia experimentation and antiestablishment spirit of Fluxus, as well as its rebellious resistance to institutionalization, the art market’s long exclusion of the movement (and the recent signs of renewed interest in it, or coopting embrace of it)

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