new-york

Robert Watts

Leslie Tonkonow Artworks + Projects

It’s been a good year for Fluxus. With elegant shows recontextualizing the art of Yoko Ono and Ray Johnson in all its freewheeling experimentation and intelligence, George Maciunas’s anarcho-good-time movement has been inscribing its details ever more precisely in the history books, where it serves as accomplice and antidote to the more lurid self-consciousness of Pop. Given the total institutionalization of the latter. It’s useful to keep in mind that during the late-’60s in New York, Fluxus and Pop were growing up together as twins born of the same ironic, iconoclastic impulse. It was only later that market exigencies separated the siblings and Fluxus (the quiet, clever one) was eclipsed by Pop (the boisterous, entertaining one). Now that sufficient time has passed, it is possible to look back and see the family resemblance.

The moment is perfect for reconsidering Robert Watts, who never

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