CREATIVELY BESET FROM THEIR INCEPTION by the innocence, license, and incipient counterculturalism of the second wave of America’s post–World War II avant-garde, Allan Kaprow’s actions and reflections on the compounding of art and life shuttled between the comestible and the laborious, the sonic and the tactile, home and work. While clearly a prophet of aesthetic relationality—his practice anticipating almost everything suggested in relational art’s much-touted, post-neo-avant-garde reformulation (including, perhaps, its political diffidence)—Kaprow’s braiding of chance and designation