new-york

View of “Ben Kinmont,” 2011.

Ben Kinmont

Fales Library & Special Collecitons

View of “Ben Kinmont,” 2011.

In the late 1980s, Ben Kinmont began to make “project art.” Through a strain of Conceptualism more closely aligned with the feminist “maintenance artist” Mierle Laderman Ukeles, who cleaned art galleries in the 1970s as performance, than with Joseph Beuys (though Kinmont did call his early works “social sculpture”), he executed such actions as inviting strangers to his New York home for waffle breakfasts (Waffles for an opening, 1991–) and sending five bouquets of flowers to the Houston nonprofit art center DiverseWorks, one for each week of a group show (Congratulations, 1995–). Kinmont devised these projects to create “third sculpture,” a term he coined in the early ’90s to identify “spaces between,” that is, between the “art world and non-art world,” “the dominant culture and the subculture,” and “me and you,” as he told curator Carlos Basualdo in a 2000 interview. To proliferate

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