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NO!art occupies the strategic juncture where artistic production and socio-cultural action meet. Its targets are the hypocritical intelligentsia, capitalist culture manipulation, consumerism, American and other Moloch’s. Their aim total unabashed self-expression in art leading to social involvement.
NO!arthas continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". An example would be the Italian painter De Chirico, who dated his late paintings with early years, on the basis that the idea had come to him at that early date, but he got around to executing it only at the later date - quite valid, in my opinion - yet the art market hated it, for practical reasons of creating confusion about monetary value. That is, in my opinion, the main and real reason for art historians and critics insisting on this untrue measure. — 
Boris Lurie, 2003.
NO!art
has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". An example would be the Italian painter De Chirico, who dated his late paintings with early years, on the basis that the idea had come to him at that early date, but he got around to executing it only at the later date - quite valid, in my opinion - yet the art market hated it, for practical reasons of creating confusion about monetary value. That is, in my opinion, the main and real reason for art historians and critics insisting on this untrue measure. — Boris Lurie, 2003.NO!art
is a nonprofit involvementNO!art headquarters since 1978:
Dietmar Kirves, Berlin, and Boris Lurie, New YorkIn the world wide web since November 11,
1999NO!art-front-West:
Clayton Patterson, New York, since 1995.Webmastering:
Dietmar Kirves, BerlinTechnical advice:
Felix Kirves, BerlinArchives:
Dietmar Kirves, Berlin.
Involved artists in the NO!art: Rocco Armento + Isser Aronovici + Enrico Baj + Paolo Baratella + Herbert Brown + Ronaldo Brunet + Bruno S. + Günter Brus + Krum Chorbadzhiev + Al D'Arcangelo + Aleksey Dayen + Frank-Kirk Ehm-Marks + Detlev Hjuler + Enzo Mastrangelo + Erro + Klaus Fabricius + Stanley Fisher + Charles Gatewood + Paul Georges + Jochen Gerz + Dorothy Gillespie + Detlev Hjuler + Esther Morgenstern Gilman + Amikam Goldman + Leon Golub + Sam Goodman + Blalla W. Hallmann + Allan Kaprow + Dietmar Kirves + Yayoi Kusama + Konstantin K. Kuzminsky + Jean-Jacques Lebel + Mama Baer + Martin Levitt + Suzanne Long + LST + Stu Mead + Peter Meseck + Clayton Patterson + Lil Picard + Leonid Pinchevsky + Bernard Rancillac + Francis Salles + Naomi T. Salmon + Reinhard Scheibner + Dominik Stahlberg + Michelle Stuart + Aldo Tambellini + Seth Tobocman + Jean Toche + Toyo Tsuchiya + Wolf Vostell + Friedrich Wall + Mathilda Wolf + Natalia E. Woytasik + Miron Zownir.
Bibliographical research:Dietmar Kirves, Berlin; Estera Milman, New London, CT (USA); Inga Schwede, Leipzig (Germany).
Translations:Nicole Becker, Dietmar Kirves, Felix Kirves, Mathilda Wolf, Berlin.
Thanks to the photographersPasha Antonov, Lordville (USA); Martin Blake, Berlin; Rudolph Burkhardt, New York; Amikam Goldman, Tel Aviv; Bob Harris, Venice; Dietmar Kirves, Berlin; Volkhard Knigge, Weimar; Christian Larrieu, Paris; Susanne Lattek, Berlin; Vincenzo Mastrangelo, Sapri (Italy); Clayton Patterson, New York; Naomi T. Salmon, Weimar; Jon Schneeberg, New York; Natalia E. Woytasik, Sapri (Italy), and all unknown photographers.
NO!art logo design: Ronaldo Brunet 1978
Copyrightby the Artists, Authors, Editors and Photographers.
Bibliographical research:
Dietmar Kirves, Berlin; Estera Milman, New London, CT (USA); Inga Schwede, Leipzig (Germany).Translations:
Nicole Becker, Dietmar Kirves, Felix Kirves, Mathilda Wolf, Berlin.Thanks to the photographers
Pasha Antonov, Lordville (USA); Martin Blake, Berlin; Rudolph Burkhardt, New York; Amikam Goldman, Tel Aviv; Bob Harris, Venice; Dietmar Kirves, Berlin; Volkhard Knigge, Weimar; Christian Larrieu, Paris; Susanne Lattek, Berlin; Vincenzo Mastrangelo, Sapri (Italy); Clayton Patterson, New York; Naomi T. Salmon, Weimar; Jon Schneeberg, New York; Natalia E. Woytasik, Sapri (Italy), and all unknown photographers.NO!art logo design:
Ronaldo Brunet 1978Copyright
by the Artists, Authors, Editors and Photographers.