Les Lions show introduction, 1960. Everybody hangs girlie pictures on their walls now; not only people working in shops and garages, but even families occupying expertly designed up to date modern apartments. The walls of a child's room is hung with pinups to educate him to meet the menace when he grows up. Why ...
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Involvement show statement, 1961. Welcome to this exhibition. If your eyes and mind serve you well, you will see something new. When viewing this show, please avoid applying aesthetic labels; do not call us realists, neo-dadaists, surrealists. These labels are neither true nor important in today's context. ...
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Letter to Mr. Thomas B. Hess, 1961. Your letter of February 23 just reached me recently after following me all through Europe. I appreciate the friendly tone of your letter, but some of the questions you pose are very much serious and they do deserve a serious answer. ...
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Statement for the NO!Posters ANTI-POP Posters show, 1964. 1. The meaning of the NO-Posters was seen and recognized, and the overprinting executed in March, 1963. - 2. The NO-posters are entirely printed on the offset press. And there is no handwork whatsoever in their execution. Whatever "composition" has resulted is of purely accidental character. ...
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Introduction to Sam Goodman "NO-sculptures" Show, 1964. Late one night recently, early in the morning in fact, I stopped over at Sam Goodman's studio. I noticed he had been working on a sculpture which had been discarded in a corner of his studio. It came upon me at once that this was the sculpture ...
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MOMA as manipulator, 1970. The Museum of Modern Art is not just another "museum," not just another showplace for supposedly "great" artworks. Because it is a museum of MODERN ART, because it is concerned with current artistic ideas and emerging art movements, and, ...
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Shit NO!, 1970. The uncomfortable truth of the art world-market in deep crisis is beginning to show its effect: a long drawn-out process having had its beginning in Dada and periodically interrupted by countertendencies - not all of them reactionary in spirit - is nearing its completion. ...
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Statement for the Exhibition "ART and POLITICS", 1970. NO!art is anti worldmarket - investment art: (artworldmarket-investment art equals cultural manipulation). NO!art is against "clinical", "scientific" estheticisms: (such estheticisms are not art). NO!art is against the pyramiding of artworldmarket-investment-fashion-decorations ...
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Curse Works, 1972-73. Being quite aware. Nothing is less acceptable, less cool than artist himself writing introduction explaining. Intruding holy preserve of critics! Artist expected preferred incommunicative. A creature incapable of articulation. Investors dealers collectors prefer it. Artist grunts only in reply to ...
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Contribution to "RECYCLING" exhibition at Israel Museum, Jerusalem, 1975. Enclosed: Yellow Star of David, waste material from exhibition "Jew Show". My suggestion for recycling: That Prime Minister Yitzchak Rabin be asked ...
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Stanley Fisher (19261980), mysterious to the end, 1980. It was 1960 or 1961 when Comrade Stanley blew in on a sand cloud out of the wind-swept Brooklyn Sinai Desert onto the 10th Street Coop-gallery scene. The Jew-Beduin had been wandering the wilderness almost the full prescribed forty years, his icy blue eyes pointed towards the Promised Land of Manhattan; ...
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About Dietmar Kirves, 1998. Teutonic Knight on stalwart horse: hail, here comes Dietmar! Attack injustices, head on collect, arrange, catalogize, injustices collected push on, to the self-appointed German Ostland, glorious task! Weed out the Infidel! ...
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About Clayton Patterson, 1998. Everybody knows that Mr. Patterson is the mayor of the Lower East Side, in fact not just a lazyballot-wise elected mayor, but a History-appointed Fuhrer. When he walks the streets ...
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