- D’HOOGHE Alain, Art/Garbage, 1970-73. « Shooting: first part, in Liège in April 1970, at the Galerie du Croissant d’or – second part, near Wavre in September during the period of a lively campaign to protest against the city’s expansion. In fact, a...

- DESIATO Giuseppe, Rite n°1, 1964-65. « I was born in Naples in 1935 of an unknown father and Clementina Desiato. I became a painter because I did not want to become a tailor. My mother married a man who had four children when I was five years old. My...

- De FREITAS Jole, Introvert/Penetrate. Extrovert/Penetrate. Fear/Do Not Penetrate, 1973. « Using photography as a means of expression interests me inasmuch as it allows me to record the climate of my mental state. My body was photographed by myself;...

- CIAM Giorgio, Attempt to Enrich Ciam’s Personnality, 1970 (photo) « Sixteen canvases: one has photographic reproduction of my face, the other fifteen, on which my image has been printed, reproduce a series of expressive faces for me: Fontana, Duchamp,...

- CHIARI Giuseppe, Gestures on the Piano, 1972. (see 1968: Concert for Woman) « Concert for Woman, 1968 Gestures on the Piano, 1972 I have written pieces for the human body such as Concert for Woman (1968) and Doing Something with One’s Body and the Wall...

« Good morning. Today’s talk concerns a man who name has been a household word for almost three quarters of a century. However, it will not dwell on the details of an incredible life, most of which are readily available to any diligent student, but instead...

- CARPI Cioni, Egg One Egg Zero, 1972. « I do not believe it is possible to talk about just one or two of my films (even if I omit a whole period, from 1960 to 1965, of experimental film) without also speaking of others which are their premise, or element...

- BUGLI Enrico, The Search for the Ideal, 1972-73. « Object to be acted upon: 54 wooden boards shaped by hand, tied with a 3 mm nylon cord, of unfinish fir, 20 x 220 x 1.8 cm; the length of the mounted object is 12 m, composed of two sections of 6 m each....

- BRUS Günter, Ana, 1964. (actionnisme) « A movable feast… A happy, pleasant, languid life… The water is flowing. A duck is swimming on the water. The so-called undertow swirls around. Aquatic birds glide by quickly. Far off, a pebble drops into the water:...

- BROWN Trisha. Group Primary Accumulation, 1973. « …In the past five years I have been associated with the construction of mammoth props and technical systems that enable human beings to walk on walls, walk down a seven-story building or appear to be...

- BEUYS Joseph, Arena, 1970. « Who knows how far I would have gone if I had been intelligent! Arena can be considered Beuys’ autobiographic work. It encompasses all the images of the most significant drawings and objects made by the artist during his...

- BERARDINONE Valentina, Urbana: The Hand as Phenomeon-Image, 1973. (film). « In the general context of my work th use of film, and in this, the use of the body (i.e. the hands), have a particular place. The basic theme of my artistic research is the...

- BEN (VAUTIER), Declaration, 1973, « I, Ben, consider that Body Art is interesting only insofar as it brings about a fundamental innovation and does not represent a series of tricks reflecting Marcel Duchamp’s idea that ‘evething is art.’ This fundamental...

- BARUCHELLO Gianfranco, Perforce, 1968. The flesh of children, the bodies of children, children in the ritual mechanics of sacrifice. The ring-a-ring o’roses of the tiny bird disappears in a blaze of napalm. The negro floats motionless; nothing comes...

- BALDESSARI John, Easel Painting, 1972-73. (action-film). Each finger on one of my hands is alternately stuck in yellow, then green, dry pigment. First it was fun, second it is a painting and a comment on painting.

It is a record of (physical) work done in order to arrive at the artwork which is the nine photographs – it is not a record of the artwork but a record of the effort employed in making the artwork.

- ACCONCI Vito, Air Time, 1973. « Two intersecting areas: the ‘field’ of the gallery and the ‘point’ of an enclosure, off to the side. The gallery space is a floating space: it’s nearly empty, no images to focus on: the corners are resting places, listening...

1966 - BEUYS Joseph, Eurasia, 1966. Copenhague. (fluxus). - BOYLE Mark, Bodily Fluids, 1966. - BOYLE Mark, Institute of Contemporary Archeology’s Annual dig in Sheperd’s Bush, 1966. Londres. - CHIARI Giuseppe, Doing Something with One’s Body and the Wall,...