- 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, 1966. (fluxus-Zaj)
- CHILDS Lucinda, Vehicle (9 Evenings), 1966 (danse-happening)
- CLARK Lygia, Ar e Pedra (Air and Stone), 1966.
- CLARK Lygia, Dialogo de Manos, 1966. Rio de Janeiro.
- HAY Alex, Grass Field, 1966.
- HIGH RED CENTER, Street Cleaning Event, 1966 (fluxus).
- JONES Joe, Jazz Set - Billiard Table Music, 1966 (fluxus)
- JONES Joe, The Music Trike, 1966 (fluxus).
- KAPROW Allan, Assemblage, Environments & Happenings. New York: Abrams, 1966. (livre)
Text and book design by Kaprow with text and photo documentation
of 42 happenings by: 9 Japanese of the Gutai Group, Jean-Jacques Lebel, Wolf Vostell, George Brecht, Kenneth Dewey, Milan Knizak, Allan Kaprow.
- KAPROW Allan, Some Recent Happenings (« Great Bear Pamphlet ») New York: Something Else Press, 1966.
« Four characteristic scenarios by the inventor of the happening concept. » (livre)
- KAPROW Allan, Towers. Fourth Annual Avant-Garde Festival. NYC.
- KAPROW Allan, VOSTELL Wolf & MINUJIN Marta, A Three-Country Happening, NYC-Berlin-Buenos Aires.
- KAPROW Allan & FRAZIER Charles, Gas, 1966. WCBS-TV, East Hampton. NYC.
- KUSAMA Yayoi, Happening 14e Rue, 1966.
- KUSAMA Yayoi, Kusama’s Peep Show or Endless Love Show, 1966. Installation. Castellane Gal. NYC.
- METZGER Gustav, DIAS (Destruction in Art Symposium), 1966, Londres (happening, action, fluxus).
- MUEHL Otto, MaterialAktion Nr. 30, 1966 (actionnisme).
- MUEHL Otto, Nahrungmitteltest, 1966 (actionnisme).
- NAUMAN Bruce, Selfportrait as a Fontain, 1966 (action-photo).
— Cindy Nemser, « Subject-Object: Body Art, » Arts Magazine, v.46, September 1971, pp.38-42. Excerpt:
« By 1966, Bruce Nauman, realizing the full implications of Duchamp’ star image, began to incorporate his body, both as phenomenon and as activator into the total conception of his artwork. He had himself photographed with water squirting out of his mouth in the Portrait of the Artist as Fountain. Then, in 1968, Richard Serra went a step further and made a film entitled Hand Catching Lead, in which the body in the act of creating the artwork, simultaneously became the artwork. Finally the actor and the acted upon came together, the processor become the processed, the verb and the subject were one. Both Nauman and Serra had grasped the implications of James Gibson’s assertion that « the equipment of feeling is automatically the same equipment as for doing. »
This premise is the essential element that unites all the body works that have been executed in the past three years. »
- NAUMAN Bruce, Studies for Hologram, 1966-67.
- NUTTALL Jeff, The Marriage, 1966.
- ORTIZ Ralph Montanez, Destruction of an Armchair by the Artist and the Sea, 1966.
- RAINER Yvonne, Trio A, 1966 (danse).
- SAMARAS Lucas, Room 2, 1966.
- SCHNEEMANN Carolee, Water Light-Water Needle, 1966 (happening).
With eight performers climbing on suspende dropes, it was « conceived as an aerial work for ropes rigged across the canal at San Marco… finally realized at Saint Mark’s Church in the Bowery (Venetian name sake), then later rigged in a grove of trees to be filmed. The transparencies of Venice still motivated the actual aerial arrangement of ropes which enclosed or surrounded the audience seated below. Performance, St. Mark’s Church, NY and The Havemeyer, Estate, Mawah, NJ.