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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. ►moreINVOLVEMENT 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. ►more
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. Let me thank you for your introduction to our show in Europe, I found it heartfelt. ►more
Lurie & Goodman Show at Gallery Schwarz, Introduction, Milan, 1962 | 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. Formalist distinctions do not apply here. Aesthetics are generally viewed as a fixed, solid entity: we look upon it as the reflection of changing reality. ►more
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. ► more
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. ►more
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. ►more
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, and, most importantly, because it deals to a great extent with living artists, the museum enjoys a unique position in the making or breaking of emerging artists. ►more
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. ►more
NO!artists, 1972 | The NO!artists at the March Gallery were the first and only ones to work exclusively in the direction of social engagement, contestation art, in a new artistic sense. Mostly the exhibitions were thematic; works were made by the artists especially for the theme exhibitions. ►more
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. ►more
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. ►more
Stanley Fisher (1926—1980), 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. ►more
Introduction to "FEEL-PAINTING" Exhibition, Cologne 1988 | These works continue my "Feel-paintings" from the early 1950's and on. "Feel-paintings" are made by touching, caressing, almost "carving," as if to appear two-dimension-like, beating, scratching-a physical engraving of the emotionally loaded moment, with both hands, all fingers, elbows, fists, pressing against the surface-and leaving traces on paper or canvas (or other surfaces.) ►more
Notes on Art, Life and Politics. The art of the postwar period, 1995 | When I arrived in New York in 1945, quite broken, art was certainly not a business here. There was a group of "academics," rather serious professors and not so much working artists. Alongside them existed "modern" artists who were established but unlikely to make much money from their work, the former beneficiaries of the Roosevelt WPA projects. Anyone who wanted to become an artist was declared crazy by the immigrant society . . . ►more
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! ►more
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 ►more
To Wolf Vostell, died on April 4th, 1998 | This / of the German art-trick machers' / artists-stupids' / could be, un-beloved also mocked at / purely German of the heavy pieces / Heavyweightler— / Arian, the Jew the Chossid / ...sorrow... sorrow ►more
