Yves Klein, Blue Monochrome, 1961.Dry pigment in synthetic polymer medium on cotton over plywood,

6’ 4-7⁄8” × 4’ 7-1⁄8” (2 × 1.4 m).The Museum of Modern Art, New York. [Fig. 18-01]

Manifesto of Nouveau Réalisme signed October 27, 1960.The New Realists have seized awareness of their collective singularity.

New Realism = new ways of perceiving the real.

Yves Klein, Leap into the Void, Fontenay-aux-Roses, October 23, 1960.Photograph by Harry Shunk. [Fig. 18-02]

Yves Klein, Shroud Anthropometry 20, “Vampire,” c. 1960.Pigment on canvas, 43 × 30” (109.2 × 76.2 cm).

Private collection. [Fig. 18-03]

Yves Klein, Fire Painting, 1961–62.Flame burned into asbestos with pigment, 43 × 30” (109.2 × 76.2 cm).

Private collection. [Fig. 18-04]

Jean Tinguely, Homage to New York, 1960.Mixed media. Self-destructing installation in the garden of The Museum of Modern Art,

New York. [Fig. 18-05]

Niki de Saint-Phalle, Shooting Picture, 1961.Plaster, paint, string, polythene, and wire on wood,

56-1⁄4 × 30-3⁄4 × 3-1⁄8” (143 × 78 × 8 cm). Tate, London. [Fig. 18-06]

Niki de Saint-Phalle, Black Venus, 1965–67.Painted polyester, 9’ 2-1⁄4” × 2’ 11” × 2’ (2.8 × 0.89 × 0.61 m).

Whitney Museum of American Art, New York. [Fig. 18-07]

Niki de Saint-Phalle, SHE—A Cathedral, 1966.Mixed-media sculptural environment, 20 × 82 × 30’ (6.1 × 25 × 9.1 m).

Moderna Museet, Stockholm (fragmentary remains). [Fig. 18-08]

Arman, Bluebeard’s Wife, 1969.Mixed media in polyester resin, 33 × 11-1⁄2 × 12-1⁄2” (83.5 × 29 × 32 cm).

Tate, London. [Fig. 18-09]

Arman, Long-Term Parking, 1982.Sixty automobiles imbedded in cement, 60 × 20 × 20’ (18.3 × 6.1 × 6.1 m).

Centre d’Art de Montcel, Jouy-en-Josas, France. [Fig. 18-10]

César, The Yellow Buick, 1961.Compressed automobile, 59-1⁄2 × 30-3⁄4 × 24-7⁄8” (151.1 × 78.1 × 63.2 cm).

The Museum of Modern Art, New York. [Fig. 18-11]

Martial Raysse, Tableau dans le style français, 1965.Assemblage on canvas, 7’ 1-7⁄8” × 4’ 6-3⁄8” (2.2 × 1.4 m).

Collection Runquist. [Fig. 18-12]

Christo, Package 1961, 1961.Fabric and rope, 36-5⁄8 × 26-3⁄4 × 12-1⁄4” (93 × 68 × 31 cm).

Smithsonian American Art Museum, Washington, DC. [Fig. 18-13]

Christo and Jeanne-Claude, Wrapped Kunsthalle, 1968.Bern, Switzerland. Photo in collection of Christo and Jeanne-Claude. [Fig. 18-14]

Mimmo Rotella, Untitled, 1963.Décollage, 47 × 39-3⁄8” (120 × 100 cm).

Location unknown. [Fig. 18-15]

Piero Manzoni, Achrome, 1959.Kaolin on pleated canvas, 55-1⁄8 × 47-1⁄4” (140 × 120 cm).

Musée National d’Art Moderne, Centre d’Art et de Culture Georges Pompidou, Paris.[Fig. 18-16]

George Maciunas, Fluxus Manifesto, 1963.Offset, 8-3⁄16 × 5-11⁄16” (20.8 × 14.5 cm).

The Museum of Modern Art, New York. [Fig. 18-17]

View of George Maciunas and Billie Hutching’s Fluxus Wedding.Photo by Peter Moore © Estate of Peter Moore/Licensed by VAGA, NYC [Fig. 18-18]

Yoko Ono performing Cut Piece at Carnegie Recital Hall, New York City, March 21, 1965. [Fig. 18-19]

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965.Performance at the Galerie Schmela, Düsseldorf. [Fig. 18-20]

Joseph Beuys, The Pack, 1969.Installation with Volkswagen bus and twenty sledges, each carrying felt, fat, and a

flashlight.Staatliche Kunstsammlungen Kassel, Neue Galerie, Kassel, Germany. [Fig. 18-21]