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Many experimental artists of the 1960s took part in Fluxus activities, including Joseph Beuys, George Brecht, Robert Filliou, Al Hansen, Dick Higgins, Bengt af Klintberg, Alison Knowles, Addi Køpcke, Yoko Ono, Nam June Paik, Ben Patterson, Daniel Spoerri, and Wolf Vostell.

Lithuanian-born George Maciunas coined the name Fluxus for art produced by a range of artists with a shared sensibility as an attempt to 'fuse...cultural, social, & political revolutionaries into [a] united front and action'.After fleeing Lithuania at the end of World War II, his family settled in New York, where he first met a group of avant-garde artists and musicians centered around John Cage and La Monte Young.They had different ideas about art and the role of art in society.Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, London.The performance was considered scandalous enough to be shown on German television four times, with the introduction "The lunatics have escaped!

" At the end we did Corner's Piano Activities not according to his instructions since we systematically destroyed a piano which I bought for and had to have it all cut up to throw it away, otherwise we would have had to pay movers, a very practical composition, but German sentiments about this "instrument of Chopin" were hurt and they made a row about it...

In the late 1950s and very early 1960s, Fluxus and contemporaneous groups or movements, including Happenings, Nouveau réalisme, mail art, and action art in Japan, Austria, and other international locations were often placed under the rubric of Neo-Dada".

The most commonly cited include the series of Chambers Street loft concerts, New York, curated by Yoko Ono and La Monte Young in 1961, featuring pieces by Yoko Ono, Jackson Mac Low, Joseph Byrd, and Henry Flynt; and a series of concerts held in Mary Bauermeister's studio, Cologne, 1960–61, featuring Nam June Paik and John Cage among many others.

At the same time, Maciunas used his connections at work to start printing cheap mass-produced books and multiples by some of the artists that were involved in the performances.

The first three to be printed were Composition 1961 by La Monte Young see, An Anthology of Chance Operations edited by Young and Mac Low and Water Yam, by George Brecht.

I note with much pleasure what you said about German neodadaists—but I think even the Americans should not use the term "neodadaism" because neo means nothing and -ism is old-fashioned. It seems to me much better, because it's new, and dada is historic.