ABSTRACT
Relegated to footnotes in the history of Fluxus and the post-Cage scene in New York, Henry Flynt developed from 1960 to 1966 a critical approach to the avant-garde from a revolutionary stance, looking for answers to questions which his peers apparently ignored. We work here with three texts which radicalized a critical discourse against the avant-garde, going from a formalistic critique to a total critique of Marxist and anti-colonial character. These three moments are presented in "rounds", one for each confrontation with the avant-garde , passing through its formal, social and political structures, in a route that goes from the abstract to the concrete and is manifested in a revolutionary praxis.
Henry Flynt; Art and Politics; Experimental Music; Neo-Avant-Garde; Marxism