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1. The term does,however, seems to have been used as early as 1961 in New York by theartist Henry Flynt in relation to some of the pieces and performancesoriginating in the Fluxus Group (Wood, 2002: 8).

2. Richard Long,1967,A Line Made by Walking. For documentation, see theexternal image.

3. Bruce Nauman,1968,Playing a Note on the Violin While I Walk around theStudio. For documentation, see theexternal image.

4. Piero Manzoni,1961. For documentation, see theexternal image.

5. Two important theories based on thisidea: (i) George Dickie’s ‘Institutional Theory of Art’;(ii) Jerrold Levinson’s ‘Historical Definition ofArt’. For (i),X is an artwork if and only ifX is an artefact upon which someone acting on behalf of acertain institution (the artworld) confers the status of being acandidate for appreciation. For (ii),X is an artwork if itis made with the intention of promoting (or preventing) pleasure, and,most importantly, of being perceived and appreciated as a work of artwithin the historical framework of art making and artappreciation. This theory thus allows for the possibility that anartefact could be made outside a social context such as the artworld,but emphasizes the intention of the maker instead. For more on thesetheories, see Dickie (1973) and Levinson (1979).

6. This piececonsists of a cylinder measuring one kilometre, inserted into theground, with a brass plate placed at the top to indicate where itis. For documentation, see theexternal image

7. For Bell (1914) and Fry (1920)possessing ‘significant form’ is such a necessary andsufficient condition. Also, Beardsley (1958) defines art as somethingproduced with the intention of giving it the capacity to satisfyaesthetic interest.

8. For more onthe value of art in general, see (Budd 1995).

9. For documentation, see theexternal image.