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Book Reviews BOOK REVIEWS REFERENCE Higgins develops her theme in a pattern that moves in an elegant sweep to develop surprising conclusions Fluxus Experience by Hannah Higgins (Berkeley & from well-known (and less known) facts. She reveals Lus Angeles, University of CaliforniaPress, 2002.259 the hidden depths of the subject by using apparently pages, 57 illustrations, $29.95 paper) simple Fluxus ideas to deveIop an unexpected range of topics that others have overlooked. 2002 was an interesting year for Fluxus. Most The preface and introduction make an important obviously, it was the fortieth anniversary of the point: Fluxus is experience before it is art, and it is the Wiesbaden festival that introduced the name Fluxus to philosophical and experiential nature of Fluxus that the world. Most important, it marks the appearance of has enabled it to remain a lively presence while the fimmonograph-length philosophical treatment of standard art movements come and go. Notably, the Fluxus idea by a single author. Higgins points to two issues. The first is philosophical, For many years, writing on Fluxus was the province a link to John Dewey, pragmatist philosopher and of enthusiastssharing their ideas, curators undertaking educator. The second is the fact that Fluxus itself has exhibitions, or journalists and art critics. While these always been an educational and philosophical venture. writings were often interesting, they were often filled Higgins's first chapter offers a re-reading of Flws with historical errors, and they sometimes revealed through the topic of vision and a close reading of more about the authors than they revealed about several works. In later chapters, close reading becomes Flwus. FIuxus also benefited from two special groups a central strategy of this book, and Higgins examines of documents. One is the astonishing series of archival specific works and types of work to develop central documents compiled by Jon Hendricks for the GiIbert topics of investigation. She also uses philosophy and and Lila Silvern Fluxus Foundation. The other is politics-in a wide sense- to good effect. Starting with the nearly fifty years of pamphlets, catalogues, books, several films and optical experiments, and ending with documents, event scores, and text-based artifacts a comment on globalization and the strategy of the compiled by the artists themselves. There are notable event as the locus of a democratic practice. high points-including the occasional monographic The second chapter, "Charting Fluxus: Picturing exhibition catalogues and special joumaI issues that History," explores the way that Fluxus artists provided a responsible and rich variety of critical and diagrammed themselves, and constructed their vision historical views by such authors as Stephen Foster, of the world. This leads neatly into the third chapter, Peter Frank, Estera Milman, or Marilyn Ravicz. Until a history of how Fluxus was received, and how it the 1990s, however, one kind of writing was rare: influenced and was ignored by other art streams of the serious, sympathetic, and well-informed discussions of 1960s and 19670e, including Pop Art, Conceptual Art, Fluxus from a philosophical and historical view. and Happenings. The theme of how Flm was In the 1990s, a new generation of Fluxus scholars received, understood, or-more often-misunderstood is began to fill this gap. Hannah Higgins is a charter continued in chapter four, "Great Expectations: A member of this group. Over the past decade, this group Reception Typology. " has included such scholars as Simon Anderson, Philip If these chapters had been the whole of this book, it Auslander, Ina Blom, David Doris, Kathy O'Dell, would have been sufficient for a major contribution, Craig Saper, Owen Smith, Kristine Stiles, and others - but the real core of this book appears at the end: notably Higgins herself - as well as newer voices, "Teaching and Learning as Art Forms: Toward a including Bertrand Clavez, Kevin Concannon, Anna Fluxus-Inspired Pedagogy." This chapter focuses on Dezeuze, Stephen Perkins, and Julia Robinson. Flms as a pedagogical encounter with the world. Until now, these authors have written doctoral After discussing the origins of Fluxus in John Cage's dissertations, book chapters and - in Smith's case - an composition classes at the New School for Social authoritative history of Fluxus. 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