The 1960s is a decade that is marked by new concepts of art making and artappreciation. Starting from Fluxus, the new art in the 1960s such as Happenings andperformance art pursued the process of art making as an integral part of artistic experience. The traditional concept of art works that only appeal to vision soon became a site ofcontentious experiments and innovations in which the experience of seeing isaccompanied by other sensual encounters of sound, smell, touch, and taste. These attemptscan be seen as a revolutionary move to restore the sense of corporeality to the act ofseeing that has been disembodied by the way in which western art has built the unifying,homeogenous field of vision. This paper delves into the works of Fluxus artists—Daniel Spoerri, Ben Vautier,Alison Knowles, Ay-O, and Takako Saito—who were central figures in taking art into thenew age of post-ocularcentrism. Exploring the sense of smell, touch, and taste, these artistsled the viewer to participate in their art making with the incorporated vision.

I. 서론
II. 플럭서스의 배경과 전개
III. 시각에 저항하는 플럭서스의 작품들: 촉각, 후각, 미각을 중심으로
IV. 결론: 탈시각중심주의 미술로서의 플럭서스
참고문헌
Abstract

• 이지은(명지대학교 교수) | Rhee, Jieun