Fluxus embraces a rich network of directions and implications. This essay suggests that it is impossible to understand some aspects of Fluxus by using traditional history as the only approach. Understanding the complex qualities of Fluxus as more than a relation of documents and dates requires a different approach. The author states that direct participation in Fluxus activities must supplement other forms of inquiry for deep understanding. The typical Fluxus work is a conceptualization of art and artistic processes. They are rooted in direct participatory engagement. We find this argument in the writings of the Fluxus artists when they call for what Dick Higgins labels exemplativist practice. Fluxus implies — even demands — creative and playful interaction in which the viewer moves from a passive to an active role. In this shift, the viewer becomes the co-producer of works, creating new objects, manifestations and experiences.
