The art market (including public museums) are more at ease with marketable commodities than with organising or supporting ephermal events.   ... as with the Australian Aboriginals, a canvas was placed between the spray gun in his hands and the city wall.   The same thing happened with this man, Keith Harring, who was a graffiti artist drawing on walls and streets, ...  You can now, many years later after his death, go to this museum Hamburger Banhhof in Berlin, and it's nicely conserved there, and please do not touch it.   But there is always this contradiction in the art world, preserving which was not meant to be preserved, like Beuys with his chalk writing on blackboard.   ... and making impressions of his wife's body in the snow.   You see the same revolt against the fixed and the search for the moment itself in the work done in the sixties and early seventies in the work of the Czech artist Milan Knizak, getting rid of, and going beyond the painting frame ...  ... like extended cinema events in public squares of Amsterdam and Rotterdam by Sigma Projects with among others Jeffrey Shaw and Theo Botschuijver in 1967.   Other forms of art evading the fixation of the museum, getting out into the street. Multimedia avant-la-lettre, ...   This relates to the sand drawings we saw before, being temporal, having a constructive principle, a pattern, which can be adapted and extended.  A group of students, from my 'School of Continuous Drawing', of that time, making a chalk drawing from London to Amsterdam in 1967.   I have a personal relationship with this kind of temporal art works, like my continuous drawing system developed in the mid-sixties.   ... and Ben Vautier in 1962, part of the Fluxus movement, sitting on stage with a sign saying: "Regardez Moi: ce-la suffie" - "Look at me, that's enough".   ... or Asger Jorn ripping posters from Parisian walls and collaging them, ...  Other examples from the sixties, like the 'pictura industriale' emerging from an endless paper roll by Giuseppe Pinot-Gallizio, ...  The pictures shown here are "nice", bad-quality reproduction of photographs from the sixties, as they appeared at that time, quiet different from today's glossy full colour books on the same subject.   ... as in the happening by Allen Kaprow and Charles Frazier, New York 1966, or Hundertwasser's endless lines made together with his art students through the halls of the art academy in Vienna, in the same period.   Some artists had an answer to the commodifying effect of the art market: 'the happening', a public participation in a 'one-time-only' creative event. These events started often inside existing art institutions, museums and galleries, later moved out into public space. Letting people experience a walk through a big mass of foam,   And the splashing and dripping action paintings by Jackson Pollock. It's sometimes said that Pollock was inspired by the idea of the Navajo: the act of making the painting being more important to him than the end product. The art market, by its very nature, could and can not accept such kind of insight.  There are art-forms that try to escape this urge for posterity and eternity, like Christo's works: floating temporary structures with ropes, plastic foil and nylon, covering a bay in Florida or a valley in Colorado.   This is talking about fixed forms of art, like mosaic, tapestry, painting, sculpture and the like, often proposed to us as having lasting values, eternal beauty.  The same recreative force seems to be active in art. The short moment we stop in front of a painting, halting while leafing through a book with reproductions, stepping back in a gallery and look once more.   We know it, and we don't. That is why we want to find that moment again, and again.   There is some beauty in that. Something that remains, unspoken, then washed away by the tide.   'La petite mort', the little death, is a French expression for the orgastic moment, it is us, remembering that we forgot what constituted that most pleasurable experience.   Art can be seen as an act of love, an expression of the beauty of the temporal, a short passionate moment followed by a peculiar form of forgetting.