Even the bourgeois conception of art reifies the work (via the market) on the one hand, on the other, judges it (via the aesthetic) for the way it manifests this faculty of producing value …
Creativity is to the cultural field what labor power is to the field of political economy. …
With Beuys, that is why the translation attempted here is so easy – the two fields precisely overlap – and this is what signals to us that their dialectic is over.
- Thierry de Duve

"CAPITAL is at present the work sustaining ability. Money is not an economic value though. The two genuine economic values involve the connection between ability (creativity) and product. That explains the formula presenting the expanded concept of art: ART=CAPITAL."
-Joseph Beuys, 1985

Now, if I assert that the last revolutionary avant-garde that defied its time took place in the sixties (beuys, Baselitz, Serra, Merz, and many others), then that is not only because they are still the most important contemporary artists today ... but because there are still no equivalents to their revolutionary gestures and works ... and they are still not outdated. (H.S. 130-132)

Perhaps they were not outdated, but with their wanting to move history forward by revolutionary gestures and works, they had become strangers to a generation that wanted to liberate itself from the future by liberating itself from the past and, most immediately, laid libidinous claim to the present. (H-J.M., 132)

Halfway, I left by myself; halfway, I was made to leave - as is often the case in life.
-Harald Szeemann (H-J.M.,p.108)

1969: {Szeemann} Resignation as the director of the Kunsthalle Bern after the commission rejected a planned Beuys exhibition by vote (H-J.M.,p.26)

I have too, my own 2007 version, within the 1a installation, made up of:

1 mop,
1 rod,
1 yellow ribbon,
1 yellow ribbon (from Tozer Pak's publication)
1 pair of felt sandal,
1 rose stem (from CHEN Shisen/San Mu's performance)
(2 yellow cardboards, blank, put away behind stuffs.)

a work of Eric Wurm,
a joke played on Beuys.
(photo taken in Sittard)

Die palästinensische Gruppe „Schwarzer September“ bereitet ihren Anschlag auf die israelische Olympia-Mannschaft vor. Dazwischen trifft sich das Kunstvolk auf der Documenta V in Kassel. Ein legendäres Großaufgebot der westlichen Gegenwartskunst, versammelt und inszeniert vom Schweizer Ausstellungsmacher Harald Szeemann. Tag für Tag tritt der Künstler Joseph Beuys in seinem „Büro für direkte Demokratie“ auf, wechselt die Rose im Messglas, diskutiert, sagt dies und sagt auch das: „"Dürer, ich führe persönlich Baader und Meinhof durch die Documenta V“."

Die RAF und die Kunst
von Hans-Joachim Müller
© ZEIT online