“The primary function of my art seems to be an expression of maximum meaning with a minimal image,” wrote George Brecht (1926–2008), Fluxus artist, avant-garde composer, and professional chemist (Brecht, 1957–58). His film Entrance to Exit begins with a white screen that gradually fades to black. At the beginning, a white “Entrance” sign appears; after five minutes of whiteness, the screen fades back to black. The film ends with a sign “Exit” and fades back to white. In Brecht’s film, during the period of a prolonged contemplation of whiteness, viewers may experience boredom that offers a heightened state of consciousness. Entrance to Exit, which was inspired by an earlier event score, Exit (1961), and followed by an eponymously titled object-sign Exit (ca. 1962–63), succinctly exemplifies Brecht’s interest in creating situations in which works are the means to an end and the end in themselves; they are simultaneously documents, props, and leftovers. The multiplicity of the existence of the concept highlights the changeability integral to many Fluxus works, including Zen for Film. —LH

Image: Producer: George Maciunas. Publisher: Fluxus. The Museum of Modern Art, The Gilbert and Lila Silverman Fluxus Collection Gift, 2452.2008.12. © The Museum of Modern Art/Licensed by SCALA /Art Resource, NY.