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Was it the meat, now presumably consumed and absent from their vision? The manufactured container sitting on the pedestal? Or was the empty, inside-out can a way of labeling anything and everything beyond its perimeter and off its pedestal part of the readymade reality? The gallery. The cars and commerce outside. The attending flows of money, including the national trade negotiations concerning imported crab. The social relations and desires that orchestrated the existence of both can and crab meat.
This was a path beside or beyond what Beuys considered the false dialectic between democratic and communist governments. He saw them as equally capitalistic forces, both exploited labor, even if they distributed the resulting wealth differently. Beuys’s hope was that the participant’s management and care of honey would alter consciousness of the world economy as a circulatory system of the commons. More strategically utopic and on a larger scale than any of the previous post-war affectual readymades, it depended on the concrete manifestation and local goals attached to the specific movement of body and materials.
Artists developing affectual readymade strategies did not all share a singular or stable political viewpoint on the everyday life of the capitalist imaginary. What is apparent, however, is that many of the art forms that incorporated commodities indicate a developing materialist view of capitalism in avant-garde art. Approaches to the readymade expanded out of the gallery and developed in the context of systems theory by the sixties. The commodity was seen as materially connected to capitalism’s everyday context, not isolated by the art frame.