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This paper looks at Allan Kaprow's Happenings through the framework of Peter Bürger's 1971 Theory of the Avant-Garde. It suggests that Kaprow's Happenings project can be read as a detailed investigation into the way in which the category 'art' was formulated in his society, and an exploration of alternative possibilities for the social meaning and function of works of art excluded by this dominant ontology. The paper focuses specifically on Kaprow's interrogation of the dominant understandingdoi:10.35360/njes.617 fatcat:zlnhrt3tmfarpjieycub6dwcrm