Jannis Kounellis, Philip Glass, Sarkis, Alighiero Boetti. Live in Your Head. When Attitudes Become Form, Kunsthalle Bern 1969.
(source: When Attitudes Become Form. Bern 1969/Venice 2013, exhibition catalogue, p. 204)
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@whenattitudesbecomeform
Jannis Kounellis, Philip Glass, Sarkis, Alighiero Boetti. Live in Your Head. When Attitudes Become Form, Kunsthalle Bern 1969.
(source: When Attitudes Become Form. Bern 1969/Venice 2013, exhibition catalogue, p. 204)

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Harald Szeemann is an... inscrutable Chinese. Sorry! Inscrutable Swiss. Why inscrutable? Because he looks dumb, but he is not really dumb (...) since 1968 he named himself geistigen Gastarbeiter, you know, guy who belongs nowhere, but is everywhere.
- Nam June Paik, Harald Szeemann - Ein Portrait
Walter de Maria, correspondence with Szeemann (about Art by Telephone)
Markus Raetz's in response to 12 environments (Kunsthalle Bern, 1968, curated by Szeemann)
source: Hans-Joachim Müller, Harald Szeemann: Ausstellungsmacher

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Lee Lozano, Throwing-Up Piece, 1969 (not connected with WABF)
source: Gwen Allen, Artists' Magzines: An Alternative Space For Art
Joseph Beuys, Fettecke (Fat corner), smeared in Kunsthalle Bern on 21st March 1969.
The more artists come the less gets done. The Kunsthalle becomes a meeting place and forum. Sargentini, Kounellis, and Boetti arrive; Beuys is the last to arrive late in the evening.
20th March 1969.
Harald Szeemann, How Does An Exhibition Come Into Being? [in: Harald Szeemann – with by through because towards despite. catalogue of all exhibitions 1957–2005]
Richard Serra, Splash Piece, When Attitudes Become Form, Kunsthalle Bern, 18th March 1969.
Photo by Balthasar Burkhard.
Michael Heizer directs the demolition ball for the Bern Depression. Placement of the works in the galleries. Serra throws 210 kilograms of hot lead to create his Splash Piece. Richard Long departs for his walk in the Bernese Oberland.
18 March 1969.
Harald Szeemann, How Does An Exhibition Come Into Being? [in: Harald Szeemann – with by through because towards despite. catalogue of all exhibitions 1957–2005]

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Jan Dibbets, Museum Sokkel met vier hoeken van 90º (Museum Pedestal with Four Angels of 90º), Op Losse Schroeven exhibition, march 1969.
Ger van Elk, Hanging Wall, 1969.
Part of the exhibition Op Losse Schroeven, curated by Wim Beeren. The exhibition was opened on 15th March 1969.
Installation of Ger van Elk's Luxurious Streetcorner for Op Losse Schroeven, considered as the twin exhibition for Szeemann's When Attitudes Become Form. 14th March 1969.
Christo and Jeanne-Claude, Wrapped Kunsthalle, Bern, Switzerland, June 1968 [Environments exhibition]
(believed to be the first Christo's appropriation of a whole building)
As Keith Sonnier says: "Live in your head." The organisation of the shipments from New York, San Francisco, Los Angeles, Torino, Genova, Bologna, Roma, Paris, Düsseldorf, Amsterdam, and London as well as the work on the catalogue and poster demand a 24 hour work-day. The interregnum in the secretarial office is bridged with temporary workers. The daily load encompasses 30 letters, two to three artist biographies; in short, the Attitudes fill four ring binders.
8th February - 15th March 1969.
Harald Szeemann [in: Harald Szeemann – with by through because towards despite. catalogue of all exhibitions 1957–2005]

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Jan Dibbets, Green Table, 1968
The real story actually begins here. In the beginning was Dibbets' gesture to water a lawn on a table. But you cannot exhibit gestures. (...) On the same day, I informed my colleague, Edy de Wilde, that, instead of the new experiments with light, my project would now be to present this new art.
[in Harald Szeemann – with by through because towards despite. catalogue of all exhibitions 1957–2005]