This paper focuses on Fluxkit by George Maciunas (1931-1978) and studies the unique co-creation and distribution of Fluxus. Fluxkit was a major formal experiment to explore the distribution and experience of art. It had commonalities with individual artists in the Fluxus movement, who pursued the integration of art and everyday life and were oriented toward an international network. George Machiunas called Fluxkit “miniature Fluxus Museums,” but after that Fluxkit did not stay in Fluxus’s ‘miniatures.’ It is in the form of an inexpensive portable bag or small box, and it has since been expanded to the individual works of several artists.
This paper sheds light on the characteristics of Fluxkit , which appeared in relation to the Fluxus publishing act, through the difference from Flux Year Box (1963-1975) and suggests a new perspective on the distribution of art forms. Also, the meaning of Fluxkit extended to the individual works of Fluxus members is examined through the discussion of ‘ready-made’ by art historian David Joselit. Several artists who participated in the Fluxus movement thought of Fluxkit as a conceptual ready-made, and formed a relationship between the Fluxus movement and their individual works. I suggest that it has acquired a new meaning. Through this, it was aimed to empirically examine the complexity of Fluxus’ work and the artistic practice that crosses multiple media and meets the visitors/audience.