Incidentally, eminent Fluxus artist Ben Patterson also performed some Fluxus masterpieces with 12 volunteers from Delhi earlier this week. The pieces include "Piano piece, 1962'' (George Brecht), "4'33'' (John Cage), "Sculpture musicale'' (Marcel Duchamp), "One for Violin'' (Nam June Paik), "Wall Music for Orchestra'' (Yoko Ono), "In Memorian to Adriano Olivetti'' (George Maciunas) and "Paper Piece'' & "Carmen'' (Ben Patterson).

Patterson is a Fluxus artiste from the early days. Back in 1962 he organised the first Fluxus Festival in Wiesbaden with George Maciunas and many more Fluxus Events until the seventies. His compositions "Paper Piece" and "Variatons for Double bass" still belong to the classic Fluxus pieces.

Says Patterson, "The means, materials, and objectives used by Fluxus artistes are constantly changing and impossible to fix. Strictly speaking, Fluxus has never been a movement. It sprang from a loose international collective of artistes, writers and musicians who began working to stage performances in the early 60s. Still, it helped spawn various genres like video art, performance art, and conceptual art."

The movement's aim was to democratise art and foment cultural revolution, to find some way of putting avant-grade ideas into broader circulation than the powerful gallery network allowed at the time. Most Fluxus art is playful, cheeky and heavily reliant on conceptual trickery. It messes about with your mental set-up and has a mind-expanding effect.

"I don't think any two of my works are the same. Some are very short. Some are several hours long. I have written works for the double-bass, for paper, for traffic lights, for tea kettles, for coffee beans. My works are also based on the Morse code and classic operas like Carmen and the Butterfly," says Patterson.