Toward a feminist historiography of American avant-garde performance: theories and contexts -- Nude descending Bleecker Street: Baroness Elsa Von Freytag-Loringhoven and performing gender in New York dada -- Avant-garde performance, collage aesthetics, and feminist historiographies in Gertrude Stein's the mother of us all -- Between material and matrix: Yoko Ono's cut piece and the unmaking of collage -- Between dialectics, decorum, and collage: sabotaging Schneemann at the Dialectics of Liberation Congress, London 1967 -- Forget fame: Valerie Solanas, the simplest surrealist act, and the (re)assertion of avant-garde priorities -- Conclusion: Collage and community.
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