It also pressured and picketed museums into taking a moral stance on the Vietnam War which resulted in its famous My Lai poster And babies, one of the most important works of political art of the early 1970s.
The AWC grew out of an incident at MoMA during the exhibition curated by Pontus Hulten, The Machine at the End of the Mechanical Age.
The incident led to a series of meetings held at the Chelsea Hotel in which the group that had supported Takis's action discussed issues relating to the political and social responsibility of the art community.
In 1970, AWC organized an art strike to condemn the death of university students killed by police during Vietnam War protests.
[8] After organizing a number of demonstrations in front of the museum, the group held an open hearing at the New York School of Visual Arts on 10 April 1969.
The initial demands that had been made to the MoMA were debated within the larger group that formed during the open hearing, and later refined and addressed to all New York Museums.
Mary Anne Staniszewski MIT Press, 1998 - Art - 371 pages, p. 108 Documentation of Judy Walenta as a registrar at MOMA to explain inclusion in the list: [PDF]Hector Guimard - MoMA https://www.moma.org/.../MOMA_1970_Jan-Jun... Museum of Modern Art sening of technical limitations and the waning influence of the machine-age aesthetics of the Bauhaus.