Neo-Dada

It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.

[7] An allied approach is found in the creation of collage and assemblage, as in the junk sculptures of the American Richard Stankiewicz, whose works created from scrap have been compared with Schwitters' practice.

Daniel Spoerri created "snare pictures" (tableaux piège), of which the earliest was "Kichka's Breakfast" (1960), and in which the remains of a meal were glued to the cloth and mounted on the table-top affixed to the wall.

[9] In the Netherlands the poets associated with the 'magazine for texts', Barbarber (1958–71), particularly J. Bernlef and K. Schippers, extended the concept of the readymade into poetry, discovering poetic suggestiveness in such everyday items as a newspaper advert about a lost tortoise and a typewriter test sheet.

[10] Another group of Dutch poets infiltrated the Belgian experimentalist magazine Gard Sivik and began to fill it with seemingly inconsequential fragments of conversation and demonstrations of verbal procedures.

On this approach the critic Hugo Brems has commented that "the poet's role in this kind of poetry was not to discourse on reality, but to highlight particular fragments of it which are normally perceived as non-poetic.