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Harald Szeemann’s documenta 5 is considered one the most important exhibitions in the history of art. But hardly anyone is familiar with its original concept, which, in the spirit of May 1968, turned radically against art as something you could own. Instead of the art object, the collective event took centre stage. Bazon Brock, who worked with Szeemann on the project, talks about the exhibition that could have been.
Since this summer everybody knows that Yanis Varoufakis is a principled idealist, that his wife is an artist, and that he drives a motorbike very fast.
