Joseph Beuys was a German artist known for his performances that addressed social and political issues, often incorporating unconventional materials and actions.

Relational aesthetics emphasizes the creation of art that fosters social interaction and dialogue between the artist and the audience, blurring the boundaries between art and life.

Marina Abramović's performance 'Rhythm 0' involved her standing still while the audience was given the opportunity to use various objects on her body, highlighting the complex relationship between artist and audience.

Fluxus artists sought to break down the boundaries between art and life, often using everyday objects and actions as artistic materials.

Ana Mendieta's performances often involved using her body as a canvas, creating ephemeral works that addressed issues of identity, gender, and displacement.

Allan Kaprow's 'Happenings' were immersive and participatory events that blurred the boundaries between art and life, inviting the audience to actively engage with the artwork.

Chris Burden's performance 'Through the Wall' involved him running and crashing through a wall, symbolizing the breaking down of physical and psychological barriers.

The Guerrilla Girls used anonymous gorilla masks and public interventions to highlight gender and racial inequality in the art world.

Yoko Ono's performance 'Cut Piece' involved her inviting participants to cut pieces of her clothing, exploring themes of vulnerability and the relationship between artist and audience.

Social practice in political performance art emphasizes the creation of art that directly engages with social issues and communities, often involving collaboration and participation.

Joseph Beuys' performance 'I Like America and America Likes Me' involved him living in a cage with a coyote for three days, exploring themes of isolation and cultural exchange.

The Situationists used art as a form of social critique, often creating interventions and performances that challenged traditional notions of art and society.

Carolee Schneemann's performance 'Meat Joy' involved her inviting participants to eat raw meat from her body, exploring themes of female sexuality and the objectification of women.

Performativity in political performance art emphasizes the idea that identity and social roles are constructed and performed, often through artistic actions and interventions.

Chris Burden's performance 'Five Day Locker Piece' involved him locking himself in a locker for five days, exploring themes of isolation and confinement.