This is part of the meaning to be gleaned from his 1965 solo performance, How to Explain Pictures to a Dead Hare, in which materials of personal significance (one foot wrapped in felt, the cradling of a recently deceased animal) poetically suggest the healing potential of art for a humanity seeking self revitalization and a sense of renewed hope in the future (one should recall that Beuys came of age in the immediate postwar period, when many Germans were just coming to terms with many traumatic aspects of their recent past). From roughly the 1950s through the early 1980s, Beuys demonstrated how art might originate in personal experience yet also address universal artistic, political, and/or social ideas (i.e.Influenced in part by contemporary experiments in music, such artists found themselves turning away from the art world's prevailing commercialism in favor of "found" and "everyday" items for creating ephemeral, time-based "happenings," impermanent installation art, and/or other largely action-oriented events. At that time, many artists in Asia, Europe, and the United States became dissatisfied with a long tradition of "heroic," or object-oriented painting and sculpture (much recently typified by Abstract Expressionism). Beuys was a key participant in the 1960s Fluxus movement.
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