In the Beuys file you’ll find a few of his postcard multiples. These were unlimited run postcards often produced in conjunction with a performance. Maja Wismer’s section of the Walker’s Art Expanded opens this up. The images often documented Beuys performances, serving as a “prop for memory”. They also democratize the art experience by allowing for wide distribution to folks at the event and beyond, encouraging additional dissemination via post. I’d be curious to see if someone actually sent one of these to their mom, “Kassel is crazy! I can just feel the honey pumping through this place…”
Wismer also points out that the collecting and preserving of these multiples is primarily done by private collectors at the time of production — not necessarily museums. Somewhere in a loft in Germany there is a lone Beuys fan obsessively organizing and housing multiples like baseball cards.
And now here I am, putting my Honigpumpe postcards in numerical order and into their original sleeve. JOY! Beuys communicates his piece to me. But how is this different than mailing a postcard of the Mona Lisa?