As an artistic material, they do not seem particularly suitable; transience is their principle. Yet, since the 1950s, food has increasingly been used in installation and performance works that can be not only seen but also smelled, felt, and tasted. But what methods can be employed to save these works from disappearing? Should they even be saved? And if so, how can their constitutive changeability and multisensory dimension be preserved? What symbolic, political, and social aspects of food are reflected in them? And what role does witness play in their meaning constitution? These questions are addressed by the authors of this anthology, which emerged from a research project at the Institute for Practices and Theories of the Arts at the Bern University of the Arts, in the interplay of art studies, conservation, restoration, art, and artistic research. The diversity of the subject matter and approaches is also reflected in this book, which combines various printing techniques and paper materials. A sensual event, therefore – on many levels.