The performative paradigm of a new artistic concept, which understands painting and sculpture as directly perceivable, event-driven, and processual gestures, shaped artistic development in the second half of the twentieth century. Günter Brus, Hermann Nitsch, Otto Muehl, and Rudolf Schwarzkogler played a significant role in this paradigm shift during the crucial 1960s with their radical actions emphasizing the performative body. Starting in 1960, these artists began a process in which the painted image was literally subjected to a truth test. Instead of representation, a strong interest in values that are directly perceivable by the senses manifests itself in art objects and especially in actions. Blood in Nitsch, scrap and waste in Muehl, white-colored mud and.