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In this paper I try to shed light on the relationship between Ugo Nespolo and the Fluxus group, which the artist contributed to import to Italy in the late Sixties. I then argue that, thanks to the fact that Nespolo’s artworks (especially in the avant-garde period) are documents, it is possible to look in a new and different way at an (anti)artistic movement that sought, in vain, to undermine the idea of objectivity and authorship of the work of art.