| 3.1.1 | George Maciunas, Fluxus (Its Historical Development and Relationship to Avant-garde Movements), c. 1966 |
| 3.1.2 | Wolf Vostell, Pre-Fluxus New York Avant 1962; Pre-Fluxus Cologne Avant 1962; Fluxus Wiesbaden 1962 (n.d.) |
| 3.1.3 | Nam June Paik, Fluxus Island in Décollage Ocean, 1963 |
| 3.1.4 | Mieko Shiomi, Spatial Poem No. 2, 1966 |
| 3.2.1 | Fayette Hauser, photograph of the Cockettes performing, 1970 |
| 3.2.2 | Nao Bustamante, Indigurrito, 1992 |
| 3.2.3 | Zackary Drucker, The Inability to be Looked at and the Horror of Nothing to See, 2008–9 |
| 3.3.1 and 3.3.2 | Emilio Rojas, Instructions for Becoming (Indio Desnudo), 2019 |
| 3.3.3 and 3.3.4 | Emilio Rojas, Heridas Abiertas (A Gloria) |
| 3.3.5 | Rebecca Belmore, Fringe, 2008 |
| 3.3.6 | Soldier’s Arch, Brown University |
| 3.4.1 | Leroy Eldridge in Monèt Noelle Marshall’s “Buy My Soul and Call It Art” |
| 3.4.2 | Shireen Dickson in “reVERSE-gesture-reVIEW” |
| 3.5.1, 3.5.2, and 3.5.3 | Complexity of Belonging |
| 3.8.1 | Else Tunmeyr, When We were Weary/The Loneliest Whale in the World, 2017 |
| 3.8.2 | Catalina Insignares, us as a useless duet, 2017 |
| 3.9.1 and 3.9.2 | An early Laban pupil demonstrating a “well-shaped body in expressive position,” combined with an effort graph |
| 3.9.3 | Alexandra Pirici, Aggregate (2017), at NBK |
| 3.10.1 | Albert Chong, “Natural Mystic,” 1982 |
| 3.11.1 | Patssi Valdez, Limitations beyond My Control, 1975 |
| 3.11.2 | Cecilia Vicuña, El Zen Surado, 1960s–2013, collage |
| 3.11.3 | Maria Evelia Marmolejo, 11 de marzo, 1981 |
| 3.12.1 | La Pocha Nostra, Ex-Centris (A Living Diorama of Fetish-ized Others), Live Culture, 2003 |
| 3.12.2 | La Ribot, Panoramix, Live Culture, 2003 |
| 3.12.3 | Sybille Peters, KAPUTT, 2017 |
| 3.12.4 | Liberate Tate, Human Cost, 2011 |
| 3.13.1 | Carlos Amorales, Amorales vs. Amorales, 2003 |
| 3.13.2 | Tania Bruguera, Tatlin’s Whisper #5, 2008, performed as part of UBS Openings: Live—The Living Currency |
| 3.13.3 | Boris Charmatz, Public Warm Up at Tate Modern, 2015, part of BMW Tate Live: If Tate Modern Was Musée de la danse? |
| 3.14.1 | Chris Salter and TeZ, Haptic Field, 2017 |
| 3.14.2 and 3.14.3 | Kurt Hentschlager, Feed.X, 2018 |