In this thought-provoking work, Dorothee Brill examines notions of shock and the senseless in Dada and Fluxus, pairing two distinctly radical art movements that challenged the very notion and purpose of art. Laying out a genealogy of surrealisms, she addresses the senseless in artistic production as a strategy toward shock--generally considered to be characteristic of the historical avant-garde. Examining the changing correlation between the notions of shock and the senseless in their artistic use in prewar Europe and postwar America, Brill arrives at a new understanding of the overstrained and generally pejorative catch phrase of "shock for shock's sake."

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