In 1965, choreographer Yvonne Rainer formulated her radical NO Manifesto. It began with the words NO to spectacle, and became one of the most influential manifestos in the art world: it was intended to clear the air. Was it successful? The contributors to this interdisciplinary volume examine this question, as well as the efficacy of artist manifestos since, how they are reflected in different media contexts and in the digital age, and which political perspectives are inherent to them, through the use of examples such as Gruppe SPUR, Georg Baselitz, Pina Bausch, and Kanak Attack.