Originally developed by non-verbal artists, the Happening grew spontaneously as an extension of sculpture and painting in time and space, an extension which provided the TV with the depth involvement missing from the video screen, and which more importantly, permitted the creative spirits of the now generation to do their own thing. With input from the unfettered imaginations of Allan Kaprow, Claes O1denburg, Jim Dine, Robert Whitman, John Cage, Dick Higgins, and Nam June Paik, the Happening became a witty and exciting challenge to all forms of artistic deadweight. In the decade following, as the distinction between art and reality became blurred, Live-Ins, Be-Ins, Love-Ins, Save-Ins, Read-Ins, and In-Ins seized the Happening, decorating and sometimes transforming it into spontaneous rituals and games. While college professors smiled tolerantly and mumbled truisms about nothing new under the sun, back at the ranch the Happening increasingly captivated the imagination of their freaked-out students. Sensing the possibilities of the new infant art, they began to move away from formal and traditional genres and forms towards a fusion of the arts that would create a new art-mixed media or the