once the performance was over, it was cleaned up and there was nothing left. After this piece, Tinguely was able to construct two more successful machines that did self-destruct. Not only was destructive art seen in traditional art, but also performance art. Jeff Keen, a film-maker, included forms of destruction in his "collaged films". Keen would cut and edit scenes from pop culture, comics, and other films to create "multi-screen projections". His films were seen as disconnected and jumbled which confused viewers. Keen symbolizes destruction in his cut and edit skills of previous works. By using other sources and editing them together, Keen has destructed the old and created something new. Techniques Many strategies were used to create-or rather, destroy-art. Metzger used bricks, cloth, and other objects as a base for his work. He then used multiple types of harming materials such as acid or fire to create the destruction. For one piece, Metzger threw hydrochloric acid on a nylon sheet and noted that while the acid did destroy the sheet, it did create shapes. Although this piece did not have a name, it was later recreated in 2004 as part of the Tate Britain exhibition, Art and the Sixties: This was Tomorrow. Other artists explored the use of everyday objects such as books or mechanics, which expanded the concept of how seemingly mundane objects can be used to demonstrate how materialism and manufacturing should be destroyed. Impact One impact of ADA was the creation of the "Destruction in Art Symposium" (DIAS). Metzger was against the art dealer system and aimed to get Auto-Destructive Art publicly funded, but the government would not provide funding. Metzger was against art dealing because dealers were uninterested in the "fundamental technical change". This resulted in Metzger and John Sharkey to organize DIAS in 1966, which was a volunteer based event that showcased different art forms from diverse individuals across the world. One significant performance at this event was Yoko Ono’s "Cut" piece. In this piece, presented at the Museum of Modern Art in 1971, Ono sat and allowed the audience to cut away pieces of her clothing. Allowing the audience to cut away her clothing not only represented female vulnerability but also destroyed the traditional relationship between the viewer and the artist. Pete Townshend of The Who would later relate destroying his guitar on stage to auto-destructive art. Band member Keith Moon dramatically followed