In May 1968, Petr Štembera, a student of the Faculty of Social Affairs and Journalism, also visited Paris. In his case, there was undoubtedly a transformative experience in relation to visual arts. At the exhibitions he saw in Paris he realised he was not interested in painting, but in process art. As a tourist from the East, he walked around the city for ten days almost without food, which in his words led to the “discovery of his own body as such.” In the next decade, he devoted himself to private activities in the field of performance, which from the point of view of most of the population, as well as the Czech art communities, were distant from and incomprehensible to their concept of art.
The year 1968 was a breakthrough, but at the same time poor for graspable artistic activities, even for Milan Knížák. Since mid-1967 he had been on probation; he moved from Prague to Krásno in western Bohemia, where he gradually formed a free A-community, focused on an alternative way of life. In Krásno, Knížák also experienced the entry of troops of the Warsaw Pact. In the aftermath of the invasion, in August 1968, he managed to obtain a visa to the United States, where he travelled in September. On the way, he was imprisoned in Vienna for a month after a fight with policemen. All he could do in there was the Action for my mind. Upon his arrival in New York, he made two more events, and then his activities became private.