It is hard to imagine how radically confrontational political art of the 1960s really was. In post-war Europe, a staid art consuming public was just about to get their heads around Dada, Fluxus, Abstract Expressionism, Gutai or Arte Povera, when the turmoil of the streets, fuelled by the war in Vietnam and an emerging radical feminism, was demanding a greater involvement by artists. Enter Jörg Immendorff, a talented disciple of Joseph Beuys and fertile ground for a radicalization of art that targeted a stale and consumer-driven bourgeoisie, demanded answers from what exactly their parents were doing during the war and an early precursor to the break-down between high and low art. In the 1960s Immendorff took on the political and bourgeois establishment with a series of works and disruptive political performances roughly grouped around his made-up concept of LIDL, a fictitious confab which he derived from the sound poetry of Dada. Michael Werner is currently showing some of the late artist’s drawings, sculpture and recordings of his performance work that includes his seminal LIDL Stadt, a detailed blueprint for a utopian city seeking to upend traditional Capitalist-based architecture and urban planning which encompasses a LIDL-Academy, LIDL-Sport Arena, and a Film House among other things. At Michael Werner through May 13.