Willoughby Sharp, 72, Versatile Avant-Gardist, Is Dead
Even by conceptual-art standards, Willoughby Sharp’s work stood out. There was his gestational spin in a clothes dryer. There was the curious affair of the talcum powder, 
the teddy bear and the tab of LSD. And there was the Oklahoma Gun Incident, which members of the art world still discuss, with a mixture of horror and awe, more than 30 years later.
Mr. Sharp, the Ivy League-educated scion of one of New York’s most socially prominent families, who in the 1960s and afterward was on the cutting edge of the American avant-garde as a performer, producer, writer, publisher, curator, video artist and much else, died on Dec. 17 in Manhattan. He was 72 and lived in Brooklyn. The cause was cancer, his wife, Pamela Seymour Smith Sharp, said.
A central figure in conceptual and performance art back when those forms were new and daring, Mr. Sharp was concerned with making art that was as much for the mind as it was for the eye. Along with artists like Chris Burden and Nam June Paik, Mr. Sharp helped expand the very idea of what constituted a work of art.
Mr. Sharp was also known as the publisher of Avalanche, a widely respected, handsomely produced art magazine he founded with the writer and filmmaker Liza Béar. Published for just 13 issues between 1970 and 1976, Avalanche featured in-depth interviews with many rising contemporary artists of the day, among them Mr. Burden, William Wegman and Joseph Beuys, the charismatic German artist of whom Mr. Sharp was an early champion.
As a curator, Mr. Sharp attracted international attention with “Earth Art,” a 1969 exhibition at Cornell University. Groundbreaking in every sense of the term, the exhibition featured site-specific installations — by Dennis Oppenheim, Robert Smithson, Hans Haacke and others — that were hewn, molded or otherwise created from the land itself. Mr. Sharp also ran the Willoughby Sharp Gallery, on Spring Street in SoHo, from 1988 to 2004.