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ABSTRACT This article traces the reception of Raymond Hains's 1961 exhibition of torn posters relating to the war in Algeria, titled “La France déchirée” (France in Shreds). By examining how these works were read, and how they both mobilized and contained their imagery for different audiences, the political instability of montage during the early sixties—its availability as a tool of ambiguity for artists like Hains—becomes clear.

As early as 1949, [Raymond Hains] was associated with Jacques de la Villegle, whom he had met as a student in Rennes. Sometimes the pair gave their works overtly political titles, as in Hains's Peace in Algeria (1956), shown at Colette Allendy's gallery in Paris, in the exhibition Law of 29 July 1881 - a reference to an infamous decree that restricted press freedom uring the French third republic. Often the names were stupefyingly blank: their first collaboration, for example, was simply called M. Some commentators have tried to relate Hains's ideas to the concept of the \"death of the author\" proposed by the post- structuralist thinker Roland Barthes. However, it would be more accurate to link affichisme with the surrealist aim of raising everyday life to a higher reality. According to Villegle, Hains sought to transform the mundane into art: \"The picture should not be considered as a world in itself, but the world itself should be seen as a picture.\" In his later years Hains continued to develop the affichiste techniques that had become his trademark. At the 1997 Kassel Documenta exhibition, he even returned his lacerated posters to their original urban setting by festooning them along the Treppenstrasse underpass. Elsewhere he constructed quirky virtual collages out of images from the world wide web. His Macintoshages of 1999 combined prints and paintings of Archduchess Margaret of Austria, 16th-century regent of the Netherlands, with photographs of street signs and a parrot, presented as if displayed on a screen. Although lacking in historical rigour, they vividly capture the banal profusion of the internet.

The splitting of Christians into rival denominations caused much pain and suffering, but Christians have never forgotten Jesus' prayer that his followers \"would all be one,\" Hain said in his sermon during the special service at First Christian Church, 16th and K streets. Hain, a retired Roman Catholic priest, recalled a time in the 1960s, after Pope John XXIII convened the Second Vatican Council, during which\"Catholics reached out to Christians and those of other faiths, not for the purpose of converting them, but of loving and sharing. As an octogenarian I can recall those great days of dialogue. We'd share our traditions and beliefs and learn to appreciate the traditions and beliefs of others.\" Monsignor Raymond Hain delivers a sermon at the Unity service at First Christian Church on Sunday. DIOR AZCUY/Lincoln Journal Star

Mr. [Raymond Hains] was featured in many international exhibitions, including ''The Art of Assemblage,'' the landmark 1961 exhibition at the Museum of Modern Art in New York; the 1964 Venice Biennale; Documenta 4 in 1968; and Documenta 10 in 1997, at which he presented outdoors a giant mannequin representing the dealer who exhibited many of the Nouveaux Realistes in the 60's, Iris Clert.

Membro do movimento novo realismo, o artista plástico francês [Raymond Hains] morreu em Paris no dia 28 de outubro, em conseqüência de uma bronquite, aos 78 anos, informou ontem a imprensa francesa.

Indeed, the French do have a case. Being French, of course, they had a proper movement, named by a critic, presided over by an intellectual (Pierre Restany), with its aims outlined by a manifesto (in 1960), its affairs of the heart (Christo and Jeanne-Claude, Jean Tinguely and Niki de Saint Phalle), its splits (when the Neo- Dadaists took some of the members temporarily away), its grand public demonstrations (Christo's wall of barrels in 1962, Tinguely's giant exploding phallus before Milan Cathedral in 1970) and its missed opportunities (the New Realists show in New York in 1962 when the American took the flame of Pop and bore it aloft). taken together, the 13 artists shown here were a formidable bunch who gathered in Paris in the late Fifties through the Sixties - Arman, Cesar, Christo, Gerard Deschamps, Francois Dufrne, Raymond Hains, Yves Klein, Martial Raysse, the Italian Mimmo Rotella, De Saint Phalle, the Romanian Daniel Spoerri, the Swiss-born Tinguely and Jacques Villegle. In so far as they subscribed to a set of principles (10 signed the original manifesto), it was the rejection of abstract art and the rigours of modernism in favour of an embrace of mass consumerism in all its forms and products. The \"modernite du ready-made\" was embraced over the constructs of the mind, collected objects became more expressive than paint or sculpted form, the rearrangement of the familiar was preferred to the entirely novel. Within these beliefs, however, the individual artists pursued their own courses. Dufrne, Villegle, Rotella and Hains all started off as affichistes, taking the peeled posters and printed ephemera of contemporary life to make fragmented images. Cesar crushed and twisted automobiles and motorcycles into sculptures of modern mass. Spoerri glued the eaten meal to the table and De Saint Phalle pinioned fractured objects in glass cases. Christo started on his long road of wrapping objects, at first small and then more and more public in scale. Klein developed body imprints with paint and then his signature blue. Tinguely assembled surrealistic machines, and Hains produced giant matchboxes.