‘Salad’ last course in Fluxus banquet

Alison Knowles’ gig at Disney Hall caps 24 hours of music and art converging big time.

There is nothing remotely uncommon about eating a salad at Walt Disney Concert Hall. I’ve visited the salad bar at the hall’s café countless times.

But eating a salad in Disney Hall had always been a don’t-you-dare matter — until Friday night, when artist Alison Knowles made a humongous one onstage.

More than merely another Los Angeles Philharmonic centennial season classical music transgression, Knowles’ latest performance of her famed Fluxus score, “Proposition #2: Make a Salad,” was just possibly the single most transgressive act any major symphony orchestra had ever undertaken in a traditional concert hall.

With the help of dicing, slicing sous chefs — every percussive thump of the knife and ding of a large metal salad bowl was amplified, making a rhythmically idiosyncratic percussion piece — Knowles first oversaw the prep work on tables set up onstage.

She then dumped buckets of lettuce, carrots and tomatoes directly onto the precious, delicate Alaskan yellow cedar stage floor, which was protected by a large blue plastic tarp turned into a de facto mixing bowl. Salad dressing was

of an obsession with it, felt full-on Fluxian.

Then, walking into the Artbook booth, the first thing that caught my eye was a new collection of Higgins’ writing about intermedia serving as the centerpiece of a prominent display. Also placed so as not to be missed were large catalogs on Cage and Fluxus composer Tony Conrad exhibitions.

Then I was off to the Los Angeles County Museum of Art for a 6 p.m. premiere of Jennie MaryTai Liu’s “Living Female Respondent musical mayhem of artists who had a connection with Fluxus. One of the company’s music directors happened to be Japan’s leading Fluxus musician, violinist Takehisa Kosugi.

“Yakshi,” performed in a gallery of 17th to 19th century Korean art, involved Liu and another dancer, frog-like in green, often mirroring one another in a variety of crouched positions. A third dancer in white overalls tap-danced her way in and out of the gallery. Electronic drones were courtesy of Andrew Gilbert. The halfhour