Joseph Beuys was captivated by Eurasia, the vast expanse connecting East and West. Through drawings, sculptures, installations, performances, films and multiples, Beuys sought to imagine the fluid contours of Eurasia, a space built upon history and myths yet firmly grounded in the present.The exhibition, Joseph Beuys: Greetings from the Eurasian - and this accompanying publication - seek simultaneously to consider Beuys' activities in Antwerp during the 1960s and '70s, alongside considering his relevance to a new generation.This book takes Beuys' 1968 Eurasienstab action, performed with Henning Christiansen at the Wide White Space Gallery in Antwerp, as a starting point for a reflection on territories, real and imagined. It is through Beuys' connections to the Wide White Space that he first met fellow artists Marcel Broodthaers and James Lee Byars.Beuys worked in a way that was contrary to the logic and hegemony of Modernism. He was in a sense the embodiment of the anti-Modern. Beuys' use of the notion of 'Eurasia' was part of his Anti-Modern sentiment, looking away from the grand-narrative and hegemony of the 'West', and towards a vision of affinity with the 'East', to the point of even removing such distinctions.It was a vision that was more attuned to cultural depth, mysticism and to nature. This was also echoed in his political engagement, with an approach to politics though a belief in discursivity, latent energy and direct action.Published on the occasion of the exhibition, Joseph Beuys: Greetings from the Eurasian at M HKA, Antwerp (13 October 2017 - 21 January 2018).