Abstract: The research subject is the anti-music nature of the Fluxus band’s art projects. The author studies the works of one of the founders and members of the band - American artist Benjamin Patterson. The author demonstrates the specificity of the process of appearance of a pragmatist performance genre out of the musical works of the artist. The article studies the transformation of a concert as a classic way of performing musical works into an anti-concert and then - into a performance. The author considers esthetic prerequisites of these processes in music phenomena of the mid-20th century similar to the Fluxus. Special attention is given to the study of implementation of these phenomena in the first public performance of Fluxus - Wiesbaden concert - and Patterson’s role in its organization. The research is based on the consideration of concert, anti-concert and performances documentation and recollections of the participants. On the base of these materials, the author conducts genre and style analysis of the main forms of artistic activity within anti-music. The author formulates the vision of anti-music nature of Fluxus-movement which in its formation harks back to the classical concert form. The author outlines the key stages of the fluxus-movement evolution from a concert to a performance. The author analyzes the first fluxus concert, Patterson’s role and participation in the formation of the movement, and concludes about genre and style peculiarities of such forms of fluxus art as concert and performance.