This chapter traces the emergence and internationalisation of the 'art of action' in Great Britain, positioning it within broader geopolitical, pedagogical, and aesthetic frameworks. Drawing on what the authors describe as a 'chronogeographic' approach, the chapter analyses key events—including the Destruction in Art Symposium (DIAS), Strategy: Get Arts, and Fluxshoe—as formative nodes in a network of artistic encounters and exchanges that defined the emergence of the field. The chapter engages critically with the complex intersections between action, artefact, documentation, and pedagogy to emphasise this practice's hybrid and transgressive nature. It highlights the significance of artists such as Gustav Metzger, Joseph Beuys, and Alastair MacLennan, and explores tensions around institutionalisation, curatorial reinterpretation, and the commodification of ephemeral work. Ultimately, the essay argues for a reconsideration of how authenticity, memory, and dissent are negotiated in both historical and contemporary expressions of performance art in Britain.