Performance art is solidly rooted in the “Hier und Jetzt” asserted by Walter Benjamin as the only remaining con-dition for the Aura. But, as Philip Auslander observes, every performance is always already mediatized in one way or an-other, and still we experience its authenticity. In my paper, I will argue that mediatization seems to be a (necessary) condition for authenticity, in a discussion of the Swedish artist Öyvind Fahlström’s (1928–76) performance Kisses Sweeter than Wine(1966). In 1953, Fahlström wrote the world’s first manifesto for concrete poetry, inspired by Pierre Schaeffer’s musique concrète. In the mid 1950s he turned to the visual arts,and later he wrote radio plays, directed movies and arranged per-formances and happenings. He moved to New York in 1961 and joined the international neo-avant-gardes there. In his use of new technology and different broadcasting media, Fahlström was a forerunner for media art, and the intermedial intricacy can be fully understood and discussed only in our own infor-mation age. His, and other similar, experiments in the 1960s are important links in the genealogy of today’s networked, global, and multiscreen world, since they constitute early con-fluences of cybernetics, art, and media. This is best seen in his performance, which was part of 9 Evenings. Theatre and Engi-neeringarranged by Experiments in Art and Technology (E.A.T.) at the 69th Regiment Armory in New York in 1966. He mixed performance on stage with a plethora of mediatized events, but still his art retained its essential authenticity.