The article takes the German philosopher Ludwig Wittgenstein's Tractatus Logico-Philosophicus as its point of departure, and especially the claim that what characterises an object is its ability to connect to other objects. The connections that are discussed in the article are first and foremost the ones that Bjørn Nørgaard creates in his works, but also his connections to the Danish art world in the 1960s, his international contacts and the characteristics that connect him to other contemporaries who he did not necessarily knew personally. The text is built up around three pivotal events: Joseph Bueys' action Manresa (Galerie Schmela, Düsseldorf, 15 December 1966), that Nørgaard participated in together with the Danish composer Henning Christiansen, the Danish Eks-skole's performance of the American composer La Monte Young's Poem for Tables, Chairs, Benches, Etc. during a performance by the American dancer/choreographer Yvonne Rainer and the American choreographer/visual artist Robert Morris (Odd Fellow Palace, Copenhagen, 7 September 1965) and Nørgaard's own action Hesteofringen ("The Horse Sacrifice") in Kirke Hyllinge, Denmark, on 30 January 1970.