José Luis Castillejo | The plane crashed into vacant land

José Luis Castillejo

La caída del avión en el terreno baldío

Madrid, Spain: Artes Gráficas Luis Pérez, 1967

[88] pp., 29 x 22 cm., boxed loose leaves

Edition of 500 signed and dated copies

Originally offered for ten dollars (as the above announcement states), the zaj publication La caída del avión en el terreno baldío (or The plane crashed into vacant land) is now valued at between three and five hundred dollars. 

Fluxus and Friends

Estera Milman

Fluxus and Friends

Iowa City, USA: The University of Iowa Museum of Art, 1988

8 pp., 18 x 27 cm., staplebound

Edition size unknown

A slim oblong brochure for the exhibition Fluxus and Friends: Selections from the Alternative Traditions in the Contemporary Arts Collection, which took place between January and March of 1988 at the The University of Iowa Museum of Art.

The publication includes a text by curator Estera Milman (who also curated Fluxus: A Conceptual Country and guest-edited the Visible Language issue of the same name), an exhibition checklist and illustrations of work by Geoffrey Hendricks, George Maciunas, and Ben Vautier.

"In her Sunday, June 16, 1968, article for the New York Times, critic Grace Glueck reviewed the Flux Year Box 2, a wooden multiple containing samplings of miniature works by many Fluxus participants of that period. After describing its contents and listing its contributors, she wrote: "Flux Year Box 2 is produced by Fluxus, a loose knit collective of Happeners, Eventists, and way out musicians organized -no disorganized - in 1961 by George Maciunas. Though Fluxus's membership fluxuates [sic], it goes on dauntlessly producing fluxfests, fluxfilms, fluxgags and fluxbooks." Since this definition was offered, Fluxus has been described as a kind of alchemy, an international tendency, fusion or crossover, a transformation of life into art, a living collage, and a way of life. That the phenomenon appears to resist definition is based, in part, on the fact that Fluxus changed its public face to suit its intentions, its specific context, and the purposes of its many diverse practitioners.”

- Estera Milman

John Cage | A Year From Monday

John Cage

A Year From Monday

Middletown, USA: Wesleyan University Press, 1967

23 x 20.3 cm., hardcover

Edition size unknown

Subtitled New Lectures and Writings, A Year from Monday is John Cage’s second book, following the 1961 release Silence (also published by the Wesleyan University Press). The volume is a collection of essays, lectures and journal entries from 1961 to 1967. It includes an early version of "Diary: How to Improve the World (you will only make matters worse)”, which was later republished by The Something Else Press and, posthumously, expanded into a full book by Siglio Press. 

The book also features texts about several of Cage’s contemporaries, including "26 Statements Re Duchamp" (1963),  "Jasper Johns: Stories and Ideas" (1964), "Miró in Third Person: 8 Statements" (1967), and "Nam June Paik: A Diary" (1965). 

"Daniel Charles: Well, where did the title of your second book, A Year from Monday, come from?

John Cage: From a plan a group of friends and I made to meet each other again in Mexico 'a year from next Monday’. We were together on a Saturday. And we were never able to fulfil that plan. It’s a form of silence ...

Daniel Charles: Is your second book very different from the first one?

John Cage: It deals in particular with change. Consequently, it touches on plans. Or at least, it englobes something in the future - keeping the future in sight. Frankly, when I thought of the title, I wasn’t being pessimistic, contrary to what you might be led to think from what I’m saying. The very fact that our plan failed, the fact that we were unable to meet does not mean that anything failed. The plan wasn’t a failure.”

- For The Birds

Dust Out Of Brain

Henning Christiansen / Ben Patterson / David Moss

Dust Out Of Brain

Frankfurt, Germany: Museum Für Moderne Kunst, 1993

Audio CD, 60'57’'

Edition size unknown

A single track CD ( 60'57’’, recorded in Hamburg in 1993) housed in a plastic wallet tied with a wool. 

The regular edition uses green thread and Christiansen's "Save the Nature - use Fluxus” is rubber-stamped on the back. The signed edition uses white thread, and features a collaged addition (rubber-stamped and signed "Henning Christiansen 95") on the front, and handwritten number and notes on back. 

Henning Christiansen and Ben Patterson were both members of Fluxus. David Moss is an American percussionist, born in New York City in 1949.

The title reportedly refers to cannabis use. 

Al Hansen | Andy Warhol Box

Al Hansen

Andy Warhol Box (Drei Attentat Bilder)

Cologne, Germany: Hundertmark Editions, 1986

16.5 × 22.5 × 1.5 cm.

Edition of 30 signed, dated and numbered copies

On June 3rd, 1968, Gerard Malanga, Al Hansen and three others visited Andy Warhol’s Factory, to pick up a cheque. 

"The [elevator] door opened on madness," recalled Hansen. "Mario Amaya jumping around, blood all over the back of his shirt. He presents his bloody back to me, asking over his shoulder, 'Is it in me, is it in me?' Someone's legs sticking out from behind the far desk. Jed is kneeling, holding the someone's hand, tears in his eyes.” 

“Who’s the other one?” Hansen asked. It was Warhol, who had been shot with a 32-caliber pistol at close range, by Valerie Solanas, who Malanga and Hansen had missed by a matter of minutes. 

Earlier in the year, Solanas was attempting to have her book SCUM Manifesto published, and her script Up Your Ass produced. She presented the latter to Warhol to read, who feared it was entrapment: 

"In fact, when we'd gone to Cannes with Chelsea Girls the year before and I'd given that interview to Cahiers du Cinéma, it was Valerie Solanis [sic] I was referring to when I said, "People try to trap us sometimes. A girl called up and offered me a film script . . . and I thought the title was so wonderful, and I'm generally so friendly that I invited her to come over with it, but it was so dirty I think she must have been a lady cop. . . .”

Solanas returned to the Factory to retrieve the script, believing that Warhol was plotting with her publisher, Maurice Girodias, to prevent it from being published. Warhol had apparently misplaced it. 

Solanas was subsequently diagnosed with paranoid schizophrenia and sentenced to three years in prison.

This boxed work (the 110th edition by Armin Hundertmark) was published a few months before Warhol died in February of 1987. It features an original ballpoint pen drawings, handwritten text, three photocopies of watercolors and a watercolor title page, housed in a paperboard box. 

Eduard Escoffet | Untitled

Eduard Escoffet

Untitled

Barcelona, Spain: Self-published, 

16 x 8 x 8 cm.

Edition size unknown

Eduard Escoffet (Barcelona, 1979) identifies as a poet, but has reportedly become disillusioned with books. Biographies also list him as a sound artist and "cultural agitator”. 

I know very little about this work, other than the materials are "Light bulb, matches, metal chain and plug”, which is clear from the photographs. It has been listed at auction on several occasions, never selling. 

Eleonora Marton | One Minute Clock Drawings

Eleonora Marton

One Minute Clock Drawings

London, UK: Self-published, 2022

368 pp., 10.5 x 14.8 cm., softcover

Edition size unknown

"Every day between March 2020 and March 2021, I made a drawing of a clock marking the minute it took to depict it. The 365 drawings I made over the course of that year are reproduced in this book.”

- Eleonora Marton

Available directly from the artist, here, or from Goodpress, here, for £15.00.

Dick Higgins

Google translated from Italian: 

"Thursday 25 September 2025 5:00 pm University Library of Genoa Presentation of the book "Dick Higgins. Intermedia and other theoretical writings" Edi. Abscondita Caterina Gualco talks with the author: Patrizio Peterlini”

Lawrence Weiner | A PRIMER

Lawrence Weiner

A PRIMER

Kassel, Germany: Documenta, 1972

[84] pp., 14.5 x 10.5 cm., softcover

Edition of 2000

Lawrence Weiner’s 8th publication was produced in conjunction with the 1972 instalment of Documenta, curated by Harald Szeeman. Text in English and German.

Shrig Shop

"Shrig Shop will donate the proceeds from a week’s online sales to @doctorswithoutborders, an organisation that brings medical humanitarian assistance to victims of conflict, natural disasters, epidemics and healthcare exclusion.

We will donate the proceeds from all sales made from today until Thursday 25 September, 23:59 CEST. Please give generously and thank you for your support 🙏”

Geoffrey Hendricks | Flux Divorce Box

Geoffrey Hendricks

Flux Divorce Box

New York City, USA: Fluxus, 1973

11 × 51 × 37 cm.

Edition size unknown

Ten years into their marriage, Geoff and Bici Hendricks mutually revealed to each other that they were gay, and separated. They remained close friends, and Bici Forbes Hendricks changed their name to Nye Ffarrabas. 

Flux Divorce Box documents the couple’s joyous divorce.  All of their shared belongings were ceremouneously sliced in two. Items from their decade-long marriage - including documents, clothing, a love seat, and their marital bed - were cut in half with scissors, a paper cutter, an ax, and a power saw.

Housed in a box crafted by a woodworking graduate student, Flux Divorce Box includes "Our Flux Divorce" which resembles a wedding album bisected horizontally. Fragments of coats, barbed wire, plastic, correspondence cut in half, and half of a wedding announcement are also included. 

The documentation of the performative event is by Fluxus photographer Peter Moore. The work was distributed through Fluxus newsletters and price lists (initially offered for $300), and George Maciunas assisted with the design. His invitation to the couple’s divorce features a graphic that had previously been used on Ken Friedman’s Flux Corsage, from 1968. It too is sliced in half. 

When Maciunas married in 1978, Hendricks officiated (in a clerical robe) and the event can almost be viewed as the inversion of his divorce. Hendricks told Lars Movin "Early in 1978 while George Maciunas was battling terminal cancer, he said to me "Geoff, we had your "Flux Divorce", we should also have a "Flux Wedding". He wanted to have a Flux Wedding with Billie Hutching, who he was with, and he wanted me to be 'minister’."

I visited Hendricks’ home in the nineties and he showed me this extraordinary work. I asked how many were produced and he replied “ Not a lot. They were all hand done. There's one in the Silverman collection, there's one in the Jean Brown collection that's now in the Getty. Francesco Conz has one, Barbara Moore. Not many more than that.”

I recall him showing me images of the Maciunas wedding, including one of a chair that had been sliced in half and then tied back together again, reinforcing the idea of marriage as an inverse to a divorce. 

The above copy of Flux Divorce Box is from the Conz collection, and differs in size slightly from the one that MoMA acquired (the dimensions of which are listed as 39.7 x 50.6 x 10.5 cm., see below). 

From an Oral history interview with Geoffrey Hendricks, 2016 August 17-18:

GEOFFREY HENDRICKS: With our 10th wedding anniversary coming along, it was like, How do we celebrate it? Because we were both, you know, queer and involved with others, and I just sort of tossed out the idea, what about a Flux-divorce? And it sort of resonated, and I said, "Let me talk to George Maciunas." And so I talked to George. He was absolutely thrilled and so he did a lot of the orchestrating of it, and figuring out how to divide up the house with a wall of cardboard boxes to separate one half of the room. For another, barbed wire between the living room and the kitchen island in the middle of the—before the dining room.

[...]

And then upstairs in the bedroom, we had a division of property and with a paper cutter, we cut our wedding document in half, the wedding invitation, some correspondence that was sort of symbolic. And then with, I guess, a utility knife, cut the mattress in half with scissors and ripped the sheets in half. And then I had this circular saw and cut the wooden platform of the bed in half. And there was a wicker loveseat that I chopped in half. So this was the division of property and we tore our wedding garments in half.

LINDA YABLONSKY: Was this documented?

GEOFFREY HENDRICKS: There's some documentation of it.

LINDA YABLONSKY: Photographs or video?

GEOFFREY HENDRICKS: Yeah, Peter Moore took photographs. And there are maybe some others. I don't know that there's video, but then I made a Flux–Divorce Box so that I have this as an object. And there are copies of it in, I guess, in MoMA and the Getty and the Sohm [Archive] collection in Stuttgart, and sort of, you know, there may be half a dozen key Fluxus collection series.

LINDA YABLONSKY: It sounds like it sets quite a precedent for Gordon Matta-Clark.

GEOFFREY HENDRICKS: [Laughs.] Yeah, right, well—

LINDA YABLONSKY: Remember he split the house—

GEOFFREY HENDRICKS: Oh, yeah, no, I know.