Delivered at Harvard in 1988-89 as the Charles Eliot Norton Lectures, were more like performances, as the audience heard them. Cage calls them “mesostics,” a literary form generated by chance (in this case computerized I-Ching chance) operations. Using the computer as an oracle in conjunction with a large source text, he happens upon ideas, which produce more ideas. Chance, and not Cage, makes the choices and central decisions. Such a form is rooted, Cage tells us in his introduction, in the belief that “all answers answer all questions.”

You can hear an audio recording of the lecture here.

*Please note this publication is secondhand and may have some traces of previous ownership.

John Cage (1912–1992) is routinely hailed as one of the most influential and generative artists of the 20th century, a creator of groundbreaking music compositions, artworks, and works of literature.

Includes two texts by John cage and the text On the Duty of Civil Disobedience by Henry David Thoreau.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of the exhibition The Clock Wife at A Tale of A Tub, Rotterdam, October 25, 2025 – January 25, 2026.

Accumulating over three months, The Clock Wife is an exhibition that focuses on artist estate management by presenting four estates through the eyes of the women overseeing them: Marja Bloem presenting her partner Seth Siegelaub; Sue Cramer and Emma Nixon presenting husband and father John Nixon; Johanna Monk presenting her beloved Vanita Monk; and Juf (Bea Ortega Botas and Leto Ybarra) presenting their peer Fran Herndon. At the core of the exhibition is the conflation of administrative and emotional labour inherent to this line of work. Yet an exhibition built around an acknowledgement of the invisibility of certain forms of labour—and an attempt to centre them in turn—has a paradox at heart: how do you make visible that which is not seen?

More information on the exhibition can be found here.

Designed by Maud Vervenne.

Produced on the occasion Vaginal Davis’s exhibition at Gropius Bau, Berlin, in 2025.

The artist Vaginal Davis certainly moves on dangerous ground with her transgressive shuffling of gender and genre boundaries. The self-described “sexual repulsive” co-founded several art/punk bands in her expansive 40-year-plus career, namely Afro Sisters, ¡Cholita!, Pedro, Muriel & Esther (PME), black fag and Tenderloin. As a writer and “Whoracle et Delphi”, Ms. Davis turns her quirky hairy eyeball to the collective practice of making music in the saucy underground scenes of Los Angeles and Berlin.

Produced on the occasion of the exhibition Op Losse Schroeven: Situaties en Cryptostructuren, 1969, a groundbreaking exhibition organized by Wim Beeren that is still considered one of the most innovative surveys of new art from that decade. Including the artists Giovanni Anselmo, Walter De Maria, Robert Morris, Robert Smithson, Richard Serra, Neil Jenney, Michael Heizer, Ben d’Armagnac, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Gerrit Dekker, Jan Dibbets, Ger van Elk, Pieter Engels, Barry Flanagan, Bernhard Höke, Paolo Icaro, Immo Jalass, Olle Kåks, Hans Koetsier, Roelof Louw, Bruce McLean, Mario & Marisa Merz, Bruce Nauman, Panamarenko, Emilio Prini, Bob Ryman, Richard Serra, Robert Smithson, Keith Sonnier, Lawrence Weiner, Gilberto Zorio, Joseph Beuys, Douglas Huebler, Rafael Ferrer, Gianni Emilio Simonetti, Frank Viner Engels, Roelof Louw, Bruce McLean, Panamarenko, Emilio Prini, Gerrit Dekker, Hans Koetsier.

Designed by Wim Crouwel & Jolijn van de Wouw. SM Cat no.457

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of stanley brouwn’s exhibition at Van Abbemuseum, Eindhoven, 22 January–April 4, 2005.

*Please note this publication is secondhand and may have some traces of previous ownership and address sticker has been altered in documentation.