Andrew Wilson

@andrewgwilson.bsky.social

Art historian, curator, editor. Currently author/project editor Patrick Heron catalogue raisonné. Also writing about Gustav Metzger, Yoko Ono and others. Weeding, pruning, mowing, Cymru. https://britishartnetwork.org.uk/membership/members/andrew-wilson/

So, returning to M for Robert Morris, listed in the contents page and section page, of the 1963 first edition, but without any actual content - Morris having moved on from Maciunas and Fluxus. The Getty has a unique bound copy of the book including Morris's 1961 contributions, and here they are:

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A sunday intermission on diter rot's black page with holes. Apparently producing die-cut holes on black card was too expensive, so white card was used instead. For the 1970 reprint rot's contribution was retitled white page with holes (comma deleted). (Black card here from Moma Silverman collection)

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twenty-two is Emmett Williams I will reconvene next week with the final contributors, a revisit to Robert Morris and a few thoughts (...and if anyone is still interested I must think of my next favourite 60s book to treat in this way.)

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So, no. 17 is the Robert Morris title page. His contents were removed from the published version but his title page couldn't be, being on the other side of Richard Maxfield's final page. More about this later.

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