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As Sharits declared:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I wish to abandon imitation and illusion and enter directly into the higher drama of: celluloid, two-dimensional strips; individual rectangular frames; the nature of sprockets and emulsion; projector operations; the three-dimensional light beam; environmental illumination; the two-dimensional reflective screen surface; the retinal screen, optic nerve and individual psycho-physical subjectivities of consciousness.\" (Sharits in his statement \u003c\/span\u003e\u003cspan\u003efor the Fourth International Experimental Film Festival in Knokke-le-Zoute, 1967\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis accordion-folded publication translates Sharits's aesthetic and theoretical investigations into montage into book form. 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Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened and the project wasn’t undertaken.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEhrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. 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These transgressive publications extend her performative scripts into the tactile and the “flippable”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInfluenced by Simone de Beauvoir’s feminist philosophy,\u003cem\u003e Parts of a Body House\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas developed through two distinct editorial iterations. An initial, condensed version appeared in 1970 in \u003cem\u003eFantastic Architecture\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e, published by Something Else Press, while a more expansive and materially textured version was published by Beau Geste Press in 1972.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRevolving around themes of gender, sexuality, and creativity, this mythopoetic feminist book assembles a profusion of original materials including: a comic strip derived from the artist's Fluxus Fluxorum performance, critical observations on Wilhelm Reich and Dusan Makavejev's soft-erotic film \u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eW.R.: Mysteries of the Organism\u003c\/em\u003e (1971), notes and drawings related to her \u003cem\u003ekinetic theater\u003c\/em\u003e works, and a manifesto-script for \u003cem\u003eParts of a Body House \u003c\/em\u003e(originally written in 1967). The book also incorporates traces of the body itself, including a tissue-paper insert blotted with menstrual blood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy anchoring female corporeality to the architectural metaphor of the house, Schneemann transforms the traditionally domestic space into a site of liberation. 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His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. Echoing Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of “Ulysses” take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. 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Developed in collaboration with Daniel Santiago, “Classified Magazine” was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). “Classified Magazine” brings together a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). 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