With black-and-white photographs of performance pieces, and contributions from Howell, Diego Cortez, David Antin, Guerrilla Art Action Group, and Lucy Lippard.

Galleries and alternative art venues increasingly began to appear, and the neighborhood became the center of a blossoming downtown arts scene, situated among the vestiges of its industrial past. It had something of a samizdat quality, it was passed around—I don’t think Artforum ever saw it as competition but it was hot stuff.

Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. These artists’ issues were surely one model for Artforum’s artist’s project series the following decade; in February 1980, in fact, MacConnel redid his Art-Rite project in two spreads of Artforum, using a few of the same drawings, this time partly in color.

That leaves twenty percent unaccounted for—perhaps deAk and Robinson classed as “income” but considered it best not to mention the materials and machine time that Robinson purloined from his place of work.

She had something I was very sympathetic to: the enigmas of Eastern Europe, which at times mirror and superimpose on our own Irish enigmas. Perhaps the most impressive aspect of Art-Rite is that it was, in Robinson’s words, “always a side hustle, the kind of full-time hobby that only kids in their 20s can or would contemplate. The hand of the artist found its way into Art-Rite more often than not, even when the editors’ copy went unsigned.