The quixotic journey of Nam June Paik, one of the most famous Asian artists of the 20th century, who revolutionized the use of technology as an artistic canvas and prophesied both the fascist tendencies and intercultural understanding that would arise from the interconnected metaverse of today's world.

The life and work of Fluxus artist George Maciunas as seen in clips filmed between 1952 and 1978.

In his latest film, Mekas shares what he describes as “a valentine to Yoko Ono,” done in his signature diaristic style. Mixing the familiar 16mm film with DV video, he offers a fly-on-the-wall look at intimate moments spent with one of the foremost artists of that era, including performances by Ono and new footage of her recent work—a testament to her endurance and the friendships she has made and kept over the years.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

A depressed woman, Barbara, is on the verge of suicide while a man she meets in a church and a married couple try to convince her that life is worth living.

In 1961 Lithuanian American artist and impresario George Maciunas established the avant-garde art movement Fluxus. George details the rise of Fluxus following a sensationalized tour of “concerts” in Europe in 1962, and continuing in New York for most of the 1960s and ’70s. During this time Maciunas was converting the dying industrial buildings of Soho into a network of artists’ lofts, creating one of the first official real estate co-ops of artist-owned buildings. Maciunas’s life and legacy—as recounted by artists of his generation, including Yoko Ono and Jonas Mekas—ignited debates that remain pivotal to artists working today.

A casual, personal portrait of Hermann Nitsch, made with footage I took over the many years of our friendship. Footage includes early performances in New York, images of Hermann shortly after the acquisition of the Prinzendorf monastery, which since has become his main space of activity. You also see Hermann with his Vienna, New York, and Napoli friends, Peter Kubelka, Raimund Abraham, Gunther Brus, George Maciunas, Giuseppe Morra, and others.

On October 9th, 1972 an exhibition of John Lennon/Yoko Ono's art, designed by the Master of the Fluxus movement, George Maciunas, opened at the Syracuse Museum of Art, in New York. On the same day an unusual group of John's and Yoko's friends, including Ringo, Allen Ginsberg, Paul Krasner, and many others, gathered to celebrate John's birthday. This film is a visual and audio record of that event.

On March 24, 1979, The Kitchen presented a two-part program dedicated to the work of various Fluxus artists. The programming began with the premiere of Alison Knowles’s “Natural Assemblages and the True Crow.” For the piece, Knowles engaged in a dialogue with her own taped voice, which read aloud selections from various natural history books. Simultaneously, violinist Michael Goldstein provided an improvised score while dancer Jessie Higgins executed a number of one-movement phrases by following instructions on index cards. The second part of the night’s programming consisted of forty rapid performances—most sixty seconds or less—by various Fluxus members, including Yoko Ono, George Brecht, La Monte Young, and Nam June Paik. Ken Friedman and Larry Miller coordinated this portion of the event.

Consists of images of the Andy Warhol show at the Whitney Museum in May of 1971. It also includes a George Maciunas dumpling party on 80 Wooster Street, Soho, on June 29, 1971. George Maciunas, Andy Warhol, John Lennon, and Yoko Ono are pictured.

Feature-length compilation program presenting 37 out of 41 original fluxfilms produced and directed in the 1960s by Fluxus artists, including George Maciunas, Nam June Paik, Yoko Ono, Robert Watts, Paul Sharits, et al.

Numerals on clear film from 1 to 1000."

Word & number gag, no camera.

Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10

Artype patterns, intended for loops. Benday dot patterns. Dots, lines. Screens, wavy lines, parallel lines, etc. on clear film. No camera.

"12! BIG NAMES!" was a critique of his [George’s] colleague artists whom he considered as becoming more interested in building up their names than their art … During the first projection of the slides, which took place in l974, at the 80 Wooster Street Cinematheque, I was asked by George to keep each slide on the screen for three minutes.The first projection was silent, except for the exuberant reactions of the audience which were recorded by Larry Miller and run during some of the following projections as a soundtrack. - Jonas Mekas