Each spring dada is reborn in New York City
From a biography of Ray Johnson at http://www.rayjohnsonestate.com/
As his contemporaries became famous, Johnson receded from view, cultivating his role as outsider while maintaining his profile by communicating via mail art and the telephone. He parodied celebrity in performances, fake openings, photocopy-machine art, lists of famous names next to obscure names, and rubber-stamped signatures such as "Collage by Joseph Cornell," or "Collage by Sherrie Levine." Johnson, referring to himself as a "mysterious and secret organization," achieved legendary status as the conscience of artists. This underground reputation prospered well into the 1980’s, despite his general absence from the scene, and the gallery-going public’s sketchy notions of his output.
Johnson’s suicide became the first opportunity to examine his work of the previous fifty years. Stored in an eerie construction of boxes inside his house, the work was as precisely stacked as a large three-dimensional collage. With the help of Frances Beatty, Vice-President of Richard L. Feigen & Co., filmmakers Andrew Moore and John Walter spent the next six years probing the mysteries of Johnson’s life and art. Their collaboration yielded the award-winning documentary, How To Draw a Bunny, released in 2003. The film examines Johnson’s life, art, and ambivalent attitude toward fame.
The very first post on The Fluxus Blog said that Fluxus arrived in America in 1962. While 1962 may have been the year of the first Fluxus exhibition in America, Fluxus was happening in New York in the 1950s.
In the years 1957 to 1959 John Cage was teaching a music composition course which was attended by many of the early Fluxus activists, including Dick Higgins, George Brecht and Al Hansen. This was also where and when Allan Kaprow first conceived of, and exhibited his happenings, and other Fluxus artists were creating art and music events and were producuing the scores to performing the events.