Maciunas ' original plan had been to design, edit and pay for each edition himself, in exchange for the copyright to be held by the collective.

After the death of George Maciunas in 1978 a rift opened in the movement between a few collectors and curators who placed Fluxus in a specific time frame ( 1962 to 1978 ), and the artists themselves, many of whom continued to see Fluxus as a living entity held together by its core values and world view.

Maciunas ’ work has been exhibited in many of the major museums around the world with archives held in The Whitney Museum of American Art, The Walker Art Center in Minneapolis, The Getty Research Institute, and Staatsgalerie Stuttgart.

The Maya Stendhal Gallery located in Chelsea has held multiple exhibitions devoted to the legacy and work of George Maciunas.

In 2008, the gallery held an exhibition devoted to Maciunas ’ architectural projects, in particular, a utopian housing structure Maciunas drafted in the late fifties and early sixties, entitled " George Maciunas: Prefabricated Building Systems.

Kaplan Foundation and the National Foundation for the Arts, Maciunas began buying several loft buildings from closing manufacturing companies in 1966.

Deploying his expertise as a professional graphic designer, Maciunas played an important role in projecting upon Fluxus whatever coherence it would later seem to have had.

His father, Alexander M Maciunas, was a Lithuanian architect and engineer who had trained in Berlin, and his mother, Leokadija, was a Russian-born dancer from Tiflis affiliated with the Lithuanian National Opera and, later, Aleksandr Kerensky's private secretary, helping him complete his memoirs.

The American musician and artist La Monte Young had been asked to guest-edit an issue of a literary journal, Beatitude East, and asked George Maciunas, a trained graphic designer, for help with the layout ; Maciunas supplied the paper, design, and some money for publishing of the anthology, which contained a more or less arbitrary association of New York avant-garde artists at that time.

To avoid debt collectors, Maciunas took a job as a civilian graphic designer at a U. S. Air Force base in Wiesbaden, Germany in late 1961.

Maciunas, a trained graphic designer, was responsible for the memorable packaging of fluxus objects, posters and newspapers, helping to give the movement a sense of unity that the artists themselves often denied.

It was partly a problem of packaging, though Maciunas was a very good graphic designer for whom no detail was too small to be worried over.

Young, a musician who had arrived in New York September 1960, had been asked to guest edit a special edition of Beatitude East on avant-garde art, which evolved into the seminal compendium, An Anthology Of Chance ( see ) Brecht was the first artist listed in the compendium ; the graphic designer and publisher of the book was George Maciunas, who had been attending the same music classes, although by now they were being given by Richard Maxfield.

During her career, Ono has collaborated with a diverse group of artists and musicians including John Lennon, Eric Clapton, Klaus Voormann, Cornelius ( Keigo Oyamada, Naoki Shimizu and Yoko Araki ), Frank Zappa, Sean Lennon, Yuka Honda, Jim Keltner, Earl Slick, Peaches, John Cage, David Tudor, George Maciunas, Ornette Coleman, Charlotte Moorman, George Brecht, Jackson Mac Low, Jonas Mekas, Fred DeAsis, Yvonne Rainer, La Monte Young, Richard Maxfield, Zbigniew Rybczyński, Yo La Tengo, and Andy Warhol ( in 1987 Ono was one of the speakers at Warhol's funeral ).

These classes – later taught by Richard Maxfield – were attended by many artists and musicians who would become involved in Fluxus, including Jackson Mac Low, La Monte Young, George Brecht, Dick Higgins and George Maciunas.

With the help of a group of artists including Joseph Beuys and Wolf Vostell, Maciunas then organised a series of Fluxfests across Western Europe.

In 1960, whilst attending composition classes of the electronic composer Richard Maxfield at the New School for Social Research in New York, Maciunas met many of the future participants of Fluxus, including La Monte Young, Al Hansen, Allan Kaprow, & Jackson Mac Low.

The center's inaugural exhibition examined the lives and work of prominent figures within the history of the avant-garde, including George Maciunas.

After his contract with the US Air Force was terminated due to ill health, Maciunas was forced to return to the US on September 3, 1963.

Along with the New York shop, Maciunas built up a distribution network for the new art across Europe and later outlets in California and Japan.

Growing out of John Cage's Experimental Composition classes from 1957 to 1959 at the New School for Social Research, Fluxus was a loose collective of artists from North America and Europe that centred around George Maciunas ( 1931 – 78 ), who was born in Lithuania.

Fluxus was named and loosely organized in 1962 by George Maciunas ( 1931 – 78 ), a Lithuanian-born American artist.

By the end of 1961 before An Anthology of Chance Operations was completed ( it was finally published in 1963 by Mac Low and Young ), Maciunas had moved to Germany to escape his creditors.

Maciunas first publically coined the term Fluxus ( meaning ' to flow ') in a ' brochure prospectus ' that he distributed to the audience at a festival he had organized, called Aprés Cage ; Kleinen Sommerfest ( After Cage ; a Small Summer Festival ), in Wuppertal, West Germany, June 9, 1962.

Fluxus was named and loosely organized in 1962 by George Maciunas ( 1931-78 ), a Lithuanian-born American artist.

Then he set up the “ Free Community of the Global City of Peace and Pleasure ” ( 1967-8 ), and the “ Maciunas Ensemble ” ( 1968 -), and from 1980 until 2001 he founded and directed the aforementioned Het Apollohuis, in Eindhoven.

In 1963, Maciunas composed the first Fluxus Manifesto, ( see above ), which called upon its readers to:

' This work would become Valoche ( see ), the last Fluxus multiple that George Maciunas, the ' Chairman ' of Fluxus, would work on before his death 19 years later.

Associated in various ways with New Realism, the artists of the international Fluxus movement – named and loosely organized in 1962 by George Maciunas ( 1931 – 78 ), a Lithuanian-born American artist – encouraged a do it yourself aesthetic, and valued simplicity over complexity.

Fluxus founder George Maciunas, a friend of Ono's during the 1960s, admired her work and promoted it with enthusiasm.

Maciunas invited Ono to join the Fluxus group, but she declined because she wanted to remain an independent artist.

" Her circle of friends in the New York art world has included Kate Millett, Nam June Paik, Dan Richter, Jonas Mekas, Merce Cunningham, Judith Malina, Erica Abeel, Fred DeAsis, Peggy Guggenheim, Betty Rollin, Shusaku Arakawa, Adrian Morris, Stefan Wolpe, Keith Haring, and Andy Warhol, as well as Maciunas and Young.

" The Fluxus movement ... developed its ‘ anti-art ’, anti-commercial aesthetics under the leadership of George Maciunas.

Flux Year Box 2, c. 1967, a Flux box edited and produced by George Maciunas, containing works by many early Fluxus artists.

After having fled Lithuania at the end of World War II, his family had moved to New York, where Maciunas first came into contact with a group of avant-garde artists and musicians centered around John Cage and La Monte Young.

The score – which asks for any number of performers to, among other things, “ play ”, “ pluck or tap ”, “ scratch or rub ”, “ drop objects ” on, “ act on strings with ”, “ strike soundboard, pins, lid or drag various kinds of objects across them ” and “ act in any way on underside of piano ” – resulted in the total destruction of a piano when performed by Maciunas, Higgins and others at Wiesbaden.

At the same time, Maciunas used his connections at work to start printing cheap mass produced books and multiples by some of the artists that were involved in the performances.

Water Yam, a series of event scores printed on small sheets of card and collected together in a cardboard box, was the first in a series of artworks that Maciunas printed that became known as Fluxkits.

By April, 1964, almost a year later, Maciunas still had 996 copies unsold.

" Maciunas seemed to have a fantastic ability to get things done .... if you had things to be printed he could get them printed.

So there was this guy Maciunas, a Lithuanian or Bulgarian, or somehow a refugee or whatever — beautifully dressed —" astonishing looking " would be a better adjective.

Since Maciunas was colorblind, Fluxus multiples were almost always black and white.

With photographs taken by Maciunas himself, pieces by Ben Vautier, Alison Knowles and Takehisha Kosugi were performed in the street for free, although in practice there was ' no audience to speak of ' anyway.

" Instead, these artists found themselves " preferring streets, homes, and railway stations ...." Maciunas recognized a radical political potential in all this forthrightly anti-institutional production, which was an important source for his own deep commitment to it.