Editing Fluxus (section)

===Objects blurring boundaries===
As Fluxus gradually became more famous, Maciunas' ambitions for the sale of cheap multiples grew. The second flux-anthology, the ''Fluxkit'' (late 1964),<ref>{{Cite web |url=http://www.moma.org/interactives/exhibitions/2011/fluxus_editions/works/fluxkit/ |title=Fluxkit, MoMA |access-date=4 July 2012 |archive-date=17 May 2012 |archive-url=https://web.archive.org/web/20120517191326/http://www.moma.org/interactives/exhibitions/2011/fluxus_editions/works/fluxkit/ |url-status=live }}</ref> collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly from Duchamp's ''Boite en Valise''{{sfn|Hendricks|1988|p=76}}<ref name="MoMA, Interactive">{{Cite web |url=http://www.moma.org/interactives/exhibitions/1999/muse/artist_pages/duchamp_boite.html |title=MoMA, Interactive exhibitions |access-date=28 June 2012 |archive-date=4 September 2012 |archive-url=https://web.archive.org/web/20120904044659/http://www.moma.org/interactives/exhibitions/1999/muse/artist_pages/duchamp_boite.html |url-status=live }}</ref> Within a year, plans for a new anthology, ''Fluxus 2'', were in full swing to contain Flux films by [[John Cage]] and Yoko Ono (with hand held projectors provided), disrupted matchboxes and postcards by Ben Vautier, plastic food by [[Claes Oldenburg]], FluxMedicine by [[Shigeko Kubota]] (containing empty pill packages), and artworks made of rocks, ink stamps, outdated travel tickets, undoable puzzles and a machine to facilitate humming.{{sfn|Hendricks|1988|p=124}}

Maciunas' belief in the collective extended to authorship; a number of pieces from this period were anonymous, mis-attributed, or have had their authorship since questioned.<ref>Yoko Ono, for instance, has claimed authorship of Mieko Shiomi's Disappearing Music For Face (aka Smile) for instance.</ref> As a further complication, Maciunas was in the habit of dramatically changing ideas submitted by various artists before he put the works into production.
''Solid Plastic in Plastic Box'', credited to [[Per Kirkeby]] 1967, for instance, had originally been realised by Kirkeby as a metal box, inscribed 'This Box Contains Wood'. When opened, the box would be found to contain sawdust. By the time the multiple had been manufactured by Maciunas, it was a block of solid plastic contained in a plastic box of the same color.<ref name="MoMA, Interactive" /> Conversely, Maciunas assigned ''Degree Face Clock'', in which a clock face is measured out in 360°, to Kirkeby despite being an idea by [[Robert Watts (artist)|Robert Watts]];{{sfn|Hendricks|1988|p=290}}
<blockquote>Some years ago, when I spoke with Robert Watts about ''Degree Face Clock'' and ''Compass Face Clock'', he had recalled thinking up the idea himself and was surprised that George Maciunas advertised them as Per Kirkeby's. Watts shrugged and said that was the way George worked. There would be ideas in the air and Maciunas would assign the piece to one artist or another.{{sfn|Hendricks|1988|p=291}}</blockquote>
Other tactics from this time included Maciunas buying large amounts of plastic boxes wholesale, and handing them out to artists with the simple request to turn them into Fluxkits, and the use of the rapidly growing international network of artists to contribute items needed to complete works. Robert Watts' ''Fluxatlas'', 1973, for instance, contains small rocks sent by members of the group from around the world.<ref>"All contributors will receive a box in return..." {{harvnb|Hendricks|1988|p=542}}</ref>