New York's outrageous good fortune.
Nos. 1-8, (all published). December 9, 1960 - June 14, 1962. Unbound, as issued; endemic browning, but altogether in good condition. (No. 1 is 4 pp. on off-white paper, 35.5 x 28.1 cm; nos. 2-8 are 8 pp. each on pale gray paper with page size 30.5 x 22.9 cm,folded in quarters from sheets about 61 x 46 cm). In each issue a few illustrations. Added is a printed brown paper (mailing) envelope for the whole set that could well be the only one still extant. (The envelope lacks its flap and was opened roughly on one side with consequent tears and creases repaired with tape).
Edited by Anita Ventura (critic and painter, designer of posters for Leo Castelli Gallery) and Sidney Geist (sculptor). (also as: the New York Sunday supplement, subtitle varies). Featuring and illustrating work of Brancusi, Matsumi Kamemitsu, Resnik Reinhardt, Mark Rothko, Cajori, Tom Doyle, Yves Klein, Milton Resnick, Arshile Gorky, Franz Kline, etc. No. 2 has excerpts from a WBAI interview with the editors, "Scrap's First Tape" [a pun on Samuel Beckett's great monologue "Krapp's Last Tape"]. In no. 3 Paul Brach writes on Rauschenberg, and Jasper Johns reviews the printed version of Duchamp's The Bride Stripped Bare by Her Bachelors, Even. No. 4 contains Sidney Geist, A Critique of Criticism, "moodily dare": IFP, and the essay written at the occasion of the Rothko Exhibition curated by Peter Selz (Museum of Modern Art).No. 7 includes a supplement on pink paper 'Pandemonium'. No. 8 features two reviews of Harold Rosenberg's Arshile Gorky: the Man, the Time, the Idea.