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at Gallery Gertrude Stein, New York [1964]

The meaning of the NO-Posters was seen and recognized, and the overprinting executed in March, 1963.

The NO-posters are entirely printed on the offset press. And there is no handwork whatsoever in their execution. Whatever "composition" has resulted is of purely accidental character

The basic of the NO-posters are rejected or faulty paper-sheets, or paper-sheets used for cleaning of the printing presses.

The silver overprinting on the posters is accidental in its composition in the sense that the artist had no hand in its design. The symbols, - selected by the artist only as far as their subject matter in general is concerned - refer to the symbols he uses in his paintings and collages: the word "NO", the Pin-up Girl, and sado-masochistic mail order advertising of torture scenes.

The pricing of the posters was been kept to a minimum—they sell from $ 25—to emphasize the fact of their easy availability, and to point out the ridiculousness of overpricing, as practised in the art-market in the area of "hand-made" "Pop-art". The NO posters are truly popular posters, at truly popular prices.

NO-posters are "NO-pop" posters on "anti-pop" posters, the spontaneous expression of the machine cleansing itself, criticizing, and rebelling against the use it is being put to.

Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988