Regardez moi cela suffit

Swimming across Nice harbour fully clothed. Ben swims across a bay in Nice.

"Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: 'silence, genius at work' and 'ich liebe dich.' The end credit is 'Television décollage, Cologne, 1963."

In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. This a film which depicts only its own material qualities; An "anti-film", meant to encourage viewers to focus on the lack of concrete images.

Each film frame is a different image from the Sears Roebuck mail order catalogue. The film places pictures of the objects sold by Sears to the consumer society side by side with pictures of female models

Single frame exposures of dot-screens.

Various gestures of hand held razorblade, single frame exposures.

"INVOCATION is Higgins' Satie movie... the purest attempt to clear art from any or all historical, esthetic, thematic, ornamental claptrap to regain the lost-eye consciousness." - Jonas Mekas

Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10

Numerals on clear film from 1 to 1000."

Begins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.

Begins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso.

X-ray sequence of mouth and throat; eating, salivating, speaking.

Single frame exposures, color. Different image each frame, various items in the room, etc.

Artype patterns, intended for loops. Benday dot patterns. Dots, lines. Screens, wavy lines, parallel lines, etc. on clear film. No camera.

This is fluxfilm No. 21 and without a title

Color test strip from developing tank.

Single frame exposures of words.

"Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall."

Cale makes a short film called Police Car. No sound, and it is in black & white. Part #31 in the Fluxus Film series.

Seeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.

Following a series of title cards, a man in sunglasses briefly flutters his hands like fairy. Owen Land states that this film was not made by George Landow, and believes it should be credited to John Cavanaugh. "George Maciunas had a number of films which didn’t have titles on them. Then he put them together into his Fluxus reel and tried to remember who made them. It was an intentional Fluxus joke." (Owen Land, interview with Mark Webber, 2004)

A handful of rocks and chestnuts falling, filmed with high speed camera.

This film consists entirely of close ups of famous persons' bottoms. Ono meant it to encourage a dialogue for world peace.

A smile gradually fades into a neutral facial expression.

Flicker: White and black alternating frames.

Shot at 2,000 frames per second, this short shows a man exhaling smoke in incredibly slow motion.

Word & number gag, no camera.

Time counter, in seconds and minutes.

A 16 mm film, featuring Yoko Ono's own eye slowly blinking, shot by Peter Moore with a high-speed camera at 2,000 frames per second, which is projected at normal speed, 24 frames per second, thus creating a slow-motion effect.

Collected as part of the Fluxfilm Anthology (a multi-reel compendium of 37 short films assembled by Fluxus founder and central operator George Maciunas), One captures the lifespan of a single match recorded at 2,000 frames per second using a 16mm high-speed camera. The frame rate is then decelerated to the standard 24fps for presentation. The film emphasizes each gesture, sway and flare of flame as the small pinewood carrier ignites across the landscape of the filmstrip and screen, signalling the drama and poetics of this ”minor” event before the fire is extinguished. One also stands as an unassuming beacon, immortalizing on film the essence of some of Ono’s early concerns as an artist. At the slightest touch of fire, they burst into flame. Strike everywhere. Strike often.

Close-ups of two faces, shouting at each other.

Features entrance and exit door signs, fading through black and white.

Lifting and holding up a chest of drawers.

Tips of feet walking at the edge of frame, all around the frame.

Face going out of focus by layering sheets of plastic between camera and subject.