LAUSR

Galimberti structures his book through a ‘networked’ approach whereby he traces links between ideas and artists across a variety of locational nodes through time (p. 3). Perhaps difficult for the unacquainted reader, Galimberti’s structure can, occasionally, be difficult to follow. A preliminary background knowledge of Cold War history is required for navigating the nuances of this text. But the ample space Galimberti dedicates to contextualisation, on a whole, does provide a necessary layer of background for clarification’s sake. Indeed, the purpose of his book, after all, is to fill a void in the existing English-language account of 1960s art collectives. And he succeeds with this task.