wrote Why Lettrism?, also with Guy Debord, published in Potlatch no. 22. The following year, he represented the Letterist International at the World Congress of Artists in Alba, Italy. This conference established important links between the Letterist International and those figures (primarily Asger Jorn and Pinot-Gallizio of the International Movement for an Imaginist Bauhaus) who would soon afterwards be joining forces with it to form the Situationist International. Wolman himself, however, never made it as far as the Situationist International. He was officially excluded from the Letterist International on 13 January 1957, just six months before the creation of the new group, the exclusion being announced in obituary format in Potlatch no. 28. Debord seems to have been the driving force behind the exclusion, which did cause some consternation among his colleagues. Even Michèle Bernstein, Debord's wife at the time, has stated that she did not understand why Debord took so suddenly against Wolman. Jean-Michel Mension, an early member of the Letterist International, recalls that "Gil was reticent, sweet—an incredibly sweet guy. I don't think I ever heard him actually raise his voice, except occasionally, except when he was reciting his poetry, but that was different. Everyone loved Gil." He also could not understand why Debord had excluded him, and observed: "I think Wolman, in Guy's eyes, was a truly extraordinary artist, clearly superior to the other artists in the Letterist International. Personally, I've never believed in the exclusion of Gil.". Ralph Rumney, an early member of the Situationist International, speculated that the real reason behind the exclusion was that Wolman and his wife, Violette, had just had a child: "Guy, and Michèle for that matter, had an absolute horror of domesticity and babies in particular. They were trying to experiment with new ways of living, which for Guy meant total sexual freedom. Wolman's happy family life could not be tolerated." Back with the Lettrists / Second Letterist International Following his exclusion, Wolman continued to develop his own work, and he re-established links with the original Letterist movement and exhibited with them from 1961 to 1964. He devised Scotch Art in 1963, a process which consists in tearing off bands of printed matter and using adhesive tape to reposition them on fabrics or wood. In 1964, however, he split again from Isou's group, to establish the short-lived Second Letterist International with Jean-Louis Brau and François Dufrêne; thereafter, Wolman worked largely