be published. It was quickly followed by similar collected works of other affiliated artists, such as Ben and Robert Watts; the Fluxkit contained in an attaché case (1965–66) and another compendium Flux Year Box 2 (1966–68). There was an anthology of Fluxfilms (1966), 11 irregularly-spaced editions of the Fluxus newspaper cc V TRE edited with George Brecht (1964–79) and the Fluxus Cabinet (1975–77). He was also closely involved with the production of a number of Flux Chess sets. Perhaps most important of all of Maciunas's publishing activities remain the object multiples, conceived as inexpensive, mass-produced unlimited editions. These were either works made by individual Fluxus artists, sometimes in collaboration with Maciunas, or, most controversially, Maciunas's own interpretations of an artist's concept or score. Their purpose was to erode the cultural status of art and to help to eliminate the artist's ego. Maciunas, a trained graphic designer, was responsible for the memorable packaging of fluxus objects, posters and newspapers, helping to give the movement a sense of unity that the artists themselves often denied. He also designed a series of name cards incorporating multiple fonts to characterise each of the participating artists. According to Maciunas, Fluxus was epitomized by the work of George Brecht, particularly his word event, "Exit." The artwork consists solely of a card on which is printed the words: "Word Event" and then the word "Exit" below. Maciunas said of "Exit": The best Fluxus 'Composition' is a most non-personal, 'readymade' one like Brecht's 'Exit'—it does not require and of us to perform it since it happens daily without any 'special' performance of it. Thus our festivals will eliminate themselves (and our need to participate) when they become total readymades (like Brecht's exit) (see ) Some works Whilst Maciunas was still alive, no fluxus work was ever signed or numbered, and many weren't even credited to any artist. As such, huge confusion continues to surround many key fluxus works; Maciunas strived to uphold his stated aims of demonstrating the artist's 'non-professional status...his dispensability and inclusiveness' and that 'anything can be art and anyone can do it.' This strategy was maintained throughout his life; key works that have been assigned to him include USA Surpasses all the Genocide Records!, c1966 (see ), an American Flag comparing massacres in Nazi Germany, Russia and Vietnam; the Flux Smile Machine c1970 (see ) in which a spring forces the mouth into a grimace,