Vito Acconci and Bernadette Mayer were previously unknown poets working in the bohemian outpost of New York's Lower East Side.

[5] Acconci and Mayer published experimental poetry, utilising procedural verse techniques and found texts to undermine conventional notions of authorship.

[6] They also included excerpts from Raymond Queneau's Exercises in Style, ninety-nine retellings of the same story, and Stefan Themerson’s translation of Li Po's Drinking Alone by Moonlight.

Kate Linker noted in her biography of Acconci that these writers were also chosen to be published alongside contemporary texts "in a search for predecessors for the new 'material' work of the 1960s.

[12] The production process was slow; everything had to be meticulously typed, then the ink was left to dry on stencil film between the padding and backing sheets.

[5][15] Acconci and Mayer then took copies of the magazine to independent booksellers (including Eighth Street, Gotham Book Mart, Sheridan Square and the East Side Bookstore) or mailed them to artists and subscribers.

[15] Language work by Joseph Kosuth, Lawrence Weiner and Robert Barry was also becoming more prominent in New York art galleries and exhibitions, demonstrating an increasingly aesthetic environment for artists.

[5] This can be seen in Acconci's rejection letter to a 0 To 9 submission from Hugh Fox on 4 September 1968: "Not the kind of thing 0 to 9 is out for; for me, there's too much emphasis on message here, not enough on the space of the page.

"[20]Alongside the journal Art-Language, 0 To 9 became a critical part of the linguistic turn that conceptual art underwent during the 1960s, as well as literature (most clearly seen in the concrete poetry genre and works by Samuel Beckett).

"[13][12] After 0 To 9, Mayer's career as a poet continued; she taught writing workshops at St. Marks’ Poetry Project for many years and published her work extensively.

[2] 0 To 9's experimentation with meaning and format echo issues that are debated today; its focus on how language evolves reflexively and the role of data are themes we currently explore in the digital era.

[15] Conceptual poet Emmett Williams' work 'Musica' itemises the seven most common nouns in Dante's poem 'The Divine Comedy' and logs the words repeatedly.

[27] Choreographer and dancer Yvonne Rainer also contributed to the issue; her piece 'Lecture for a group of expectant people' explored the movements a single part of the body can make.

These blank pieces only exist in the table of contents, which critics have argued helps to model imaginative space for readers, who can extend the works by thinking through the implied possibilities.

[28] 0 to 9 ended after its sixth issue because Mayer and Acconci found it too difficult to maintain the magazine both creatively and financially, despite profit never being their main goal.

Organised by John Perreault, Marjorie Strider and Hannah Weiner, Street Works took place in New York in March, April, May and September 1969 utilising urban space as context for action.