[5] The program invited listeners to write letters describing local legends, games, customs or other folklore traditions, as well as encouraging them to ask questions about their origin or significance.

Art historian Peter Frank writes about the “sweetly silly and often picturesque events af Klintberg proposes.

Purposeful intent is lent to apparently purposeless gestures, symbolic actions which effect desired change in the way of, say, necromantic ritual: ‘Open an empty envelope with both hands and talk loudly into it.

[12] Klintberg's lack of visibility as an artist had much to do with the fact that his most active years took place in the early 1960s when Fluxus was hardly known, especially not in Sweden.

It was not at all like in Germany and Denmark, where the concerts had been well-attended and caused a scandal and made a deep impact on a whole generation of young artists.” [13] By 1990, however, things had changed and Klintberg's work was included in the major Fluxus exhibition at the Venice Biennale.

In the early 1960s, his work helped to shape central aspects of the event structure and performance art around the world".