[7] The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the Philip Glass Ensemble, Mabou Mines, and the dancers of Grand Union.

[12] In the early 1970s and in the context of his artistic community surrounding FOOD, Matta-Clark developed the idea of "anarchitecture" - a conflation of the words anarchy and architecture - to suggest an interest in voids, gaps, and left-over spaces.

[13] With his project Fake Estates, Matta-Clark addressed these issues of non-sites by purchasing at auction 15 leftover and unusably small slivers of land in Queens and Staten Island, New York, for $25–$75 a plot.

[14] In 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.

[15][16] For the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.

[17] Also in 1975 he did a similar art intervention named "Days End, Conical Inversion" by cutting a round aperture into the structure at Pier 52 on the Hudson River in Manhattan.

[18] For his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.