Although it primarily focused on painters and sculptors like Willem de Kooning, Franz Kline, Helen Frankenthaler, Jackson Pollock and Isamu Noguchi, it also published artists of other kinds, like musician John Cage and poet Allen Ginsberg.
[2] Reference to the magazine appears in the archives of Picasso, Motherwell and André Breton, as well as collector Peggy Guggenheim, critic Clement Greenberg and nearly two dozen others.
[9][10] Although author and critic Gwen Allen, in Artists' Magazines: An Alternative Space for Art, simply describes the magazine as "important,"[3] the series served to catalyze, and catalogue, the creation and mature expression of abstract expressionist thought in the U.S.[2] Contributors included some of the 20th century's most important abstract expressionist artists, including Barnett Newman, Hans Hofman, Marc Rothko, Arshile Gorky, Philip Guston, and many others in the New York School, along with Jackson Pollock and other key figures in action painting[2] and art critic Harold Rosenberg whose influential essay "The American Action Painters" drew on Pavia's earlier in-person "Club" meetings.
"[14] Though brief, the 32-page inaugural edition was printed on paper roughly the size of a typewritten page, so big enough to showcase large pieces of sculpture or single paintings.
Content included such mid-century greats as Landis Lewitin, Michael Lakakis, Reubin Nakian, Philip Guston, William de Kooning, Ad Reinholt, Ernie Briggs, Enrico Donati, John Ferren, Robert Goodnough, Raoul Hague, David Hare, Carl Holty, Angelo Ippolito, Franz Kline, Elaine de Kooning, Al Kotin, Ibram Lassaw, Mercedes Matter, Constantino Nivola, Ray Parker, Milton Resnick, James Rosati, Ludwig Sander, David Slivka, George Spaventa, Estaban Vincente, Alfred Duhrssen, Jack Tworkov and Wilfred Zogbaum.
The 80-page third edition featured a series of essays: Hubert Crehan's "A Little Room for Feeling"; Sidney Geist's "Face Front"; Allen Ginsberg's "Abstraction in Poetry"; Elaine de Kooning's "Editor of a Hearsay Panel"; Merle Marsicano's "Thoughts on Dance"; Mercedes Matter's "Drawing"; George McNeil's "Spontaneity"; John Stephan and May Natalie Tabak's respective book reviews, and Pavia's "Manifesto-In-Progress III."
Essays included: Andre Breton's "A Catalogue Foreword"; Hans Hofmann's "Space and Pictorial Life"; Harry Holtzman's "The Sickness... the Hero"; Ad Reinhardt's "Seven Quotes"; and "Manifesto IV" by P.G.
Artists' reproductions included work by Nicholas Carone, Arshile Gorky, Philip Guston, Emil Hess, Aristodimos Kaldis, Allan Kaprow, Frederick J. Kiesler, Franz Kline, Ibram Lassaw, Alice Mason, Mark Rothko, and numerous others.
This 85-page issue included commentary, artist's statements and cahier by Pavia, Norman Bluhm, Hoseki Shin'ichi, Paul Jenkins, Lester Johnson, William Littlefield, Harold Rosenberg, Alfred Russell, Jon Schueler, Jack Tworkow, Robert Vaughan, and several others.
Reproductions included work by Larry Rivers, Milton Resnick, Will Barnet, Ronald Bladen, Seymour Boardman, Charles Cajori, John Chamberlain, Enrico Donati, Edward Dugmore, John Ferren, Helen Frankenthaler, Mathias Goeritz, Lee Mullican, Robert Rauschenberg, James Rosati, Alfred Russell, Salvatore Scarpitta, Jon Schueller, Estaban Vicente, Wilfred Zogbaum and others.
The final edition of the magazine was 134 pages, and featured more than 90 plates and fold-out illustrations of New York sculptors at work, as well as the transcripts to the two-part "Waldorf Panels," held by "The Club" on February 17, 1965, and March 17, 1965.