][4] As a teenager, Hunt put ads in the local newspapers, offering mail-order instructions "in the path of the infinite."
When a Dallas couple visited and asked for "Master Jerry," his parents became very concerned about his mental health.
[4] Although Hunt later became an atheist, this love of the occult and a sense of wonder for magic and ritual would continue to influence his performances and body of work.
[2] Jerry Hunt's body of work was very much influenced by his interest in the occult and his "personal link" to Texas.
[5] Others have referred to his work as "wonderfully disorienting" because the audience couldn't tell from where the sounds or images were coming from.
"[10] In the 1990s he collaborated with other artists, including Karen Finley, Mike Patton, 77 Hz, Michael Schell, Paul Panhuysen, and Philip Krumm.
[12] "Birome (Zone): Cube" (1988) was a performance that consisted of multi-layered, computer-generated sound and where Jerry Hunt stomped back and forth, clapping his hands and shining lights and shaking artifacts at the audience.
[5] In the early 1990s, Jerry Hunt and Karen Finley were involved in a controversy over grant money distributed by the National Endowment for the Arts (NEA).
Hunt and Finley proposed a grant for $20,000 which would cover the funds needed to create a collaborative work using a "talk-show format to explore mental illness.
"[13] It also alleged a perceived conflict of interest in the grant-awarding process of the NEA because Hunt was a member of the New Forms grant panel.
[14] Jerry Hunt committed suicide at his home near Canton, Texas after suffering from long-term terminal lung cancer and emphysema.
[6] He used carbon monoxide, spending an additional thousand dollars for an automatic shut-off valve to not cause a hazard after he died.
Before his suicide, he videotaped himself demonstrating the apparatus, a mask attached to a cylinder of carbon monoxide gas (see Mercitron).
[18] Fluxus - works by Jerry Hunt / Philip Krumm / Mama Baer / Kommissar Hjuler.