[1] He collaborated with artists, critics, and poets, including Peter Schjeldahl, Jill Johnston, and Gregory Battcock, on artworks and publications in the 1960s and 1970s.
[4] In 1969 he exhibited White Sight at the Fischbach Gallery, a work consisting of a room as the inside of a featureless whitecube illuminated by two bright sodium vapour lights.
One of these accused Levine of making the museum "look ugly and silly" and promptly transformed the artwork by pulling the main light switch.
The work involved 300 plastic sheets that were exhibited in a vacant lot owned by New York University, which the artist systematically removed over the course of a month.
The art historian Corinna Kirsch describes this as a work about authorial control, particularly as "Levine's ability to control the removal of his work can be seen in parallel with the formation of the Art Workers' Coalition", a group that was formed the same month as Process of Elimination and which also involved the removal of a small sculpture.