It operates with collectively shared pseudonyms and identities, pranks, paradoxes, plagiarism and fakes, and has created multiple contradicting definitions of itself in order to defy categorization and historization.
At around the same time the open-pop-star identity of Monty Cantsin was spread through the Mail Artist David Zack [1] (born New Orleans, June 12, 1938, died presumably in Texas ca.
Since the gradual disappearance of Neoism in the 1990s, brief offshoots have appeared including The Seven By Nine Squares, Stewart Home's frequent use of Karen Eliot (as well as Sandy Larson, Luther Blissett (nom de plume) and others) to replace Monty Cantsin as the embodiment of the open pop star concept.
Until the late 1980s and before the mass availability of the Internet, the mail art network continued to be used as the main communication and propaganda channel for Neoism.
They were acted out in semi-private Apartment Festivals which took place in North America, Europe and Australia between 1980 and 1998 and in publications which sought to embody confusion and radical play rather than just describing it.
For these purposes, Neoists employed performance, video, small press publications (such as Smile, the international magazine of multiple origins) and computer viruses, but also food (Chapati), flaming steam irons and metal coat hangers (used as telepathic antennas).
In 2004 Neoism was cited by Javier Ruis in response to the National Assembly Against Racism's condemnation of anarchists disrupting the Third European Social Forum session on anti- m and anti-racism in London (PGA Considered As Neoist Invisible Theatre).
In 1989, following the post-Neoist "Festival of Plagiarism" in Glasgow, Scotland, artist Mark Bloch left mail art and after publishing "The Last Word" remained defiantly silent on Neoism for almost two decades.
[14][15][16] They also engaged in media consumption-critical public relations work in neoist collaborations and conspirations, especially with Neoism's foremost therrorist tENTATIVELY, a cONVENIENCE (cit.
In 1995 Stiletto Studio,s presented LESS function IS MORE fun as a post-neoist special waste sale of design-defuncts in the Spätverkauf project store by Laura Kikauka at the Volksbühne Berlin.
[18][19][20][21] Other artists who explicitly if vaguely credit Neoism are The KLF, Luther Blissett, Alexander Brener/Barbara Schurz, Lee Wells and Luke Haines (of The Auteurs and Black Box Recorder).