One of the most famous was the proto-fluxus Yam Festival (1962–63), which used mail-art to build expectations for a month-long series of happenings, performances and exhibitions at Rutgers, New York City and George Segal's farm in New Jersey.

Participating artists included Alison Knowles, Ay-O, Al Hansen, Ray Johnson, John Cage, and Dick Higgins.

[8] "It must have been Alison Knowles who called me up to say [George Maciunas] was in bad shape with asthma in an Air Force hospital in Germany and needed help or at least some encouragement.

I decided to send something for entertainment, so I stuck some pistol caps on the back of old photos from an Italian magazine of WWI vintage.

Robert Watts, 1980[13] Over the years Watts contributed a number of works to Fluxus including a Flux Atlas, a collection of rocks from different countries, and a Flux Timekit, a series of boxes that housed objects that existed in different time scales, such as seeds to be planted, a time-lapsed photo of a speeding bullet and a pocket watch.

[14] He also set up Implosions Inc. with Maciunas to mass-produce novelty items, and helped run the Flux Housing Co-Operative, an artist-run scheme that is held responsible for the rehabilitation and gentrification of SoHo, offering cheap loft spaces to artists throughout the sixties and seventies.

Referred to as the invisible man of Fluxus and Pop by the critic Kim Levin,[18] a term later used as the title of a solo posthumous show in Kassel,[19] Watts remains a 'distant, aloof, and enigmatic'[8] figure.

[20] As individual members of Fluxus have increasingly been singled out for re-appraisals, Watts work has been seen in a number of solo and small group shows across the US and Europe.