PUBLISHED ONLY THIRTEEN TIMES over the course of six years—from fall 1970 through summer 1976—Avalanche made every issue count. Dense with information and photographs, the magazine functioned as a gallery without walls for art that eschewed architectural and institutional borders. From its unique vantage point in a section of Lower Manhattan then known unassumingly as the Southern Houston Industrial District (the magazine made its home in a minimally renovated former thread warehouse at 93 Grand Street), Avalanche surveyed the new-media art of the late ’60s and early ’70s, including Earthworks, Conceptual art, performance, video, dance, and music. Both chronicle and agent for these newly minted forms, Avalanche sought to put the media into the hands of artists—who, in turn, not only used the magazine to promote themselves and publicize their work but tapped its potential as a medium in
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