DURING THE LAST FIFTEEN YEARS OF HIS LIFE, avant-garde composer John Cage produced a substantial body of visual art, mainly in the form of prints. Beginning in 1978, he visited Crown Point Press for a week or two almost every year. There, working closely with the press's master printers, he made art using methods borrowed from his approach to musical composition. He allowed every aspect of a print to be determined by what he described as “chance operations” (reading from the I Ching, throwing dice, and so on). The complex notations that serve as a record of these operations, referred to by Cage