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The collision of constructivist artistic practice and structuralist philosophy was showcased in the journal  Form , published from 1966 to 1969 out of Cambridge, England. Concrete poetry flourished alongside kinetic art; architecture dissolved into environmental design; experimentation with new media techniques replaced expressions of meaning. This essay describes how the editorial work that brought  Form  into being served to gather disparate strands into a shared disciplinary agenda that marks an apotheosis of 1960s visual art.

Gathering effects: structuralist activity in Form , 1966-69