For my mail-interview project I also tried to interview Bill years ago. Here is the start, but the interview never finished, neither did I publish the research and documentations. Here is how I tried to start and Bill's first reaction:

The Interview.

Bill Wilson & I already have corresponded for years. During the Mail-Interview I did from 1994-2000 I also invited him for a mail-interview, but then the time wasn’t right because he had other commitments. In the end of 2003 I asked him for a second chance. This time an interview that would be held for the Fluxus Heidelberg Center. An interview that will focus on the Connections between Ray Johnson and Fluxus. After lots of e-mail exchanges somehow the interview got started:

(first question sent via e-mail and snail-mail on 18-4-2004)

Ruud Janssen: Dear Bill, as you might guess I am still waiting for a good moment to start the interview. I asked in a previous e-mail if you have a short biography available. If so, I would be happy to receive it. In the several resources I went though I already learned a great deal.

The line in the interview will probably be in-depth. So I will try to focus on several items in which you can direct yourself a lot as well.

What should be the first question I ask you? With best wishes, Ruud

(reply by e-mail on 20-4-2004. Together with this answer he sent some more files for my research and a bibliography. Also a note on an article that had just been placed online)

Bill Wilson: Ruud, I have two places from which an interview might start:

1) I need to go through my archives in order to document the origins of "Please send to" as the origins of the network.  The origins of mailart are within irretrievable conditions, yet I can sketch the actions as I participated in them.  I will write only from the documents in my archives: other people must speak for themselves.   I don't know if a complete narrative or chronicle is possible, but I can, really for the first time with evidence in documents, tell what I experienced.

2) I need to think through and document Ray's art as an expression of friendliness, both for mail-art, and for a possible show of collages which are designated as "portraits" of his friends.  A show may be mounted next season, and I might write a catalogue.  However even to advise about the show, I need to think about the society of friends brought together by Ray.  I note gratefully on an envelope from Luc Fierens the words, "in the spirit of mailart as a social spirit," and "mailart is social art."  His words help to focus on the plane of moral values, rather than the "fame" or even modest recognition mailart might bring.   That theme of art among a society of friends constructed by participating in art differentiates Ray's work from the hobbyist shows to which people send decorated postcards with no intimacy, no rapport, no commitment to friendliness except in a generalized way which is sentimental because it costs little in action.

So let the interview begin,

Bill

from Ray Johnson.....

at the Stendhal Gallery Bill Wilson and John Held Jr. Photo's by Ruud Janssen

02.03.16 ...am saddened by the news of the passing of Bill Wilson (Son of the legendary Mail Artist May Wilson). While I was never qualified nor considered a serious part of his intellectual circle,  Bill Wilson did communicate with me upon rare occasion & seemed to be most tolerant  of my antics. To my mind, he easily fit the classic phrase but rare justification of "a gentleman & a scholar"... Was privileged as well to once visit his home in NYC (as a member of a whole gaggle of  fellow North Carolinians who were attempting to organize an exhibition of  Ray Johnson & his association with Black Mountain College) It was a joyous & overwhelming experience to witness the  wall in his living room covered with vintage Ray Johnson works. ...Not exactly sure what the source may have been but I vaguely recall a reference to Bill Wilson as " Ray Johnson's Boswell" ( i.e. "James Boswell", biographer of "Samuel Johnson", 18th century British Literary figure).  Rest In Peace.

sample e-mail from Bill Wilson. Always detailed, full with information, and humor too.....

(e-mail received from Bill on 7-1-2004)

Ruud: sorry about your e-mail: something complicated happened when I went to Venice, & much e-mail got discombobulated or just never manifested.  As geologists say, schist happens.  I will be happy to cooperate on study of Ray Johnson in his relations with Fluxus.  My perspective is radically and disablingly distorted because I mostly took over Ray's vividly held opinions.  I can explain his judgments, and the wide interval he maintained between himself and George Maciunas, with the understanding that I was not quite face-to-face with George, but was in effect standing behind Ray, who certainly was blocking the light of Fluxus, because he experienced it as a contrived or devised "movement," as not a spontaneous upsurge of immediacies with unpredictable immediacies and splurges of improvisations.  So do feel free to ask questions, which I will be happy to answer from my slanted point of view, trying to think through for myself a long episode in which I think that I was wrong to go through Ray's responses rather than on my own energies.  Ray of course would have preferred that I trust my own unrehearsed reactions to Fluxus, not derivative notions: & I did write two essays about Alison Knowles, whom I see ungraciously attacked in Ben's unpleasant website.  If the YAM festival qualifies as Fluxus, he was certainly in support of YAM as a compliment to MAY Wilson, yielding MAY-YAM. 

The HUGE news here is the surfacing of Ray's photographs, taken with disposable cameras the last two or three years of his life: a long visual farewell letter, or perhaps a visual suicide-note.  The photographs present scholarly problems---the order in which he took them, the names he lettered on cardboard and photographed for example in graveyards.  I am eager to study them, though they are emotionally raw for me---the heart-scalding visual thoughts of a man who knew at the time that he was going to drown himself if he could live long enough to do so: Bill

Mail the postcards to people!  I'll give you more.  Paper objects should have adventures to tell of before being embalmed in archives...

Happy New Year: I sense your happiness in your activities in both romance and mailart, and your happiness is a source of happiness to me and I am sure many others...

458 West 25th Street
New York City
New York 10001-6502
USA

vox 212 989 2229

another sample e-mail from Bill Wilson. We were discussing if Ray and Fluxus have connections:

(e-mail from Bill on 8-2-2004)

Ruud: I'm ready.  Understand that I met Ray in autumn, 1956, when he had become himself in his art, with a wide and deep religio-philosophy of art and life, so that when, several years later, Fluxs came along, he was at least 34 years old, and neither likely to be influenced in his decisions, nor so ambitious in a career that he would want or need the momentum of fluxus to carry him forward (toward his goal, so different from the goes of  George Macnias).  Tomorrow Julia Robinson comes to discuss Ray and Fluxus.  I have assembled much material for her visit, and will see what she says.  Much is converging around Fluxus, but my interest will be as much differentiating Ray from Fluxus as it will be suggesting the overlaps between REJ and Fluxus, a dimension of the era, with apparent common sensibilities, but not an explanation of influence or even a description of co-operations and un-co-operations.  Ray didn't care about differentiating himself from artists whose work did not overlap with her in anyway: he was intensely concerned to differentiate himself from Fluxus: B.

458 West 25th Street
New York City
New York 10001-6502
USA

vox 212 989 2229

WILLIAM S. WILSON 1932-2016

If Ray Johnson was unknowable, as William S. “Bill” Wilson implied after Johnson’s death when he noted: ‘Ray, we never knew you’, it was not for want of trying, for Bill devoted so much of his time, particularly after Ray’s death in 1995, to knowing yet more.

Bill took it upon himself after his great friendship with Ray Johnson in the latter’s lifetime, to promote the achievement and as far as was possible the nature of Ray’s life’s work.

January 14, 2015

Please post more memories, writings, photos, and anything about Bill Wilson. He was an inspiring mentor, rigorous scholar, and dear friend to many. 

Bill Wilson ....
There will be a gathering of friends at the Reddens funeral home in the village ( 325 W. 14th st.,New York, 10014 ) on Sunday, February. 7th, from 4-6 pm.
A larger memorial will be planned for Sometime in April . A small obit has been placed in the New York Times, which may be available online today.

Matthew Rose just received this note from Frances Beatty...Dear All,

Michael and I thought you would like to see the tributes to Bill Wilson posted here on the Ray Johnson Estate website, as well as our Facebook and Tumblr pages. Along with the note from Richard and I, there are tributes from Ina Blom and Clive Phillpot. If you would like to write something which possibly could be posted ( or not) alongside these tributes on the website, please feel free to send them to me. We have submitted an obituary to the New York Times, which we will be published in this Sunday's paper (Sunday, February 7).

In sadness,
Frances
--
Frances F.L. Beatty, Ph.D.
President
Richard L. Feigen & Co.
34 East 69th Street
New York, NY 10021
(212) 628-0700 ph
(212) 249-4574 fax
www.rlfeigen.com
www.rayjohnsonestate.com

From Gary Comenas on http://www.warholstars.org/ 

Bill Wilson at the British Museum in 2005

February 3, 2016 It is with great sadness that I have to report that Bill Wilson - or William S. Wilson as he was known professionally - has died. Bill was a dear friend. We have communicated regularly for more than fifteen years and we always spent time together when he was in London. Among Warhol aficionados he is mostly known for his "Prince of Boredom" essay which is here. And of course he was a close friend of the artist Ray Johnson. And the son of May Wilson and for a period, the husband of the artist Ann Wilson. I thought he would go on forever.

I can't really write anything else at the moment - it's just too upsetting. His daughter has kindly sent me a copy of the obituary notice below:

William S. Wilson (1932-2016)

William S. Wilson, 83, died in Manhattan on Monday, February 1, 2016 from cardiac arrest. Born in Baltimore, April 7, 1932, he was raised in Maryland, attended the University of Virginia for his B.A., Yale University for his Ph.D. and taught college as a professor of English in Queens College, City University of New York from 1962 until his retirement in the early 1990s. While raising three children on his own in Chelsea, he published a collection of short stories, Why I don't Write Like Franz Kafka (1975), and the novel Birthplace (1982). The son of sculptor and painter May Wilson, he was deeply involved in the post-war New York world, the subject of his numerous published essays. Survivors include his sister, Betty Jane Butler, children Katherine, Ara and Andrew and grandchildren Jack, Alex, Augusta and Josephine. Contributions may be offered in his honor to PBS public television or the High Line or the Baltimore Museum.

William S. Wilson, friend, collector and scholar of Ray Johnson passed away on February 1. He would have been 84 on April 7. I took this photo of him during a September 2015 visit to his NYC lower west side brownstone. The full extent of his legacy is yet to be uncovered.

from John Held Jr. - USA

Portrait of Bill Wilson, in his home on W25 St, NYC August 17, 2013. Photo by Matthew Rose.

visit from Canada.

In the Stendhal Gallery in New York, Bill Wilson and John Held Jr. Photo by Ruud Janssen - April 2010.

Bill's obit in the Sunday NY Times (7-2-2016):
WILSON--William S.

The Ray Johnson Estate mourns the passing of William S. "Bill" Wilson, who died on February 1, 2016. Bill, called "Ray Johnson's Boswell" by New York Times writer Michael Kimmelman, was one of Johnson's closest friends and his unwavering champion. He generously welcomed students and scholars to his extraordinary Johnson archive and wrote brilliant essays that provided deep insight into Johnson, his era and his work. Always generous with sharing his profound knowledge, Bill returned questions posed to him from all over the world through ever inspired and voluminous emails, phone calls and letters. He was truly a correspondent extraordinaire. There is no doubt that his legacy and work will only continue to expand its reach in the future. The Ray Johnson Estate is profoundly grateful for the many thrilling conceptions and inceptions, on Ray Johnson and in all of his art scholarship, with which Bill has left us. The art world, this estate, and his many friends and family, have lost a cherished friend and mentor. Richard L. Feigen, Chairman Frances F. L. Beatty, President, Richard L. Feigen & Co.

February 08, 2016
Dearest Bill, you were so kind to me when I was young and green. You gave me the vision to believe in myself, and you stayed a steadfast friend these many years. You are in my heart.
~
Lauretta Harris,
Massachusetts
February 08, 2016
Another morning and I am still in bits my friend. Your life and death affected me so greatly. And has affected so many others I am sure. You were always there for me. I'm in bits.
~
Gary,
London
Contact Me
February 07, 2016
Dear Bill, say hello and embrace our warm feelings to Ray, up there, flying with the angels. Love is not blind. I'll probably see you soon. - Art Secunda
~
Arthur Secunda,
Boulder, Colorado
February 07, 2016
Dear Bill, Since Ray introduced us in 1960, you have always been with me and shall remain in my own archives of you, along with the bunnies I bought to send you one by one on your birthday. I shall always love you,
as will all the other Correspond-DANCERS all over the world. You were/are the eternal curmudgeon with the warmest heart for all who knew/know you. Ray is with you now, thanking and blessing you through your transition to that New York Correspon-dance School up there. We shall meet again. I love you, Bill, always.
~
Marie Tavroges Stilkind,
Fort Lauderdale, Florida
Contact Me
February 05, 2016
Bill, gracious, entertaining and fun. Thank you for our brief encounters in London and NY. Onwards and upwards.
~
Harry Moore,
Cork
- See more at: http://www.legacy.com/guestbooks/nytimes/william-wilson-condolences...

(Part 1)

RAY JOHNSON AND THE NUMBER 13  
by William S. Wilson

The power of a number, as with a lucky number, is a form of ikonicity. I spell "icon" as "ikon" to separate my uses from the misappropriations that are scattered around us. In my sense, an ikon is an object that is involved with action-at-a-distance, perhaps receiving or sending spiritual energy, like an ikon of a saint. Imagine that numbers exist in a transcendental continuum, infinite and eternal. In some faiths an entity in the transcendental continuum, a power like a saint or a number, can act within the world, through the medium of an ikon. Many people believe that numbers have the power to act in the world as causes of events, or as benevolent or malevolent powers.

Like the letters of the alphabet used to spell "thirteen," numerals have no intrinsic size. Anyone writing the number 13 is not representing a physical entity, but is working like an abstract artist, arbitrarily choosing sizes as well as colors. Because the shape of a number or a letter is not absolutely determined, but has "a freedom of form within form," a person, especially an artist, can express a whole range of meanings through size, shape, color, and any other sensory qualities. The number 13 becomes what we do with it. As we learn about an invisible world of meanings, we become acquainted with numbers, and as with human acquaintances, we can feel friendly toward some numerals, especially if they seem friendly to us. Other numbers can seem unfriendly, or at least have a reputation for heartlessness, like 13. Arnold Schoenberg, born September 13, 1874, spelled the name "Aaron" as "Aron" so that the title of his opera, Moses und Aron, would count out as 12 letters, not 13. How many people listening to an opera are going to count the number of letters in the title? Schoenberg, incidentally, died in 1951 in Brentwood Park, Los Angeles, July 13.

Ray Johnson wrote an essay about Marianne Moore, whose name has 13 letters. He mentions Marilyn Monroe, another person with the initials M.M., and with 13 letters in her name. Standing the M.M. on its head to get W.W., he used the name William Wilson, also 13 letters. But understand that Ray said that he did not regard the number 13 as unfriendly. He was not superstitious, but he was aware of superstitions. He wanted to use 13 casually, unselfconsciously, but he couldn't point toward 13 and say that it was the same as other numbers, because after all he was pointing toward 13. What he could do, or attempt to do, was to use 13 aimlessly. His response to our pathlessness was his disciplined aimlessness.

Nam June Paik interviewed Ray Johnson by submitting ten handwritten questions which I typed and mailed to Ray. He then typed out those ten questions, but wrote responses to thirteen questions. He wrote: "13. I wait, not for time to finish my work, but for time to indicate something one would not have expected to occur." His drowning on Friday, the 13th of January, 1995, was astonishing. I would not have expected it to occur, proof that I was not paying attention. Ray certainly had chosen the date long before, rigging it to coincide with his age, 67, or 6 + 7 = 13. 

(part 2: RAY JOHNSON AND THE NUMBER 13) 

Many people tried to read numerological meanings in area codes, zip codes and license plate numbers, searching for clues to a malevolent power. Ray rented a motel room in which to compose himself before drowning. If he had a choice among rooms in the motel, and chose room #247; and if he dropped himself into the watery system at Sag Harbor at precisely 7:15pm, the motive would include the 13 implied as the sum of the digits. To combine several images which have a common identity, so that they can be used to point toward 13, is an example of the movement of the mind as Ray encouraged continuities among separate images.

In his life and in his art, Ray collected or constructed constellations of images with a common theme so that the mind could move among them, both setting in motion the images and being set in motion by them. The parallel is with the movies which have many discontinuous frames. When the separate frames of a movie begin to move through the projector, an illusion of continuous movement is experienced. The celluloid as it is set in motion produces a conscious experience of motion on the screen, but the only movement is within such consciousness. Ray often used stationery from the movie projectionist's union, aware as he was of images projected into the darkness.

Once Ray dated an item the 39th day of the month. He saw a film by Alfred Hitchcock, whether or not he read the novel by John Buchan: "The Thirty-Nine Steps." 3 x 13 = 39. Next, 4 X 13 = 52, the number of cards in a deck. Within a deck, the most versatile is the Ace, because it has two functions, as 1 or as 13. 1 and/or 13. One, or the other, or both. An Ace is both, that is, it is one object with two functions, depending on its position in a structure. Thus the value of an Ace detached from its deck, in a collage by Johnson, or in a painting by Picasso or Braque, can't be decided on. As either 1 or 13, it represents the power of changing identity according to use and context. Like so much in Ray's life-poem, an Ace does not do what it does because of what it is; it is what it is because of what it does (credit to Max Jammer). Ray's attraction to the Ace combines with his preference for a person, place or "thing" that has at least two functions, or two identities. His interest in the penis included an interest in that one structure with two conditions, detumescent and tumescent. Such a twoness underlies his fascination with the male urological system, where the penis is a structure that serves two functions, the ejaculation of semen and the discharge of urine. Ray was almost as fascinated with the flow of menstrual blood and of urine in biological females. I would quote William Butler Yeats often enough: "For Love has pitched his mansion/ In the place of excrement."

Do artists think with images such as the double function of the Ace? Well, in his poem entitled "Aneinander," Paul Celan writes, "the card-reader slain/ cleaves to/ the ace of hearts," or: "die Kartenschlägerin klebt/ erschlagen hinterm/ Herz-As." The title of the poem suggests together, just as two meanings or uses are together in an Ace, #1 together with #13. This reference to Paul Celan bears on Ray because Celan drowned himself in the River Seine. Ray had made mailart using a newspaper clipping about a drowned corpse pulled from the Seine wearing cowboy boots. In one of his favorite films, Jean Renoir's "Boudu Saved from Drowning," a man is rescued from drowning himself in the Seine, but later he fakes his literal drowning, trying to rescue himself from metaphorically drowning in bourgeois proprieties. The River Seine is "the River Net." Ray's linked images were like a seine, a net. Such nets of ideas and images, like webs, could catch related images, as in like attracts like. In 1956 Ray designed a book-jacket for a mystery written by C. Day Lewis: A Tangled Web.

(part 3: RAY JOHNSON AND THE NUMBER 13) 

The number 13 was like an art-supply, that is, an image that would combine with other images in his life-poem, joining a collage or montage of visual ideas and images. When he saw two objects that were separate, he looked for a motive and a means to combine them into one object. 13 is one number constructed with two arabic numerals, 1 and 3. Squeezing the 1 and 3 together, he got B. Therefore, in his logic, the capital letter B was a mashed 13.

When Ray saw one object that seemed autonomous or self-contained, he looked for a seam where he could split the object into two parts. While the number 13 can be divided in an infinite number of ways, the simple 6 + 7 = 13 usefully opens toward an expression, "to be at sixes and sevens." The theme of "at sixes and sevens" reaches into Ray's characteristic mode of looking. He attended to possible matching between the unmatched, and to possible unmatching between the matched. We talked more than once about names with five letters each, Nosey Flynn, James Joyce, and Greta Garbo. Garbo's initials would led toward his friend Gloria Graves, and then to the sisters with the palindrome, Roberta and Wanda Gag. Greta could also reach Gretta, a character in James Joyce's story, "The Dead," in the book with the self-exemplifying title, Dubliners. Gretta (6) had been loved by Michael (7), but was married to Gabriel (7), so that the story shows a woman and two men at sixes and sevens. Joyce's book of 13 poems, "Pomes Penyeach," was printed in a special edition numbered 1-13.

The implications of numbers will combine with other images and ideas. The combinatory power of numbers are so strong that anyone writing naturalistically, trying to summon no powers or causes that science can't explain, has to be aware of such implications in order to avoid them. Look out for chapter 13, for it has an aura before it has been written. The hotel room can't be on the 13th floor, and no character can arrive as the thirteenth guest at a party. In the manned-space program, NASA did not skip 13 when enumerating the missions to the moon, hence when Apollo 13 got into trouble, every number around the event was investigated for links to 13. The problem is that any number exists within a field of infinite relations with an infinity of other numbers. A writer who decided that 18 was significant for Barnett Newman soon found that 2 X 18 = 36, a measurement Newman used, and then a length of 72 inches also became significant. However 72 doubled is 144, but that is also 12 X 12, a significant number in some systems of mythic thought. Newman did not think with images of popular superstition, therefore he had to avoid 13.

Ray's choice of the 13th day of January exposed his final event to misunderstandings. The confusion results from not seeing his perspective. From Ray's point of view, 13 did not have a malevolent power, and to him, his drowning was not a tragic or evil event, it was a fulfillment of the governing images of his life and art. I would say that he wanted 13 simply to take its place within the order of numbers, to be on the same plane of visibility and meaning. If he could use 13 unselfconsciously, the problem was less with 13 than with consciousness.

The problem of consciousness is the problem he solved with his drowning, the act by which he intended to become water-in-water. Walking on beaches or gazing into the sky, he had been an observer, even a participant observer, but rarely was he a fully unselfconscious participant in a field of cosmic forces. In some erotic events he had been able to submerge mind and body in a field of oceanic forces. But he was 67 years old. After at least fifty years of sunlight near the water, his face presented unsightly symptoms of disease.

(part 4: RAY JOHNSON AND THE NUMBER 13) 

Ray needed to subtract his consciousness from the Cosmos so that the Universe would no longer be Universe + Ray Johnson. The principle is clarified by a sentence from Henry Adams: "The universe that had formed him [Henry Adams] took shape in his mind as a reflection of his own unity, containing all forces except himself." Ray restored the unity of the universe by withdrawing his consciousness, that "rupture in the order of things." He had for decades meditated on stars and the sea, trying to matter to the stars, trying to belong with the water in the sea. William Blake expressed the hope of such an indweller of the Cosmos: "He became what he beheld." But that oneness didn't quite happen because of self-awareness. In the Cosmic Field, Ray was the impossibility of seamless unity. As Samuel Hoffenstein wrote, "Wherever I go,/ I go too,/ And spoil everything." Ray's friend May Wilson had once copied that poem, with a brash error, on a trash-basket in her son's bedroom.

Contrary to his plan to disappear, like a drop of water dropped into water, Ray did not dissolve or evaporate. His body washed ashore. But what of his consciousness? Although Norman Solomon and a few other people phoned me to describe the experiences of a drowning person, we can't know, yet we can follow some images of consciousness as a bubble on a stream. A cursory glimpse into the Internet yields: "We know that water bubble is born in water, sustained in water and ultimately merges in water. Similarly, man has come out this bliss, is sustained in bliss and ultimately merges in bliss" [sic].

No evidence links Ray with any particular philosophy or religion except a generalized Buddhism, but he had studied widely. Whenever he demonstrated proofs of his life-world, water was his axiomatic image. With his mind concentrating on water, with the hope that "he became what he beheld," he acted on his desire to become water. The logic of water has been worked out in some religions: "As pure water poured into pure water remains the same." "Water in water, fire in fire, ether in ether, no one can distinguish them…" Ray had been summoned by water long before I met him in 1956.

Ray answered the call for him to come home to water, and so to become fully immanent. That transcendental continuum I mentioned in paragraph one, and those ikonicities, were false. Because of similar false perceptions and conceptions, the number 13 is a snag, resisting the flowing stream of numerals. It is merely one example of the distortions of consciousness. Ray had often been at a place in his spiritual adventures where any consciousness is false consciousness, distracting from the unity of the Universe. The only way to overcome the false consciousness of himself, as well as lies about #13, was to overcome consciousness itself. The point at which the resistance of consciousness is overcome is precisely where the sublime begins. For Ray, his sublime began after he left room #247, when, at 7:15 or was it 7:51?, on Friday the 13th, he reached his point of no return, for him his point of resistancelessness. He had at last arrived at the drowning he had promised himself. He swam like an integer toward his continuum.

6/30/2002

http://www.blastitude.com/13/ETERNITY/ray_johnson.htm

Bill Wilson and John Evans

Sad news - Bill and I grew up across the river from each other and our families were connected since 1600s. It was Ray who first learned of the connection and brought us together. He was incredibly generous sending me a large box of Ray J postcards and note pads to hand out to workshop participants. I miss him!

This is a test video taken with a drugstore toy camera that shares Bill's fun side.

https://youtu.be/_eBzAePsoCA

Mark Bloch and Bill Wilson

Antic-Ham and Bill Wilson

Still from Ric Burns' documentary on Andy Warhol showing Warhol with William S. Wilson and one of his twins (with Ray Johnson in the background) at the opening of Warhol's first show at the Stable Gallery in New York

http://www.warholstars.org/

https://williamswilsonwritings.wordpress.com/ 

An incomplete but extensive collection of many of William S. Wilson's articles about art, literature, and other writings digitized into PDFs

Apprendo soltanto ora, con molto dispiacere,  della morte di Bill Wilson. Avvertendo troppo silenzio, ho chiesto varie volte di lui, ma nessuno ha mai saputo darmi risposta.  Una grande perdita. Desidero ricordarlo con alcune immagini dello stupendo incontro nella sua casa di New York nel 2006, in occasione del Dadaweek organizzato da John Held ed altri artisti americani.  Furono giorni indimenticabili.  Anna

Lo incontrai nuovamente a Londra, presso la Galleria Raven Row dove aveva portato, insieme alla signora Frances della Richard Feigen di New York, una splendida mostra delle opere di RAY JOHNSON. Allego un'altra fotografia insieme a lui di questo incontro.  Anna

Galleria RAVEN ROW - Londra - Inaugurazione mostra di RAY JOHNSON / Inauguration RAY JOHNSON exhibition