The Grey Art Museum at New York University is presenting by Alison Knowles: A Retrospective (1960–2022), a survey of the American artist who was the sole female co-founder of Fluxus. Writing for Elephant, Bella Butler describes entering the August show to find yellow-tinted screen prints of mid-bite mouths: the series The Identical Lunch, built from a 1967 event-score Knowles wrote after composer Philip Corner noticed she ordered the same lunch daily at Chelsea’s Riss Restaurant. The score prescribes a tuna fish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup; Knowles invited Fluxus founder George Maciunas, Ay-O, Shigeko Kubota and her daughters to join her, turning the meal into a two-year durational performance. Butler reads the show as an argument about time. Her scores were rarely enacted once: Make a Salad, premiered in October 1962 at the Institute of Contemporary Arts in London, was performed more than a dozen times, from the High Line to Tate Modern to Art Basel, while her 2025 finale Nivea Cream Piece had been conceived in 1962. A timeline runs from her 1933 birth in Scarsdale to her death in October 2025. The retrospective also foregrounds her material experiments. House of Dust (1967), made with composer James Tenney, is a machine that feeds a slowly accumulating paper scroll from its mouth, generating quatrains from four random lists: a material, a location, a light source and a category of inhabitants. Elsewhere, flax-pulp garments filled with legumes double as clothing and instruments, among them Paper Gong (1988–99) and Bean Turners (from 2000); Loose Pages (1983), made with papermaker Coco Gordon, turns a dressed body into a book's spine. Curator Karen Moss notes her distinctness among male Fluxus peers: her interest in food, domestic materials and daily acts, and in what she called the secrets of ordinary things. Her partner Dick Higgins named her cross-media practice intermedia: the spaces between genres. Butler closes by suggesting the show's real subject is letting go: Knowles's scores keep and create time, connecting artist to world and viewer to event.