Some months later he was requested to return the book by the librarian. He was told it was urgently needed by a student. Shortly after attempting to return the remnants, his contract was terminated. The work created by the chewed pages—entitled Art and Culture—was bought by the Museum of Modern Art, New York, in 1970. In 1966 Latham took part in the Destruction in Art Symposium alongside *Metzger at the *Institute of Contemporary Arts, London. Out of this he founded the Artist Placement Group (later called O + I) with his wife, Barbara Steveni. The intention was to make links between artists and industry. An exhibition at the Hayward Gallery, London, in 1971 publicized his ideas more widely. Although the *Arts Council withdrew funding in 1972 on the grounds that the APG was more concerned with social engineering than with art, the organization continued to make links with business and government organizations. Latham's ultimate concern was not just to find work for artists but to use their input to achieve social change according to a complex theory of the ‘event structure’. His ideas were widely mocked within the art world during the 1970s, partly because, in a climate strongly affected by Marxism, the whole idea of collaboration with business seemed hopelessly conformist. His conception of ‘time-based events’ was greeted by one correspondent to *Art Monthly with the riposte that all events have to be time-based because ‘they get awfully short otherwise’. However, shorn of a philosophy which perhaps only Latham and a few associates entirely understood, the basic practical notion has survived in a changed social and political climate. http://www.tate.org.uk/learning/artistsinfocus/apg/ Resource on the Artist Placement Group on the Tate website.