“This brings me to my experiences from 1978 to 1986 as an editor of ‘Prop’. During that time my correspondence with the contributors was limited by the speed and success of physical transport of mail through the postal system. Prop was founded in Albany, New York by a group of artists known as ‘Workspace’ and became a new focus point for the group after a two-year uninterrupted series of performances. This origin of the magazine explains the immediate emphasis on projects that invited reader participation (e.g., the ‘Void Show’). ‘Prop’ was first edited on a rotating basis by two or three members of the group; in later issues I assumed a primary role by default. ‘Prop’ first acted primarily as a documentation of collaborative visions and brainstorms of the group; later, when the magazine became widely circulated, it enjoyed some popularity among experimental authors and mail artists. At this stage, the volume of the correspondence with authors and readers became enormous — an indication that ‘Prop’, as similar magazines, was meeting a new need: artists needing an exchange of visions in a free form not supported by academic or descriptive journals. Not surprisingly, the days of the magazine were numbered when Workspace dissolved. ‘Prop’ became the self-reflection of the single, remaining editor; a node without a network”. — Joachim Frank: The Expanding Network: Toward the Global Village in: Eternal Network. A Mail Art Anthology, University of Calgary Press, Calgary, 1995, pp. 112–116. (Ed. by Chuck Welch)