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One-hundred percent Mason Williams
100%, by Lorraine Wild. (From Design Observer.)
The funny thing about the packaging of the poster into the box is that it does solve the problem of how to handle and distribute the edition. At the same time, it makes the bus poster even more improbable than it already was: the idea of stuffing full-scale reality into the box is what turns the poster into a crazy hybrid of a book and a spectacle, and the folding and (perhaps) re-folding of it into a communal performance piece. (Though most owners of Bus never got that far: Michael Asher confessed to never opening it in all the years he owned it, fearing the consequences of having to get the poster back into the box, and finding it satisfying enough [as he put it] “just knowing that I had a bus in a box.”)