Members of the OHO group, active from 1966 to 1971, developed various strategies and approaches that they first called “reism.” It was a type of arte povera, land art and body art, processual and conceptual art. They aspired to “liberate” situations and objects and present them to the public outside of their fixed functions. The term “Oho” refers to the observation of forms (with the eye, ‘oko,’ and ear, ‘uho’) in their immediate presence, and is also an exclamation of astonishment, says Marko Pogačnik, the group’s leader, “because when we uncover the essence of a thing, that is when we exclaim ‘oho’.” A specific approach toward objects, a distancing from the encumbrance of meaning, is apparent in “Edicija Oho” (Oho Edition), where literature and visual art are reduced to objectivity. Artists such as M. Pogačnik, I. Geister, M. Hanžek, M. Matanović, R. Dreja and others created their “books” by printing objects, drawings and sentences on single pages placed in small boxes. Books are objects, with their pages being various forms that can be handled, jumbled letters that must be arranged to form a sentence. A book should be heard, looked through… It is an “open work” one which, demonstrating “reistic” tautology, suggests a game.