To her class, Caydance wanted to convey how in the years after World War II, Fluxus artists had explored the representation of time: the 10 years between the freezing of the work and its exhibition that informed Filliou's Frozen Exhibition; Ken Friedman's A Fluxus Corsage, in which an image of lovers exchanging flowers was on the cover of a box that contained a handful of seeds (or in some versions a seed package). In Takako Saito's Concert on a Beach, a past that might emerge again was suggested with colorful plastic instruments partially buried in sand. In an invitation to a future unknown viewer Buzz Spector's Memories was a black-boxed collection of a printed poem and 12 pencils, each imprinted with different gold words. On the cover of this work was written: "The pencils each carry lines from a poem, which you may construct according to my arrangement, or in any way which appeals to your own sensibilities."

Remembering the words of Buzz Spector's poem itself, Caydance wound up the music box that had contained a 15th Century Book of Hours. Listening to the music box sound, considering the World War II images on the music box itself, she was reminded of how the GI Bill had sent artists returning from military service into art schools: Peter Voulkos, who in the Pacific had served as a US Army Air Force airplane gunner; Black artist Noah Purifoy who served with the US Navy; Richard Artschwager, who, serving with the US Army, was wounded in the Ardennes.