In the second half of the 1960s and early 1970s the avant-garde group OHO had a very important impact. When the group first began they were centred around the notion of Reism (from the Latin word 'es', ie. 'thing'). The members of OHO wanted to develop a radically different relationship towards the world: instead of a humanistic position, which implies a world of objects dominated by the subject, they wanted to achieve a world of things, where there would be no hierarchical difference between people and things; the correct relationship towards such a world is not action, but observing. OHO used a number of media (and their in-between forms), drawings, photographs, film, video (the first video works in Slovenia were produced in this context by Nuša and Srečo Dragan), music, texts, but also a way of dressing, living and behaving, to redirect the awareness of people into Reistic observing. In the second phase of development, the group established a dialogue with the contemporary artistic avant-garde: the artists used the principles of Arte Povera, Process Art, Land Art, Body Art and Conceptual Art. It is interesting, for example, to observe the opposition between the American Earthworks and OHO Land Art works: these were small-scale, ephemeral, done with simple tools in a cultivated landscape, and often very minimal, mild and poetic. Such a relationship was one of the starting points for the final phase of OHO’s work, which represented a combination of Concept Art and a kind of esoteric and ecological approach. The group was just starting an international career when the members decided they should abandon art as a separate area and really enter life; therefore, they settled on an abandoned farm and started a community.