John Cale, one of the four members of the most venerated line-up of The Velvet Underground (alongside Lou Reed, Sterling Morrison and Maureen Tucker), arrived in New York in 1963 from Wales via London. Over the next few years, Cale was deeply immersed in New York’s experimental music scene, and alongside his tenure in the Theatre Of Eternal Music (with Conrad, MacLise, Young and Zazeela), he performed works by John Cage amongst others. He’d also helped to organise an event in London for Fluxus, a loosely-knit arts movement spearheaded by George Maciunas that embraced ‘flux’ and process and rejected the niceties and pieties of bourgeois high art. Cale took part in the Fluxfilm Anthology, alongside a roll call of the era’s most significant experimental, multimedia artists – Nam June Paik, Yoko Ono, Joe Jones, Dick Higgins, Wolf Vostell, Alyson Knowles, Paul Sharits, and more – contributing the simple, one-minute Police Car. Like many of the Fluxfilms, and other contemporaneous films and artworks, it embraced the pure representation of phenomenon – it is what it is. Within the flashing light of the police car exists a poetry of the play of light and shade, the two fundamentals of film making. In its own way, it’s every bit as rigorous a work of minimalism as Cale’s contemporaneous musical experiments.