Conner also endorsed works anonymously with the Rat Bastard stamp. Villa recalled other ways in which Conner used the stamp: “He would look at signs on telephone poles and [say,] ‘God, that’s a great advertisement.’ Clunk. Even the waitress with her new black, blue, white leotards got stamped right on the ass. Rat Bastard. He’d stamp tables, menus, it was just this fantastic piece that he was doing all the way through.” Irreverent, wily and audacious, Conner reflected the tradition of San Francisco artists who embraced their role as heirs to the Dada legacy. Now he threatened to go further by abandoning authorship altogether, and he wanted to take his friends with him.
Painterland, in 1965.