AL 3. (March 1983) - SUMMARY 
1. Cover: Béla Bartók on a cart on the Balkans collecting folk music and on the new Hungarian 1000 Forint banknote to be issued in June 1983 (“Sample” design by Galántai).
2. Stamp sheet by American artist Buster Cleveland made during his visit to Budapest.
3. ARTPOOL'S ART TOUR (excerpts)
Personal account on Dokumenta 7, Kassel, 1982, especially on the events following its opening. J. and G. Galántai met several artist friends in Kassel. They write about Jürgen 0. Olbrich's works (Garden Show, In a Small Frame action, I am a Witness, performance and exhibition, etc,) and about Dokumenta, also organised by Olbrich that presented one artist each day for a period of 100 days, as well as about Pete Horobin (Scotland), E. F. Higgins III (New York City), Monty Cantsin (Canada), Peter Below (Würzburg,West Germany), who all participated in the First European Neoist Training Camp, Würzburg. There is also a short text on Wulle Konsumkunst and Géza Perneczky, Cologne, West Germany [read the article].
12. Interview by G. Galántai with János Szirtes and János Vető on Szirtes' s performance “Avanti”, 27 February, 1983. The performance made use of a number of ancient mythical symbols (music, dance, masks, etc. ) as well as materials (lime, mat). He barely instructed the participants, thus making the event quite spontaneous. In the interview they venture an interpretation of the event.
18. Bonifác Left at Five
Writer and film critic Gergely Bikácsi writes on the reading of István Eörsi (see AL 2.).
22. Description of the event by INDIGO Group (INterDIszciplináris GOndolkodás = Interdisciplinary Thinking) when they produced a painting of 6 m2's.
26. Public conversation of László Beke, historian of art, and Attila Kovács, architect, at the Association of Architects, 9 March 1983 on Kovács's works (shown on slides), why he left his office and began to make film scenery. Most people talked of the possibilities of Hungarian architects, the bureaucratic atmosphere in their offices that exclude genuine design, as well as the bleakness and transitory effect of the buildings finally built.
42. and SUPPLEMENT:
Lóránd Hegyi: “Trans-Avantgarde, Post-Modern, New Subjective”, or art after the expansion at the beginning of the 80's.
Hegyi - a historian of art - in his thoroughly analytical essay, writes of the new developements in art and of its consequences. He draws the attention to functional questions such as: the social character of art, the social role, function, and place of the artist. The new situation gives very different answers from that of the previous decades. Hegyi tries to find the causes bringing about this new constellation in the inner tendencies of modern art as well as in the social, political and cultural changes of the 80's. He concludes his essay with the definition of the three title terms choosing trans-avantgarde as the most accurate.
43. Barney Hoskyns: The Price of Fame from New Musical Express, 14 March 1982. (Hungarian translation, excerpts)
44. ARTPOOL - BUDAPEST
Artpool's aim is to collect, catalogue and guard those art experiments that otherwise would vanish without a trace.
Artpool helps all new endeavours at reforming art and creating a vivid and healthy art scene with information.
45. Conversation in Budapest with János Baksa-Soós, who has been living in West-Germany since 1974, on his personal philosophy, on nature. on music and especially on the task of the artist in the world today.
51. Is art a precious button or a zipper?
Debate at the Young Artists' Club, Budapest.
What is the role and importance of art criticism today? What is the relation between power and art criticism? How can criticism have a due effect? How to remain moral?
60. Cziffra go home!
George Cziffra, Hungarian pianist living in France has an Art Foundation for Hungarian artists. The article deals with the problems and bureaucratic procedures surrounding the Foundation.
62. Letter of György Fazekas on the same theme with additional information and a different interpretation.