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This is a review of David Tudor’s concert in Venice of works by a series of Darmstadt-associated composers: Henry Posseur, Franco Evangelisti, Karlheinz Stockhausen, Frank Amey, John Cage, and Sylvano Bussotti (who is represented by his Five Piano Pieces for David Tudor). The reviewer notes that No. 3 of Bussotti’s Pieces takes Cage’s principle of indeterminacy to a new limit that spills over into the realm of visual art. Far from the scandalized conservatism of many of the reviewers of Cage and Tudor’s Cologne concert the previous year, this reviewer is generally sympathetic to the project of score-based experimentation and adds that the Italian audience seemed engaged.