A practice that characterizes this early period of correspondence art, and which continues to this day, was the adoption of pseudonyms and official sounding institutional titles by individuals and groups. Stu Horn, a correspondence artist active in this early period, wrote about the possibilities offered through postal communication for the construction of network identities.


   "Correspondence gives the artist the opportunity to create a new, perfect identity for people to relate to. He can be whoever he wants to be or nobody at all. The majority of correspondents either create corporate names (Image Bank, Dadaland, Dada Processing, Cow Studio, Gross Enterprises) or use aliases by which even their close friends know them (Anna Banana, Monte Cazazza, Arthur Craven, Woof Bubbles). I like the anonymity of correspondence & the possibility of creating and giving reality to conceptual beings and institutions." Stu Horn quoted in: Carolyn Pinkston, "Correspondence Art," MA thesis, California State University, Northridge, 1973. Ken Friedman papers, Alternative Traditions in the Contemporary Arts, Utopian Networks and Correspondence Identities/Stephen Perkins University of Iowa, p. 37.