From the summer of 1967 Alloway was able fully to re-engage with the New York art scene. It was a scene that was increasingly “various and culturally discontinuous” as, indeed, befitted the condition of pluralism and abundance. He had anticipated the late-1960s condition in 1964 when he discussed in his essay for the Guggenheim International Awards. One of the implications of his “art as human evidence” definition was to think of art as individual practices rather than group movements, and this is one of the reasons why the definition proved sustainable in a fast-moving age of expendable conventions. In 1969, in the catalogue of the exhibition For Concept, he wrote: “A work of art represents a possibility; it is the permutation (even if no others are given) of an order. This is not to make the work of art symbolize universal theories of order; on the contrary, the intention is simply to characterize art as a proposal of human order… The forms of order, or play, grouped under the artists’ names, provide self-building structures, emblematic of individual thought.” The definition had not substantively changed; what had was the context to which it applied. In 1964 the context was painting; in 1969 it had expanded to include a range of new practices, media and approaches. As well as in articles about particular artists or exhibitions, Alloway addressed the new approaches in a catalogue essay for the Options exhibition in Milwaukee from June to August 1968, and in an article for Auction in October 1969.

Alloway's Options essay gained a readership beyond the exhibition. It was reprinted twice: the first was in Arts Magazine in September– October 1968 as “Interfaces and Options”; the second in the British Art and Artists in October 1969. Options was an exhibition of artworks, including kinetic works, that involved spectator participation: “Attention is expressed by touching, changing, moving, in addition to looking.” The artist makes use of “the expanded capacity of the spectator by offering options and variables as a part of the structure of art and as part of their intentions.” Alloway had stressed spectatorship as an active activity since his group's exhibit at This is Tomorrow and An Exhibit.