John Cage became famous in several ways: By linking his music with Merce Cunningham’s choreography, so that each partner could boldly explore previously unimagined methods of creating. By taking risks with his music in parallel with his urgent quest to envision the qualities of spirit he discovered in Asian practices such as Hinduism and Zen. And by writings that continue, some 80 years after first publication, to provoke and explain by their example. In a recent review of German artist Gerhard Richter’s “Cage Series” of paintings, art critic Jason Farago wrote: “John Cage’s dictum, ‘I have nothing to say and I am saying it,’ could be Mr. Richter’s motto as well.” The phrase comes from Cage’s “Lecture on Nothing,” perhaps the most radical, most important, and most provocative of Cage’s essays. Published in 1961, in Cage’s first book Silence, “Lecture on Nothing” has much to say to creative artists. The lecture is also beautiful and tough-minded, and worth performing in its own right. In all his work, Cage sought to “get himself out of the way” so that vivid encounters with the world could “make their own art.” These methods are still useful and timely.