Question: Where did Lithuanian American filmmaker Mekas first show the flim Eat in 1954?

full_context: Document 1: Collective for Living Cinema: The Collective for Living Cinema was an outpost of avant-garde cinema located on White Street in Lower Manhattan in the United States of America. It regularly presented work by filmmakers such as Ken Jacobs, Johan van der Keuken, Yvonne Rainer, Christine Vachon, Dziga Vertov and many others who created films that were outside of the commercial mainstream in the United States. It also published a number of scholarly journals on film. Many of the founders studied film at Binghamton University together, where they developed a particular interest in the avant-garde.
Document 2: Andy Warhol: Andy Warhol ( ; born Andrew Warhola; August 6, 1928 – February 22, 1987) was an American artist, director and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture, and advertising that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best known works include the silkscreen paintings "Campbell's Soup Cans" (1962) and "Marilyn Diptych" (1962), the experimental film "Chelsea Girls" (1966), and the multimedia events known as the "Exploding Plastic Inevitable" (1966–67).
Document 3: Jonas Mekas: Jonas Mekas (] ; born December 24, 1922) is a Lithuanian American filmmaker, poet and artist who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals worldwide.
Document 4: Gus Van Sant: Gus Green Van Sant, Jr. (born July 24, 1952) is an American film director, screenwriter, painter, photographer, musician and author who has earned acclaim as both an independent and more mainstream filmmaker. His films typically deal with themes of marginalized subcultures, in particular homosexuality; as such, Van Sant is considered one of the most prominent auteurs of the New Queer Cinema movement.
Document 5: Ari Marcopoulos: Ari Marcopoulos (born 1957) is an Amsterdam-born photographer and filmmaker, living and working in New York and California. As a photographer, film artist and adventurist, Marcopoulos, transplants himself into the intimate lives of people living on the edge. Artists, snowboarders, musicians and skateboarders have been both muses and commercial subject-matter throughout his quarter century career as a photographer. His stunning landscapes and playful portraiture offer a dramatic take on everyday life, and a glimpse into all things awesome. The Berkeley Art Museum presented Marcopoulos’s first mid-career survey in the United States in 2010. Marcopoulos is represented by Kavi Gupta of Chicago and Berlin. He is not related to Jonathan Marcopoulos.
Document 6: Camp (1965 film): Camp (1965) is a feature-length underground film directed by Andy Warhol in October 1965 at The Factory. The film stars Gerard Malanga, Baby Jane Holzer, Tally Brown, Mario Montez, Jack Smith, Paul Swan, Dorothy Dean, and Tosh Carillo.
Document 7: Adolfas Mekas: Adolfas Mekas (30 September 1925 – 31 May 2011) was a Lithuanian-born filmmaker, writer, director, editor, actor and educator. With his brother Jonas Mekas, he founded the magazine "Film Culture", as well as the Film-Makers' Cooperative and was associated with George Maciunas and the Fluxus art movement at its beginning. He made several short films, culminating in the feature "Hallelujah the Hills" in 1963, which was played at the Cannes Film Festival of that year and is now considered a classic of American film.
Document 8: The Andy Warhol Story: The Andy Warhol Story (1966) is an underground film directed by Andy Warhol with cinematography by Paul Morrissey, and starring Edie Sedgwick and Rene Ricard (as Andy Warhol).
Document 9: The Factory: The Factory was Andy Warhol's New York City studio, which had three different locations between 1962 and 1984. The original Factory was on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was one hundred dollars per year. Warhol left in 1967 when the building was scheduled to be torn down to make way for an apartment building. He then relocated his studio to the sixth floor of the Decker Building at 33 Union Square West near the corner of East 16th Street, where he was shot in 1968 by Valerie Solanas. The Factory was revamped and remained there until 1973. It moved to 860 Broadway at the north end of Union Square. Although this space was much larger, not much filmmaking took place there. In 1984 Warhol moved his remaining ventures, no longer including filming, to 22 East 33rd Street, a conventional office building.
Document 10: Empire (1964 film): Empire is a 1964 American black and white silent film written, produced, and directed by Andy Warhol. It consists of eight hours and five minutes of continuous slow motion footage of the Empire State Building in New York City. Abridged showings of the film were never allowed, and supposedly the unwatchability of the film was an important part of the reason the film was created. However, a legitimate Italian VHS produced in association with the Andy Warhol Museum in 2000 contains only an extract of 60 minutes. Its use of the long take "in extremis" is an extension of Warhol's earlier work the previous year with "Sleep". Warhol employed Rob Trains to be the projectionist for a screening of the film. Trains miscalculated and mixed the order and speed of the reels for the eight-hour movie. After a positive review in "The New York Times", Warhol actually liked the "mistake" and employed Trains for the entire summer.
Document 11: Film-poem: The film-poem (also called the poetic avant-garde film, verse-film or verse-documentary) is a label first applied to American avant-garde films released after World War II. During this time, the relationship between film and poetry was debated. James Peterson in "Dreams of Chaos, Visions of Order" said, "In practice, the film poem label was primarily an emblem of the avant-garde's difference from the commercial narrative film." Peterson reported that in the 1950s, overviews of avant-garde films "generally identified two genres: the film poem and the graphic cinema". By the 1990s, the avant-garde cinema encompassed the term "film-poem" in addition to different strains of filmmaking. Film-poems are considered "personal films" and are seen "as autonomous, standing apart from traditions and genres". They are "an open, unpredictable experience" due to eschewing extrinsic expectations based on commercial films. Peterson said, "The viewer's cycles of anticipation and satisfaction derive primarily from the film's intrinsic structure." The film-poems are personal as well as private: "Many film poems document intimate moments of the filmmaker's life."
Document 12: Eat (film): Eat (1963) is a 45-minute underground film created by Andy Warhol and featuring painter Robert Indiana, filmed on Sunday, February 2, 1964 in Indiana's studio. The film was first shown by Jonas Mekas on July 16, 1964 at the Washington Square Gallery at 530 West Broadway.
Document 13: Exploding Plastic Inevitable: The Exploding Plastic Inevitable, sometimes simply called Plastic Inevitable or EPI, was a series of multimedia events organized by Andy Warhol between 1966 and 1967, featuring musical performances by The Velvet Underground and Nico, screenings of Warhol's films, and dancing and performances by regulars of Warhol's Factory, especially Mary Woronov and Gerard Malanga. "Andy Warhol's Exploding Plastic Inevitable" is also the title of an 18-minute film by Ronald Nameth with recordings from one week of performances of the shows which were filmed in Chicago, Illinois, in 1966. In December 1966 Warhol included a one-off magazine called "The Plastic Exploding Inevitable" as part of the "Aspen" No. 3 package.
Document 14: Film Culture: Film Culture was an American film magazine started by Adolfas Mekas and his brother Jonas Mekas in 1954. The headquarters was in New York City. Best known for exploring the avant-garde cinema in depth, it also published articles on other aspects of cinema, including Hollywood films.
Document 15: Jonas in the Jungle: Jonas in the Jungle is a 2013 documentary film by Peter Sempel about the filmmaker Jonas Mekas. It is part of a long term series of films about Mekas ("Jonas in the Desert" (1991), "Jonas at the Ocean" (2004)). The earlier films were focused more on Mekas' work, while this film is more about the life of the 'legend of film avant-garde' as he enters his 90's, still working, and still maintaining relevance in the modern world.
ground_truth: Washington Square Gallery