Carolee Schneemann’s influence, both acknowledged and unacknowledged, is widespread, and the artist documents this beautifully in a binder she has kept for 20 years called “Influence, Plagiarism, I Forgot.” It juxtaposes her work with images she comes across in art and pop culture, and last month it was all printed as a magazine by the Artist’s Institute in New York.

Ms. Schneemann is infamous for using her naked body to challenge boundaries in her groundbreaking interdisciplinary performances and films of the 1960s and 1970s, such as “Meat Joy” (1964).

The magazine’s side-by-side comparisons include a 1974 picture of Ms. Schneemann, drawing on surrounding walls while dangling naked in a harness, next to an image of the artist Matthew Barney suspended from ropes in his studio more than three decades later. Another pairing shows a photo of Lady Gaga wearing her meat dress next to a photo from “Meat Joy,” in which performers revel ecstatically with paint, raw chicken, fish and sausages. “Her range of visual connections is great,” said Jenny Jaskey, director of the institute, which dedicated its six-month season last year to exhibitions and events related to Ms. Schneemann. “It’s high, it’s low.”

The magazine’s publication comes on the heels of Ms. Schneemann’s first major museum retrospective, this year at the Museum der Moderne Salzburg in Austria. (The show travels to Frankfurt in 2017.) And on view in New York is a two-part exhibition of Ms. Schneemann’s lesser-known works from the 1980s to the present, at P.P.O.W. and Galerie Lelong.