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Series VI contains correspondence, printed ephemera, newsletters and zines, manuscripts, and photographs and slides created or collected by Bob Fass throughout his life and career. Many of the materials in Series VI relate to recordings in the first five series of the collection. For example, photographs of the February 1967 Fly-In—recordings of which can be found in Series I.1—are included in Series VI. Other materials in the series document Bob Fass's political and musical interests, personal life, and Greenwich Village counterculture more broadly. Boxes 127-131 contain slides, Boxes 249 and 309 contain photographs, and Boxes 266 and 293-296 contain oversized materials. Photographic prints are generally black and white, while slides are in full color.

Series II: Hetty MacLise includes writing, artwork, and correspondence produced by, and legal documents, ephemera, and photographs of or belonging to, Hetty MacLise. The series covers her early life in England and then on the hippie trail, the span of her relationship with Angus (and the couple's adventures in various countercultural scenes and movements), and the three decades by which she survived him. Some material relating to Angus' and Hetty's son, Ossian, can also be found in this series.

This series gathers material by and related to figures who in many, though not all, cases do appear elsewhere in the archive, but where said material has little or no discernible connection to the MacLises. The bulk of this series concerns the photographer, poet, countercultural touchstone, and friend of the MacLises, Ira Cohen, whose own subseries includes writing (published and draft texts), art and design work, correspondence, interviews, legal documents, and ephemera. Of particular interest are his photographs, many of Cohen's then-partner Petra Vogt as well as of William S. Burroughs and his circle, but perhaps most notable are those from Cohen's famous "Mylar Chamber." The chamber was a small theatre in Cohen's loft in which he photographed and filmed the reflections of various sitters and performers in sheets of Mylar––a stretched silvery plastic developed in the 1950s––that were attached to hinged boards, producing quintessentially hallucinogenic images. Jimi Hendrix, who Cohen also photographed in this manner, observed of the effect: "Looking at your pictures is like looking through butterfly wings." (Mylar photographs by Cohen of Angus and Hetty MacLise can be found in their respective "Photographs" subseries.) Figures other than Cohen are grouped in Subseries III.2, and listed by name where that name is known. Some prominent and recurring figures include Petra Vogt, Vali Myers, Piero Heliczer, Jack Smith, Roberto Francisco Valenza, Adrian Brooks, and Dana Young. That subseries also includes a number of works, texts, and documents by unidentified artists, as well as ephemera related to other avant-garde communities, networks, and scenes.