In late 1965 the National Collection of Fine Arts (NCFA) informally contacted H.H. Arnason, the vice president of the Guggenheim, to ask whether Alloway would be available to curate the American Pavilion— sponsored by NCFA—at the 1966 Venice Biennale. The choice of artists for this prestigious international showcase would be Alloway's, but the formal invitation would be, as normal, to an institution, namely the Guggenheim. Arnason replied in the affirmative. In December, on the evening of his departure to Europe for two months, Thomas Messer, the Director of the Museum, called Alloway to tell him he would have a “very minor role” in the exhibit. Alloway tartly responded that he knew (via a friend in Washington) about the previous informal contact from the NCFA, and expected to play a major part. Next day, Messer departed for Europe, and Arnason, when pressed by Alloway, admitted the informal request from the NCFA had indeed occurred, with Alloway being asked to choose the artists, select the works, hang them, and write a “long and historical” catalogue essay that would be circulated around USIS libraries. This clearly merited the title “Commissioner,” but Arnason argued that, for Messer not to be given that title, would appear a slight. Reluctantly and after some time, Alloway agreed to cede the title, reassured by Arnason “not to worry, the show would be mine and known as such.” At this point Arnason formally accepted NCFA's invitation.

Alloway went ahead and made his selection—which, rather conservatively, included Pollock, Joseph Cornell, Lichtenstein, and Trova, and it was accepted by the NCFA. However, Arnason claimed that the Museum Trustees, who needed to approve the list, were proving difficult to contact. Five weeks passed with no resolution, and Alloway was beginning to worry about having sufficient time for writing the essay. Meanwhile, the New York art world, as reported by The New York Times, eagerly awaited news: