Actually, he's apparently better known for the 1967 short "Wavelength" - despite the fact that it doesn't get more than a mediocre rating at the IMDb!

He was born in Toronto.

https://www.imdb.com/name/nm0811296/?ref_=fn_al_nm_1

From the mini-bio:

"...WAVELENGTH consists of a 45-minute zoom across a loft--interrupted at several points by a cryptic narrative involving a murder--which ends on a close-up of a photograph of ocean waves. The film quickly earned a reputation in international avant-garde
circles and inspired a generation of structuralist filmmakers. It was the first in a series of Snow's works which reduce the film medium to one of its most basic elements--camera movement: Standard Time (1967) is made up of 360-degree pans; in _Back and
Forth (1969)_, the camera moves backwards and forwards at varying speeds, recording events in a classroom; in La région centrale (1971), Snow's remote-controlled camera, mounted on a tripod in the middle of the Quebec tundra, executes 360 degree
rotations in three different circular patterns (at various speeds) while zooming in and out."

About "Corpus Callosum" (that one got a 6.5 rating):

"A surreal and comic exploration of an office space and the decorations of a living room."

https://www.nytimes.com/2023/01/06/arts/michael-snow-dead.html
(includes photos of his art works)

"Michael Snow, Prolific and Playful Artistic Polymath, Is Dead at 94"

"He was a painter, a musician, a photographer and a sculptor. But he was best known for experimental (and often contentious) films like 'Wavelength.''"

Excerpt:


...“Mr. Snow’s approach to photography is both heady and physical, a rare combination,” Karen Rosenberg wrote in The New York Times in a 2014 review of a retrospective devoted to his photography at the Philadelphia Museum of Art. “The show makes
you wonder, though, why Mr. Snow’s photography isn’t as well known as his films.”

The reason may be that his best-known film was a true cause célèbre — the most outrageous American avant-garde film after Jack Smith’s quite different “Flaming Creatures” (1963). Laurence Kardish, a former film curator at the Museum of Modern
Art in New York, said a screening of “Wavelength” in March 1969 was disrupted by “shouts and counter shouts and walkouts.” Many attendees of MoMA’s screening, part of its often experimental Cineprobe series, were “lost,” Mr. Kardish
recalled in an interview for this obituary in 2016, although he said he believed Mr. Snow “enjoyed the brouhaha.”

In an interview in 1971 with the Canadian film magazine Take Out, Mr. Snow recalled that the first screenings of an earlier film, “New York Eye and Ear Control” (1964) — which combined a cacophonous free-jazz soundtrack with a classically
constructed non-narrative montage — caused disturbances both in New York and in Toronto, where “somebody wrote a review with a headline saying ‘300 Flee Far Out Film.’”

Take One quoted that headline on its cover. Inside, the filmmaker and writer Jonas Mekas described a recent screening of “Wavelength” at the Anthology Film Archives in New York:

“There were fist fights in the auditorium and at least two members of the audience were seen with handkerchiefs on their faces, all bloody, and someone stood up in the auditorium and shouted, loud and angry: ‘I know what art is! I studied art in
Italy! This is a fraud! I’ll get Mayor Lindsay to close this place.’”

Mr. Snow’s sequel to “Wavelength” was a film titled with a double arrow in which, for 52 minutes, the camera — positioned in a nondescript classroom — pans back and forth and sometimes tilts up and down to create what might be called a
perpetual motion picture....


Last paragraphs:

...In 1979, Mr. Snow was commissioned to create an installation for the atrium of the Eaton Center, a new multilevel mall in downtown Toronto. The piece, “Flight Stop,” consisted of 60 life-size Canada geese fashioned from fiberglass and suspended
from the top of the atrium, frozen in flight. When the Eaton Center festooned the birds with ribbons for the Christmas season, Mr. Snow enjoined it to remove the decorations on the grounds that his intentions had been compromised. The Ontario High Court
of Justice affirmed his rights, and the Copyright Act of Canada was amended to protect the integrity of an artist’s work.

“Flight Stop” became something of a municipal landmark. So did Mr. Snow himself, who went on to create more public artworks in Toronto. In 1994, a consortium of Toronto arts institutions celebrated his work with multiple gallery exhibitions and a
complete film retrospective, as well as concerts, symposiums and the publication of four books, each devoted to a particular aspect of his oeuvre.

Nothing even remotely comparable was ever attempted in New York, his temporary adopted hometown, although Mr. Snow’s impact on New York’s avant-garde was considerable.

“One of little more than a dozen living inventors of film art is Michael Snow,” Mr. Frampton, his fellow filmmaker, wrote in 1971. “His work has already modified our perception of past film. Seen or unseen, it will affect the making and
understanding of film in the future.

“This is an astonishing situation. It is like knowing the name and address of the man who carved the Sphinx.”


https://www.thestar.com/entertainment/visualarts/2023/01/06/toronto-born-interdisciplinary-artist-michael-snow-dies-at-94.html

https://www.cbc.ca/news/canada/toronto/artist-michael-snow-obit-1.6706449
(longer - this one has some chillingly prescient details)

Out of curiosity, I looked up his name and Ono's. Apparently, she and Lennon both saw "Wavelength" and liked it.

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