Curated by Mari Carmen Ramirez and Hector Olea who organized this first large-scale overview of the avant-garde in Latin America during the twentieth century. Many Latin American works predated artistic works from Europe and the United States and challenged traditional notions of art and science. the catalogue and exhibition are organized into six conceptual areas or "constellations": Universal and Vernacular: Play and Grief; Progression and Rupture; Vibrational and Stationary; Touch and Gaze; Cryptic and Committed. Leon Ferrari contributed an illustrated essay "The Written Word." Hector Olea's illustrated essay on Leon Ferrari is titled "From the Drawing to Texts to the Texture of Poetry." -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Bann reports damage to the screen of Furnival's installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Includes essays by Stephen Bann, Robert Kenedy, Stuart Mills and Simon Cutts on the relationship of Tarasque press to concrete and visual poetry in England during the seventies. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue lists 341 items in a collection of mostly ordinary edition books and periodicals priced at approximately $8,000. There was heavy respresentation of Cobbing, Cutts, and Finlay. -- Source of annotation: Marvin or Ruth Sackner.

Wilma Paterson contributed a music score on "julie.' Finlay contributed two pages on "Unconnected Sentences on Gardening" including "A Garden is not an object but a process, Modern Sculpture is "Wilfuly" ignorant, Technology - Epic Convenience, A liberal's compost heap is his castle, and Weather is the chief content of a garden, Camouflage is the last form of classical landscape painting - It represents not 'this' tree but fields and trees, etc. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue marks the first, sudden rise in prices for Ian Hamilton Finlay's cards, books, and prints. -- Source of annotation: Marvin or Ruth Sackner.