The Sackner Archive is described and photographed in the final chapter of the book. The Sackners are also mentioned on the flyleaf of the dust jacket. The duplicate copy is accompanied by a letter from Deidi Von Schwaewen, the photographer. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners are photographed in the Archive gallery space in an article entitled, "Miami's Top Collectors." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is listed as containing Alicja Werbachowska's work. The letter accompanying the catalogue from Galeria Wit was written in appreciation. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent Binder's Metamorphoses Octet to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Part one of the book illustrates Charriere's paintings and part two his books and bindings. The Sackner Archive is listed under Public Collections of his works. -- Source of annotation: Marvin or Ruth Sackner.

An interview of Amrhein with Ati Maier comprises the text of this illustsrated catalogue. The Sackner Archive lent their work "Whatever" to the exhibition and it is depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition, curated by Patrick Murphy, consisted of works loaned by the Sackner Archive, Carlos & Rosa de la Cruz, Martin Margulies, and William & Phyliss Mack. The artists from the Sackner Archive consisted of Tom Phillips, Ian Hamilton Finlay, and Genevieve Seille. -- Source of annotation: Marvin or Ruth Sackner.

Marvin Sackner curated an exhibition, held in the Archive for a meeting of the Art Librarians Association, of artists' books from the collection. Examples were selected to illustrate the classification system described by Johanna Drucker in "The Century of Artists' Books." The photographs were taken by Ruth Sackner. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners were invited to a televised conference for German TV in which the definitions of visual and concrete poetry were discussed in German that lasted hours with no definitive conclusions. The concluding respondent in the conference, Wolfgang Schmidt, gave a wink to the Sackners and replied to the question "What is Visual Poetry" with I...DON'T....KNOW! The event included an exhibition and poetic performances. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive is mis-labeled as Marvin L. Suttner Foundation of Visual Poetry in the list of musems and libraries holding Zylla's works. -- Source of annotation: Marvin or Ruth Sackner.

Book is dedicated to Ruth and Marvin Sackner. The bookbinding was made by Richard Minsky who also treated the paper of the book with Wei T'o spray for neutralizing against acids as explained on the cover text. -- Source of annotation: Marvin or Ruth Sackner.

The book is dedicated to Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

The book is dedicated to Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

This is one of 25 signed and numbered copies. The remaining 25 copies in the run were unsigned. In the introduction, Helmes writes "In the late 70's I met Ruth and Marvin Sackner and Richard Kostelanetz. They, along with Karl Kempton and Kay Arndt, have been critical supporters of my work for which I am continually grateful." This book consists of a varied selection of Helmes' poems, reproduced from rubberstamping, line stencilling and letraset collaging. -- Source of annotation: Marvin or Ruth Sackner.

Nazerenko contibutes a lengthy introductory essay on the history of concrete and visual poetry with emphasis on Ukrainian poets entitled "Calligraphic Scratches, Squiggles and Shaped Texts: The Evolution of Ukrainian Visual Literature." A great deal of research for this book was carried out in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This issue deals with the work and words of Michel Foucault. -- Source of annotation: Marvin or Ruth Sackner.

Steven Heller contributes an essay "Szyk Transit: The greatest work of a once-famous anti-fascist illustrator has been beautifully restored, but not without some conflict along the way," the work of the Polish artist Arthur Szyk. Rick Poynor questions how graphic designers will shape the discourse about climate change in his essay "Warm Regards." Jennifer Ehrenberg describes contemporary artists' books made in Cuba in her essay "Cuba Libros!" -- Source of annotation: Marvin or Ruth Sackner.

The Sackners are mentioned as holding a Vitali photograph. -- Source of annotation: Marvin or Ruth Sackner.