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A critical essay on this work was written by Marvin Sackner as an Afterword; it is located within the insert on the inside back cover. -- Source of annotation: Marvin or Ruth Sackner.

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A photograph of Marvin Sackner was scanned, enlarged and printed on an Epson printer by Harris in honor of Sackner's 70th birthday. The name Marvin was printed vertically in red. The word century was printed horizontally in black using the upper 70% of the letter forms. -- Source of annotation: Marvin or Ruth Sackner.

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Todorovic presents a history of signalism, examples, philosophy, scholarly papers about signalism, and manifestos. His text is in English. This book also includes texts in English about the Signalist movement by other writers. -- Source of annotation: Marvin or Ruth Sackner.

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In the colophon, Drucker acknowleges the financial support of Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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Press release (loose sheet) mentions that Friedman's work is held by the Sackners. The drawings were made for Higgins' "The Epickall Quest of the Brothers Dichtung and other Outrages." -- Source of annotation: Marvin or Ruth Sackner.

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Also includes Small Magazine Review 96 and 97. Bob Grumman contributes a report of his participation as an artist associate at the Atlantic Center for the Arts at New Smyrna Beach, Florida. He writes that the stay included a "field trip" to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive is mentioned as "the best collection of book arts in the world...an extrordinary melange of possibilities of future potential for the arts." Ackerman was a great friend of the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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This manuscript was given to the Sackners with an attached card Compliments of Martin S. Ackerman - Ruth and Marvin: Would appreciate it if you would read this. I will call you when I get back from my trip. If you see andy typos or names misspelled, [please let me know. Marty." The Sackner Archive is mentioned as "the best collection of book arts in the world...an extrordinary melange of possibilities of future potential for the arts." Ackerman was a great friend of the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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In a poem entitled "Philip Whalen Memorial .357," Nettelbeck mentions Marvin Sackner indirectly as "his one saint patron." -- Source of annotation: Marvin or Ruth Sackner.

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In the introduction, Gaglione mentions that Ben was the first to introduce rubberstampings into modern art in the late 50's and early 60's but that Kocman should be considered the "neo-father" of contemporary stamp art as demonstrated by his 1972 book "Stamp Activity." With this publication (30 copies), the concept of international stamp art was officially born into the eternal network. The rubberstamp collaged onto the cover carries the word, "touch." -- Source of annotation: Marvin or Ruth Sackner.

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Stored with MCBA newsletter. Lists the Sackners as Founders of the Center. -- Source of annotation: Marvin or Ruth Sackner.

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The Emily Harvey Foundation also supported this publication. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Matthew Abess, a second year undergraduate student at the University of Pennsylvania, poet and scholar, spent the summer of 2006 researching the work of the British poet, Bob Cobbing in the Sackner Archive. In honor of the Sackner's 50th wedding anniversary, Matthew conceived of a poetic interpretation by mining the letters R-U-T-H and M-A-R-V-I-N in Cobbing's bibliographic entries in their original positions on the page and reprocessing the letters on 50 pages on a photocopier so that the letters on the final page are completely obscured and abstract. Metaphorically, the letters take on a new beautiful life and interpretation. Also included are six pages of working notes. The poet's explantion of his process is as follows: Please see below my brief explanation of the piece. It is rather inarticulate, so please feel free to edit as you see fit! Respectfully, Matthew "Symphonic Concrete Cine-Text" Curated by: Ruth & Marvin Sackner Edited by: Matthew Abess, 24.06.2006....

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The Sackner Archive lent "Cries of Poindexter Village" to this exhibition. In the catalogue, Robinson (1940-2015) describes this work as "a two-volume book I made for my son, Syndey. One volume is 'Schoolyard,' and the other is 'Bethlehem Journey,' a hinged book with a large cloth painting inside. Both volumes are about the voices of the children coming up in Poindexter and the characters who lived there and some of their stories." The folder contains documentation for the exhibition, press releases and a thank you note thanking the Sackners for lending their piece to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent "Cries of Poindexter Village" to this exhibition pictured as plate 90. In the catalogue, Robinson describes this work as "a two-volume book I made for my son, Syndey. One volume is 'Schoolyard,' and the other is 'Bethlehem Journey,' a hinged book with a large cloth painting inside. Both volumes are about the voices of the children coming up in Poindexter and the characters who lived there and some of their stories." -- Source of annotation: Marvin or Ruth Sackner.

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This is an essay in a medical magazine that describes the beginnings of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of the Tom Phillips exhibition in the Van Pelt Library, University of Pennsylvania as borrowed from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition commemorated the 100th anniversary of Stephane Mallarme' s publication of "Un Coup de Des." Nobel also lent his own works and pieces from his collection. He designed costumes with his wife Kathy Bruce and wore them in a performance. The Sackner Archive lent several books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.