Review of an exhibition by W. Mark Sutherland. -- Source of annotation: Marvin or Ruth Sackner.

The texts are interviews with artists involved with installation art who answer the following questions: Why did you choose to make installations and not anything else? What do you think of your own works? What do you think the difference is between your own work and other installations? What do you think of the relationship of traditional art work and installation? What is the size and material of an installation determined by? Is there any object or idea that can not be installed? -- Source of annotation: Marvin or Ruth Sackner.

The image of this poem depicts Sutherland's interpretation of an Pollock abstract expressionistic painting formed by repetitively writing the name Jackson Pollock. -- Source of annotation: Marvin or Ruth Sackner.

Each page has a square to simulate a window. Wavy horizontal lines from bottom to top simulate a water level. The height of the lines progressively increases and decreases as the pages are flipped. The 40 pages are the same as Noah's biblical experience with the flood as depicted when the pages are flipped. -- Source of annotation: Marvin or Ruth Sackner.

The collage by Joachem Schmid depicted in this record is reminiscent of the style employed in a collge by Rachel Perry Welty held by the Sackner Archive. The Sackner Archive also holds an alphabetical collage by Heidsisck that is in the same style as those depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This is a shaped calligraphic image of Renaissance ceiling painting. -- Source of annotation: Marvin or Ruth Sackner.

The pages of a book were altered in the style of Tom Phillips' "A Humument" to create a new poetry. -- Source of annotation: Marvin or Ruth Sackner.

Paul Dutton contributed an essay about Sutherland's work. -- Source of annotation: Marvin or Ruth Sackner.

The word "scratch" was etched into a metal master and vinyl records were subsequently pressed. There is no sound on this recording other than that made by the physical text carved into the record. The resulting sound produces a variety of polyrhythmic clicks. -- Source of annotation: Marvin or Ruth Sackner.