This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the second poster without an image in the catalogue by Bremer and is therefore is designated No.159a. The edges around the image are damaged. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the third poster without an image in the catalogue by Bremer and is therefore is designated No.159b. The image depicted in the poster is a dove. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. The Sackner Archive also holds a signed photograph by Bremer of a similar image, i.e., two military tanks depicted as shaped poems. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the fourth poster without an image in the catalogue by Bremer and is therefore is designated No.159c. -- Source of annotation: Marvin or Ruth Sackner.

The author does a critical tabular and diagrammatic analysis of selected concrete poems by Gomringer, Jandl, Dohl, Thomkins, Hesse, Bremer, and Schauffelen. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns poets Blaine has contacted requesting work for exhibition of Davis UU. -- Source of annotation: Marvin or Ruth Sackner.

Bremer indicated that his inspiration to write constellations and ideograms came after seeing Pablo Picasso texts at Vallauris. Further, a poem constitutes most of the letter. -- Source of annotation: Marvin or Ruth Sackner.

This book is a text for middle school students. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue deals with the works published by Mayer as well as his own experiments in concrete poetry. It is profusely illustrated with works by artist/poets published by the press and also with reproductions of Mayer's monoprints. -- Source of annotation: Marvin or Ruth Sackner.

This poem is depicted in printed format on page 31 of Bremer's book, "Anlaesse." Bremer was born in Hamburg, Germany in July 1924 but spent his artistic years in Zurich/Forch Switzerland. He died in Zurich in May 1996. -- Source of annotation: Marvin or Ruth Sackner.

This photograph was submitted for inclusion in Bremer's book, "Texte und kommentare zwei vortrage." -- Source of annotation: Marvin or Ruth Sackner.