Cavellini appropriated a manila envelope mailed to him by the Sackners as the support for a collage with typical Cavellini correspondence art imagery. -- Source of annotation: Marvin or Ruth Sackner.

The two large volumes consist of a facsimile scapbook of Ben's typical writings, comments, drawings, correspondence, found texts and pictures, and, interviews. Volume one has a white cover and volume two a black cover. -- Source of annotation: Marvin or Ruth Sackner.

An introduction by Carlo Branzaglia provides a description of the Trax project. -- Source of annotation: Marvin or Ruth Sackner.

Scarletina Lust might be a nonde plume for Alex Hirka, the editor. -- Source of annotation: Marvin or Ruth Sackner.

Curated by Jas. W. Felter. -- Source of annotation: Marvin or Ruth Sackner.

In the photograph, Baroni is shown as he covers his wife with labels which read Networker Congress. The verso contains remnants and the flag-like ornament from the top of the helmut. This work is an homage to G.A. Cavellini. -- Source of annotation: Marvin or Ruth Sackner.

In the photograph, Baroni is shown as he covers his wife with labels which read Networker Congress. The verso contains remnants and the flag-like ornament from the top of the helmut. This work is an homage to G.A. Cavellini. -- Source of annotation: Marvin or Ruth Sackner.

The sayings on this card include Have Cavellini write on your body and Own a work by Cavellini. -- Source of annotation: Marvin or Ruth Sackner.

This periodical was edited by Maarten Beks, Pierre Borgue, Nathaly Bouvy, Hans Brand, Jan Brand, Geurt van Dijk, Urias Noteboom, Wim Scheepens, and Hans Witte. -- Source of annotation: Marvin or Ruth Sackner.

Although most of the participants in this exhibition are associated with the mail art network and visual poetry, the artworks in this exhibition are mostly visual. -- Source of annotation: Marvin or Ruth Sackner.

In an interview, Segay mentions "Transponance," the Samizdat art magazine by Segay and Nikonova that is held in the Sackner Archive. Also, he discusses problems with mail communucations from Russia. Indicates that he works as curator in the Yesjk Museum in Eysk. States that his rubberstampings of pictographs were based on Chicherin's manifesto, "Kan Fun" (1926) and influenced by rubberstampings of Zaum language by Kruchenkh (1916). This book contains 20 rubberstampings, one to a page. -- Source of annotation: Marvin or Ruth Sackner.

Introductory essays for this outstanding Assembling periodical are provided by Denis Poniz and Franci Zagoricnik. The latter mentions that the first publication of Slovene Concrete Poetry appeared in 1966 and that international collaborations began in 1967. Further, Zagoricnik indicates that Westeast was highly influenced by Spatola's Anthology Geiger. The content is weighted toward concrete poetry and typewriter poetry although several other artistic and poetic genres are included. This issue has been poorly bound causing pages to become loosened from the binding. This issue was dedicated to Seiichi Niikuni (1925-1977) and includes several photographic reproductions by Japanese poets influenced by his work. -- Source of annotation: Marvin or Ruth Sackner.