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The catalogue is an example of Neo-Dada with found texts (these are cited in a bibliogrpahy on a loose sheet) opposite the item for sale bearing minimal relation to that item. The annotated items for sale are covered by a tipped-in, photocopied, reproduction from the item. -- Source of annotation: Marvin or Ruth Sackner.

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The cover of the card depicts Emmett Williams' poem "SolDIEer." -- Source of annotation: Marvin or Ruth Sackner.

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This image with typed text, letraset, and abstract markings with the image of an eye in the center is reproduced in Annoncenteil Arbeiten auf/mit Papier, Luchterhand, 1971. It is also the cover design for Klaus-Peter Dencker's book, Text=Bilder Visuelle Poesie International. The inscription is written on the verso of the overlay of the photograph by Gerz. This photograph is designated as No.496 in Gerz's Catalogue Raisonne Volume III but mistakenly called a collage rather than photograph. Presumably, the original collage was either lost or destroyed. The book also depicts another similar collage with the same title that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This collage is a variant of another one reproduced in a photograph with the same title also held by the Archive. This work has a different background text and a black circle and arrows in the center in the diagrammatic shape of an eye. It is also designated as No.496 in Gerz's Catalogue Raisonne Volume III. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents There are several objects in this box which is like a one person "Assembling." One is an empty plastic bag with a three pages of documentation stapled to it. Gerz relates that he sent such empty plastic bags to friends, strangers from the Paris phone book and exhibition visitors at international art galleries. They were instructed to place personal old relics in the bags. Three hundred filled plastic bags were returned and sealed by Gerz who then deposited them in the construction foundation of the new Montparnasse Tower in Paris which was then covered by concrete. Since the bags were inaccessible, and no material trace of them remained, Gerz wrote that "from the idea and diverse initiatives which their realization made necessary as well as the impressions which I received during this time, I retain a memory more and more contradictory. The consequences which arise from this each day seem by now more important than the idea itself." There are duplicate, printed plastic envelopes...

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The English translation of the German word, 'Rechtschreibung' is 'spelling.' Gerz has deliberately misspelled the word as 'Rechtsschreibung,' i.e., with an extra 's.' This might be a pun on the word, 'Rechtsbeugung,' a closely related word which means perversion (misspelling?) of the course of justice. The typed page but not the altered negative is designated No.485 in Gerz's Catalogue Raisonne Volume III. -- Source of annotation: Marvin or Ruth Sackner.

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Although Gerz began as a visual poet, his later work dealt often with the events of the Holocaust. Gerz's public works frequently took the form of interviews and participation of the viewer. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was edited by Andreas Hapkemeyer and Marion Hohlfeldt who also contributed critical essays on Gerz's works. -- Source of annotation: Marvin or Ruth Sackner.

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Curated by Georg Jappe. -- Source of annotation: Marvin or Ruth Sackner.

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The wooden blocks spell REVOLUT with three final letters, 'd' 'f' & 'n' separated and turned as if to revolt against themselves! This is a sepia toned photograph of a unique three dimensional book object designated No.609 in Gerz's Catalogue Raisonee Volume III. -- Source of annotation: Marvin or Ruth Sackner.

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This booklet is designated No.752 in Gerz's Catalogue Raisonee Volume III. -- Source of annotation: Marvin or Ruth Sackner.

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The verso of each playing card depicts an image by an artist. -- Source of annotation: Marvin or Ruth Sackner.

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Rinder writes in an introductory essay that Jochen Gerz, aka The Berkeley Oracle, "in homage to the questioning spirit of Berkeley in the 1960's, invited questions to be posted on a web-site, hosted simultaneously by the Berkeley Art Museum and the Center for Art and Media...Gerz' piece alludes to the Oracle at Delphi..In the spring of 1998, Gerz selected approximately forty questions from the Berkeley Oracle, printed them out, and placed them in various locales around the Berkeley Art Museum. Some were installed in the galleries, along side works of art, while others were tucked away in unexpected places." The questions are reproduced, one to a single sided transluscent page in this book. The printed red lettered sentences on translucent paper are philosophical questions that might be answered by an oracle. -- Source of annotation: Marvin or Ruth Sackner.

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This is designated No.735 in Gerz's Catalogue Raisonne Volume III. The edition size is not provided but is probably small. -- Source of annotation: Marvin or Ruth Sackner.

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The title statement, translated into three languages, appears on a photograph of a video monitor in capital letters with Jochen Gerz's name on the bottom. The translucent overlay has handwritten instructions for reproduction of this image. -- Source of annotation: Marvin or Ruth Sackner.