The images in this book consist of reproduced, simple line drawings -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a colored snapshot of houses and young people in New York places. -- Source of annotation: Marvin or Ruth Sackner.

This issue reproduces photographic images of fans around the world wearing NY Yankee baseball caps. -- Source of annotation: Marvin or Ruth Sackner.

Live in Your Head re-examines the artistic legacy of the 1960s and 70s and attempts to clarify the points of origin of a formative generation in British art. It focuses on conceptual and experimental art in Britain. Each artist/poet is given a double-page spread, This catalogue also includes artists' statements and portraits, reproductions of numerous works, biographic and bibliographical information. In addition, Live in Your Head includes a lively and illustrated chronology of social and cultural events between 1965-1975, and essays by Michael Archer, Rosetta Brooks and co-curators, Andrea Tarsia and Clive Philpot. This catalogue has a yhellow cover whereas the other copy in the Sackner Archive has a blue cover. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition and catalogue was curated by Harald Szeemann; Charles Harrison organized the London exhibition. This catalogue consists of a suite of 78 single leaves with photo and biographical information of the artists and their works, alphabetically arranged with cardboard thumb index. This is the Second enlarged edition of the famous Szeemann catalogue on conceptual art. The exhibition was held in the Kunsthalle Bern (Switzerland) in March and April 1969 and moved to London in the fall of the same year, where the show was curated by Charles Harrison and sponsored by Philip Morris Europe, as stated on the title leaf of the present catalogue. As Charles Harrison explains in his forword, the London catalogue was supplemented without withdrawal of any material from the original catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Lecointre box. -- Source of annotation: Marvin or Ruth Sackner.

This book is not listed in the Wikipedia bibliography of the press. -- Source of annotation: Marvin or Ruth Sackner. Date originally recorded as 1975.

On one of the fragments, the phrase "death without quiet" is written. -- Source of annotation: Marvin or Ruth Sackner.

On one of the fragments, the phrase "death without quiet" is written. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue represents a retrospective exhibition of the work of Costa (1942-1995) whose theme is transformation, metamorphosis and cultural anthropology. It includes essays entitled, "The Theatre of Wreckage," A Journey, a Collection of Saints, a Charcoal-maker, Spring Water and the Magic of Artistic Expression,"In the Company of Human Brain and Prehistoric Man" and "The Reconstruction of the Human." -- Source of annotation: Marvin or Ruth Sackner.

This issue has two major themes, experimental poetry in Latin America and the point that concrete and visual poetry preceded conceptual art. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue has an innovative design with colored reproductions of found, constructivistic sculptures by Pirella. -- Source of annotation: Marvin or Ruth Sackner.

Selected as an Olympic Project, the walking wolf was painted on a 14 by 60 foot wall at Nexus Press. "His monumental presence was then reduced to a photograph which once cut on a grid into two hundred images, became the artwork for the book...a wordless, abstracted meditation of visually related images. Lupus Viator Atlanta can also exist as a large scaled book installation. Laying 100 books out on the floor in a ten by ten book grid, each opened to sequential page spread brings the lone wolf back to his monumental presence as installation." The wall was then painted out and the wolf went on to his next venue painted on another museum wall. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a design for a sundial. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts a black and white photograph of a stationary, automatic cannon model made by Finlay. It was photographed by Heideken. The caption on the verso taken from Heraclitus provides a definition of the tuning of a lyre that is the title of this poem. By this, Finlay implies the tuning of a weapon of destruction. -- Source of annotation: Marvin or Ruth Sackner.