A punctuation colon is printed below a drawing of the human colon, half of which is seen though a cut out section. The text on the final page refers to a mathematical axiom e.g. the whole is equal to the sum of its parts. However, the poets question whether one can ever do anything by halves. -- Source of annotation: Marvin or Ruth Sackner.

All pages are blank and alternate with black and white stock. The rubberstamped message in English and Italian is as follows: "The other side of the medal does not change the specific weight of the award." -- Source of annotation: Marvin or Ruth Sackner.

Morris states "On Tuesday January 2003, 78 art and design students from York College cut out every word from Sigmund Freud's 736 page book The Interpretation of Dreams (including the index - 339,960 words). As each word was cut from its respective sentence, it was spoken. When cutting from right to left, Sigmund Freud's words were read backwards." -- Source of annotation: Marvin or Ruth Sackner.

The Rubicon of Breath, held by the Sackner Archive is illustrated and described. This work was commissioned for "The Beauty in Breathing" exhibition in Miami Beach, 1992. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition documented the photographs of Samo graffiti which appeared in lower Manhatten in 1977-1978. Subsequently it became known that they were the work of Jean-Michel Basquiat and Al Diaz. The premise of these slogans/poems was that Samo was a brand name drug which provided salvation to those who would take it. This catalogue also mentions that Flynt's work is in the collection of Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts photocopied ancient images of snakes with captions supplied by Vater; the book documents a museum installation. -- Source of annotation: Marvin or Ruth Sackner.

This book was first published in 1970 and consists of the Brown University Million Word Corpus arranged by word length using selected subjects to give 50,000 words. These words, each page with the same word length, were typed onto stencils by Ferguson and constitute this book. The repetitive typing of a single letter of the alphabet is reminiscent of Nannucci's typings. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a stone sculpture engraved with the title. The calligraphy of the word "ripples" is formed such that it could also be read "nipples." The verso os rubberstamped indicating that Ronald Gunn holds the copyright - it is not depicted in the Finlay book of Prints 1963-1997. -- Source of annotation: Marvin or Ruth Sackner.

This retrospective at the Whitney Museum of American Art consists mainly of phrases in large letters by Lawrence Weiner. -- Source of annotation: Marvin or Ruth Sackner.

Exhibited in Visualog 2, San Luis Obispu, California. Exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

Exhibited in Visualog 2, San Luis Obispu, California. Exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

The text of this work reads "This Sentence Is Weightless." The perforated, stencil-like aluminum letters hang vertically from a small scale which registers no weight. The artist plays on the expression "a weighty sentence." A photograph of the object is reproduced in Kunstforum No.37, 1980, p. 40 held by the Sackner Archive." -- Source of annotation: Marvin or Ruth Sackner.

The text of this work reads "This Sentence Is Weightless." The perforated, stencil-like aluminum letters hang vertically from a small scale which registers no weight. The artist plays on the expression "a weighty sentence." A photograph of the object is reproduced in Kunstforum No.37, 1980, p. 40 held by the Sackner Archive." -- Source of annotation: Marvin or Ruth Sackner.