Theme is Incunabulum, a book printed before 1501. -- Source of annotation: Marvin or Ruth Sackner.

Phrases of French text are blind typed on varying size pieces of purple-bluish colored, scratched paper that are mounted to the center of each page. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this collage was inspired by the thwarting of a gerrymandering attempt by the Democrats in the Florida House of Representatives by the Republicans by reading a 401 page bill, consisting for the most part, of innumerating the voting blocks in the state. The latter would take 8-10 hours to accomplish. Appended to the verso is a fragment of a photocopied article from the Tallahassee Democrat newspaper, April 1992 explaining this action. -- Source of annotation: Marvin or Ruth Sackner.

This is a reproduction of an original manuscript printed entirely with rubberstamped letters. -- Source of annotation: Marvin or Ruth Sackner.

The text of this book interspersed with rubberstamped images of a husk of corn reads "blue corn grows in the sand for the Hopi." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent I Am a Painter and The Valentine Mystery to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Jan van der Wateren wrote and translated the exhibition catalog essay from the Dutch. -- Source of annotation: Marvin or Ruth Sackner.

The text is written in large, block letters, expresses various situations. It is accompanied by illustrations that depict one young and another older Hispanic man. -- Source of annotation: Marvin or Ruth Sackner.

This is Smith's book number 143. Each line of poetry printed on 8 pencils that act as door hinges on the spine. The printed text on the pencils reads Weaving, Back and Forth, Writing in Time, Sewing my Words, Bowing the Box. The pages of this pie shaped book object are blank and as Smith explains in the colophon, ...the poem is not written by the pencils, but upon them. The binding was devised by Hedi Kyle and is called a piano hinge binding. -- Source of annotation: Marvin or Ruth Sackner.

The front cover on yellow paper stock has words, "baroni & pachetti" rubberstamped and the back cover "Book 1980." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent an artist book by Jack Hirschman to this exhibition, which was organized under the auspices of the US Information Agency to tour Africa. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent an artist book by Jack Hirschman to this exhibition, which was organized under the auspices of the US Information Agency to tour Africa. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a description of exhibition sponsored by the Center for Book Arts "One Cubic Foot" held at Watson library. -- Source of annotation: Marvin or Ruth Sackner.

A worn binding of Plato's book, "Republic The Statesman" was remade as a container for an assemblage of booklets, scrolls, wooden rods, gauze and ancient printed texts. The lid of the box contains an inset, ornate magnifying glass through which a portion of the interior box can be viewed. -- Source of annotation: Marvin or Ruth Sackner.

In the manuscript, there are 30 ink jet colored prints, some of which have been modified from the drawings also included in this work. Page 30 has the hebrew word for God framed by Russian text. In a note to the Sackners, Fedulov provided the following annotations in terms of the origins of the images and texts: page 13: A. Scriabine's "Prometheus;" page 19: Picasso's "Guernica;" page 23: M. Nesterov's "The Apparition to Bartholomew the Adolescent;" page 33: fragment of the illustration by A. Agin to the novel "Dead Souls"by Gogol; page 37: text from William Blake's "The Tyger" and "The Marriage of Heaven and Hell;" page 47: poster "Help!" by D.Moor; page 49" Michelangelo's "Creation of Adam;" page 53: caricature by A.Venetsianov in 1812; page 55: Giorgone's "Three Philosophers." Pages 37 and 43 are matted separately and stored in drawer second bedroom. -- Source of annotation: Marvin or Ruth Sackner.

The artist was associated with the first generation Abstract Expressionists, abandoned art in the sixties, and began again in the seventies with mixed media paintings and assemblages, founded on the belief that by "destroying' the art in its conventional sense he might release its fundamental spiritual energy. -- Source of annotation: Marvin or Ruth Sackner.