This drawing has a hand-numbered 10 in the l.r. corner. -- Source of annotation: Marvin or Ruth Sackner.

This book was given to the Sackners following the artist's tour of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprinting of the writing books of three classic Italian calligraphers. -- Source of annotation: Marvin or Ruth Sackner.

This book is a review the Gallery Diet exhibitions of 2010. It includes the show by Rachel Perry Welty whose large collage based on the Talking Heads song s held by the Sackner Archive. This piece has been loaned to exhibitions and is expected to be returned to the Sackner Archive in 2012. It is noteworthy that a large color photograph by Welty about the same size as the Sackner held collage was priced at $8,000 as one of an edition of six copies by Yancy Richardson Gallery at Pulse Art Fair Miami in December 2011. -- Source of annotation: Marvin or Ruth Sackner.

The drawing consists of the three lines of micrographic text. The first reads, "This message would come to you or be experienced in your absence by the tongue of his anger which you never confronted. But you, receiving more than time or money, looking over pasts like rooftops. Nurenberg. You said Dresden or that you dread them or you dread him." The second reads, "And this is as good as you can do? Halfway out then all the way in feels better during sex but I forget it has been so long. There are still half-burned candles where our trail ended." The third reads, "Like there would be time enough like there would always be time & we knew there never would be but we never wished to destroy the illusion of a future together." -- Source of annotation: Marvin or Ruth Sackner.

Norman Pritchard II contributed calligraphic embellishments to this book. This book is stored with Pritchard material. -- Source of annotation: Marvin or Ruth Sackner.

This print, which has a Grafitti-like layered appearance, was made in cibachrome and Iris digital formats. The latter was printed from a MacIntosh computer with special printing equipment. The process was pioneered by Jon Cone, the son of the Sackner's friend, Josie Johnson. Cone visited the Archive in the mid eighties. -- 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 title "tiny huit " reads the same upside down. The other reversal poem on this card is "times semit," with semit presumably an abbbreviation for semitic. Finally, illegible writing is present in the upper left corner of the card. -- Source of annotation: Marvin or Ruth Sackner.

The drawings reproduced in this book appear to have originated in the author's sketch books. The drawings and themes are reminiscent of those by Raymond Pettibone. Gonzales: Non Stop Poetry, 2000, page Mark Gonzales is a world class skateboard champion. -- Source of annotation: Marvin or Ruth Sackner.

In this issue inscribed to the Sackners, Hubaut writes that "La ligne Bar-Bar" may fit into the Archive. The Sackners subsequently purchased this piece. -- Source of annotation: Marvin or Ruth Sackner.

This book is part of a trilogy that includes "To Believe in Man" and "To Believe in Things." -- Source of annotation: Marvin or Ruth Sackner.

This book is part of a trilogy that includes "To Believe in God" and "To Believe in Things." -- Source of annotation: Marvin or Ruth Sackner.

This book is part of a trilogy that includes "To Believe in God" and To Believe in Man." -- Source of annotation: Marvin or Ruth Sackner.