The text is printed in red and blue colors and the reader is supplied with two pieces of plastic film, one red, the other blue. By using one or the other film over the text, the reader sees mainly the blue or the red texts. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a collection of translations of Hans Arp, Anselm Hollo, Franz Mon and Gerard Ruhm by the OBERIU group. -- Source of annotation: Marvin or Ruth Sackner.

The cover illustration was done by Gleb Bogomolov. -- Source of annotation: Marvin or Ruth Sackner.

The cover illustration was done by Vlladimir Ufkyand. -- Source of annotation: Marvin or Ruth Sackner.

Genrikh Buferev is another name for Genrikh Sapgir. This issue includes the contents of issues 1-24 plus an ad for Feofan Buka's edition of 10 copies for a literary supplement to to Transponance. The latter is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

In this issue, Genrikh Sapgir uses his other name Genrikh Bufarev for his contribution, -- Source of annotation: Marvin or Ruth Sackner.

Issue 28 that included works by Rea Nikonova, Serge Segay, Boris Konstrictor, Leonid Voytsekhov, Leon Bogdanov, Dmitry Prigov, and Vladimir Erl' was not offered to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The punctuation poems in this issue are dated 1960. Some of the photographs in this issue are actually photograms. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was composed of the Goldberg Variations, lent by Elena Presser, and, the Anna Magdalena Bach Notebook, lent by the Sackner Archive. Critical essays were contributed by Elena Presser and Rosalyn Turek, the Bach scholar and musician. The director, Elsa Weiner Longhauser, describes the Sackner Archive as "a brilliant, comprehensive collection and Presser's work a rare tour de force." -- Source of annotation: Marvin or Ruth Sackner.

Robson's book of poetry questions "how to live with our technology in terms of a new cultural orientation." He states that "this book is a philosopical experiment with poetry as test material." He presents examples and analyzes his own sound poetry. -- Source of annotation: Marvin or Ruth Sackner.

Robson's book of poetry questions "how to live with our technology in terms of a new cultural orientation." He states that "this book is a philosophical experiment with poetry as test material." He presents examples and analyzes his own sound poetry. The loose sheet lists errata. -- Source of annotation: Marvin or Ruth Sackner.

Produced on the occasion of an exhibition at Galleria Derbylius in Milan. The collage is a cut-out celluloid angel onto which Arias-Misson has written a poem. -- Source of annotation: Marvin or Ruth Sackner.

Each participating artist was invited to make a proposal for a work in public space and a work for a portfolio. These artists all use text and language for their works. An introductory essay by Tjeu Teeuwen traces the relationship between text and image from early religious works through the influences of Mallarme, cubist collages, calligrams, futurism, dada, constructivism, De Stijl, concrete poetry, fluxus and conceptual art. Essays are also included on art in public places and nomadic art. -- Source of annotation: Marvin or Ruth Sackner.

Elsas visited the Sackner Archive to study the Phillips works in the collection and several of the reproductions in this student thesis are taken from works in the Archive. The thesis is an exceptionally mature, perceptive critical accounting of Phillips' "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue summarizes the visual poetic collages and assemblages made by Vitone. It reproduces a fragment of "Lettere n.80," a collage that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.