The artist books depicted in this catalogue consist both unique and limited editions. The first section of the book includes an excellent desciptive section on the character of artist books. Further, there are several examples of books held by the Sackner Archive depicted in this catalogue including Dautricourt's 'Black Books,' Gut's 'Libro-Seme,' and Ulrichs' 'Concrete Poetry.' -- Source of annotation: Marvin or Ruth Sackner.

J. Cerda's book object "Aixo no es una pipa," also held by the Sackner Archive, is reproduced in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The curator, Raphael Tous, was also the collector of the books on display. Ulises Carrion, Guy Schraenen and Jose Luis Mata contributed introductory essays about artist books. It included approximately 1000 books. Several pages have been detached from the glued binding. Several books exhibited in this exhibition are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Robert Morgan and Pierre Restany. -- Source of annotation: Marvin or Ruth Sackner.

Notes dealing with the relation of words to painting, -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book were written 1972-1973. The cover illustration was done by Soheyl Dahi. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compilation of essays dealing with graphic design. J. Abbott Miller and Ellen lupton contribute an essay titled "A Natural History of Typography" in the section Looking Closer: Modernism and its Malcontents. Steven Heller writes of typographic nostalgia in his essay, "The Time Machine." Other sections of the book include Language and Dialects; Surface and Style; Form Follows Function; Sex Lies and Stereotypes; In the End, It's Education. Michael Dooley traces the development of Emigre by Rudy VanderLans and Zuzana Licko in his essay "Kicking up a Little Dust." The essays contained in this volume were previously published in Print, Eye, Emigre, I.D. Magazine, AIGA Journal and other graphic design publications, -- 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.

Goeritz, who was of Protestant (?) or Jewish zzzzz9/) heritage, was born in Danzig and migrated to Mexico circa WWII. According to this catalogue, Goeritz made concrete poetry between 1952 and 1966. Throughout his career, he mostly made public sculptures and practiced architecture. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a reproduction of an ideogram with translation by Peter Mayer from Ho Chi Minh's "Prison Diary," a book held by the Sackner Archive. Gianni Bertini and Sarenco in an essay "Poesia Visiva e Conceptual Art/Un Plagio Organizzato," attack Kosuth for copying from Ulrichs, Ben, and Moineau, Andre for copying from all northern concrete poets, amd Artschwager for copying from Gappmayr. -- Source of annotation: Marvin or Ruth Sackner.

This periodical was begun in 1971 and ran through June 1975. The second series, edited by Sarenco, began in 1982 and finished in 1984. The Sackner Archive holds a complete run of both series. In this exhibition, each of the 74 artists contibuted two or more collages or drawings with the header "Lotta Poetica" and the dimensions of the cover as a homage. -- Source of annotation: Marvin or Ruth Sackner.

Yoko One contributed an introductory essay. Mark Allen's insightful text describes Havadtoy's method of writing and re-writing personal thoughts that are "entombed under a hearty layer of paint. Words: gone. Emotional attachment: frozen. The canvas is then wrapped in a layer of lace and more paint until it hardens into a scabrous, protective shell." -- Source of annotation: Marvin or Ruth Sackner.