This material constitutes the editorial content of these two issues. -- Source of annotation: Marvin or Ruth Sackner.

In this newsletter, Curry quotes part of a letter written to him by Marvin Sackner describing a conversation with an art historian regarding the introduction to the exhibition catalog "The Altered Page." "After reading the first sentance, she smiled & said such an essay could never be written by a professional art critic or historian - they would never begin an essay with a statement of purpose (like a scientist) but would lay on some bullshit for a few pages before reaching a point." -- Source of annotation: Marvin or Ruth Sackner.

In this newsletter, Curry quotes part of a letter written to him by Marvin Sackner describing a conversation with a art historian regarding the introduction to the exhibition catalog "The Altered Page." "After reading the first sentance, she smiled & said such an essay could never be written by a professional art critic or historian - they would never begin an essay with a statement of purpose (like a scientist) but would lay on some bullshit for a few pages before reaching a point." The Sackner Archive also holds the Archive for this issue. -- Source of annotation: Marvin or Ruth Sackner.

This material constitutes the editorial content of this issue. -- Source of annotation: Marvin or Ruth Sackner.

This item consists of a photocopied collage that was submitted as an original to Woodrose magazine but never returned to curry. -- Source of annotation: Marvin or Ruth Sackner.

one cent No.200 was published as Curvd H&Z No.378, 1988. This manuscript constitutes the foreward to this issue. -- Source of annotation: Marvin or Ruth Sackner.

curry's contribution deals with his views on mimeograph printing. -- Source of annotation: Marvin or Ruth Sackner.

curry indicates that this is the "2nd run with typography fixed from 5 cent MiniMimeo #23, 1969." -- Source of annotation: Marvin or Ruth Sackner.

The artist uses a complex color coding system for his abstract images to convey words and sentences about a topic. He discusses this system for every artwork depicted in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The human silhouette painted on a door panel who silently points out a chest x-ray to another silhouetted figure to emphasize the physiologic importance of breathing is taken from the lead on an article on asbestos screening contained in this documentation. The manuscript includes the handwritten title and a sketch of the planned sculpture. -- Source of annotation: Marvin or Ruth Sackner.

The soft cover book accompanying the works on handmade papers provides a brief essay by Sandra Kirshenbaum on the history of printing on this media from the 2nd century to the present. The remainder of the book is concerned with artistic and technical statements by the contributors to this work. Each press comprising one or several collaborators contributed a work to this project on a different handmade paper that is enclosed within an identifying paper folder. Tom Leech and Peter & Donna Thomas made prints of statements by Voltaire and Shakespeare, respectively, on pulped printed text that incorporates fragments of letters and words. John Risseeuw mentions that his prints are held by the Sackner Archive. This papermaking process is similar to that obtained by J.H. Kocman in other handmade papers held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Karis Shearer contributed an essay dealing with Imago, a small press magazine edited by Bowering and its influence on the Canadian long poem. The Sackner Archive holds five of the 20 issues of this periodical. -- Source of annotation: Marvin or Ruth Sackner.

There is mention of A.G. Rosen, a Goldsmith collector, who owns the lead copy of "Steal This Book." The Sackner Archive holds the plywood copy. -- Source of annotation: Marvin or Ruth Sackner.

Paul Dutton provides a vivid description of Bob Cobbing's apartment on Petherton Avenue in London in 2002 that was visited by the Sackners several times. Dutton also describes the innovative ways that Cobbing utilized his photocopy machine. -- Source of annotation: Marvin or Ruth Sackner.