The text of this work reads "This Sentence Is Weightless." The perforated, stencil-like aluminum letters hang vertically from a small scale which registers no weight. The artist plays on the expression "a weighty sentence." A photograph of the object is reproduced in Kunstforum No.37, 1980, p. 40 held by the Sackner Archive." -- Source of annotation: Marvin or Ruth Sackner.

Depicts several examples of rubberstamp art. -- Source of annotation: Marvin or Ruth Sackner.

This is a collective score by 57 authors for a piano and slide performance. Each contributed a card; these cards are played without interruption, some performed if possible on the piano and others displayed in silence. In the introduction, Lombardi cites historic antecedents to such collaborations. -- Source of annotation: Marvin or Ruth Sackner.

This book represents a comprehensive survey of Ben Vautier's work from 1957 to 1973. -- Source of annotation: Marvin or Ruth Sackner.

These artist proofs are a portion of a project whose intent was to produce 26 prints by the same number of artists. The alphabetical last names of the artists begin with each letter of the alphabet. Eugenio Miccini contributed a print with images of celestial constellations. The print by Gerz is not listed in his Catalogue Raisonee Volume III. -- Source of annotation: Marvin or Ruth Sackner.

All books were assembled by Ben and no two copies are alike. -- Source of annotation: Marvin or Ruth Sackner.

All books were assembled by Ben and no two copies are alike. -- Source of annotation: Marvin or Ruth Sackner.

Transmit: Fluxus - Mail Art - Net.works traces the development of collaborative networks as communication systems between artists from the early Fluxus and Mail Art movements to contemporary Web Art while exploring their artistic legacy. -- Source of annotation: Marvin or Ruth Sackner.

Although most of the participants in this exhibition are associated with the mail art network and visual poetry, the artworks in this exhibition are mostly visual. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition of silkscreen, cloth multiples published by Francisco Conz was curated by Wayne Baerwaldt. It demonstrated several Fluxus conceptions: sharing ideas between artists, a publisher and the public; capturing the ephemeral in Fluxus productions; exposing the ideas of original works which would otherwise remain hidden in private collections. The silkscreen print editions on cloth offer the viewer the opportunity to investigate the contentious nature of Fluxus oriented art. "The editions of large-scale drawings, texts, musical scores, collages, and appropriated images are retouched, or redrawn directly on the silk-screens by the artists, reinforcing what we already know about intermedia, the myriad combinations of literary prose and/or concrete poetry; music and/or sound; theatre and/or performance." The Sackner Archive holds several cloth works by fluxus artists, Lettrists, and concrete poets published by Conz. -- Source of annotation: Marvin or Ruth Sackner.

Each page consists of a single sentence in quotation marks that appears to have been printed as a photocopier enlargement of a typing. -- Source of annotation: Marvin or Ruth Sackner.

Gilbert Silverman contributed an introductory essay "Instruction Drawings." The curators, Jon Hendricks and Gunnar B. Kvaran, wrote about the history of 'sketch paintings' in their introductory essay. Jan Van Der Marck in an depth essay deals with the relationship of conceptual art to fluxus in the Silverman collection. -- Source of annotation: Marvin or Ruth Sackner.

The envelope is addressed to John Furnival. The messages are printed rather than calligraphed as in Ben's later works. The cards may have been published in 1963, -- Source of annotation: Marvin or Ruth Sackner.