This card is designated POSTCARD and is not numbered so choosing No.2 was arbitrary. The card is stored with Wally Depew publications. -- Source of annotation: Marvin or Ruth Sackner.

Werner Enke printed this catalog using letterpress on the occasion of his lectureship at the Graphic Workshop. An element of lead type is collaged to back cover. -- Source of annotation: Marvin or Ruth Sackner.

This is a photograph of the black outlines of the three title letters on a gold background that were made with cliche-verre. The latter is a combination of art and photography. In brief, it is a method of either etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. It is a process first practiced by a number of French painters during the early 19th century. Cliché is a printing term: a printing plate cast from movable type; while verre means glass. Cliché Verre was one of the earliest forms of reproducing images before the advent of the camera. As a precursor to photography, Cliché Verre could accurately represent the original scene without the tonal variations available in modern day photography. -- Source of annotation: Marvin or Ruth Sackner.

Complex number and sign schemes are printed on each page. The basis for the images was probably letraset. The format differs from the earlier Gallery Number Ten edition in which Bory's name with the caption Arithmetic Text (1, 2, 3, ...) appears at the bottom of each sheet printed in red; the latter is absent in this edition and only 10 of the 18 sheets are present. This issue was edited by Brian Lane and Trevor Wells. -- Source of annotation: Marvin or Ruth Sackner.

Print sepicts stylized, constructivistic gray letters and ideograms printed on a tan paper sheet. -- Source of annotation: Marvin or Ruth Sackner.

This photograph depicts a close-up view of a creek with a large white letter 'E' placed upon a rock. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue features the prints of Eino Ruutsalo. -- Source of annotation: Marvin or Ruth Sackner.

According to the publisher, "in 1913 Blaise Cendrars created his monumental Prose of the Trans-Siberian, a milestone in the history of artists books and visual poetry. When the intended edition of 150 copies was laid end-to-end they measured the same length as the height of the symbol of Parisian Modernity, the Eiffel Tower. derek beaulieu's prodigious Prose of the Trans-Canada responds to Cendrars' legacy in a 16" x 52" visual poem. When all 150 copies of this limited edition are placed end-to-end, the resultant length is the same as the symbol of Calgarian Modernity, the Calgary Tower. A towering moment in beaulieu's on-going exploration of letraset as a medium for concrete poetry, Prose of the Trans-Canada, issued as Moments Cafe No. 8, is published in a strictly limited edition of 150 copies." -- Source of annotation: Marvin or Ruth Sackner.

This piece, one of the largest artistic collages made with letraset is reminiscent of a Jackson Pollack abstract expressionistic painting in its rhythms with letters and symbols. It is also depicted as a fold-out page in Beaulieu's book, "Swarms," that is also held by the Sackner Archive. The title is taken from The Trans-Siberiean Railroad by Blasie Cendrars and Sonya Delauney. The Sackner Archive contains the print edition of this work. -- Source of annotation: Marvin or Ruth Sackner.

Collages contain image of Baroni's face. -- Source of annotation: Marvin or Ruth Sackner.