Reprint from b. bissett's book "Nobody Owns th Earth," published by Anansi Press in 1971. -- Source of annotation: Marvin or Ruth Sackner.

Temple, according to Finlay's definition, signifies a sacred place or a place menaced by bailiffs. The accompanying image is taken after Claude Lorrain's "Landscape with Apollo." The poem refers to the buiding housing Finlay's artworks, "Temple" and seizure of these works by bailiffs because of a local tax dispute. -- Source of annotation: Marvin or Ruth Sackner.

Temple denotes the exhibition space at Finlay's residence. The caption under an image of a Greek temple includes a definition, a quote from The Metamorphosis of Ovid, and the storming of Finlay's Temple by the Strathclyde region tax collectors who launched a surprise attack on Budget day, March 15, and successfully looted the garden TEMPLE. The definition is "a marbled edifice, a veined edifice; the seat or summit of reason." -- Source of annotation: Marvin or Ruth Sackner.

The catalogue has six pages altered with drawings by Joel Hubaut - they were not part of this exhibition. He particapated in a sound poetry component of the exhibition through a CD recorded by Dmitry Bulatov for his book, An International anthology of sound poetry. There are essays on holograms by Augusto De Campos, Eduardo Kac, and Richard Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.

Joel Hubaut, a participant in this exhibition, hand lettered an anti-Bush, anti-Iraq war political discourse on the inside of the front cover where he signed and dedicated the book to the Sackners. He also marked the paragraph in the preface in green ink that described his work.This catalogue is stored in the box with Hubaut material. -- Source of annotation: Marvin or Ruth Sackner.

The leaflet provides an explanation for the image on the medal. Virtue is signified by two classical columns and terror by the two posts of the Guillotine. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a human-like dog with a handwritten text that decries the designation "artist" to many contemporaries. The poem concludes, "The only people left who seem to be artists are illustrators. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts a somber, black and white photograph of a pond surrounded by grass and plants. The poem accompanying the photograph reads, "sank - somehere - here An effigy - now - of itself." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue deals with images and poems regarding same sex marriages. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts graffiti images on a wall. -- Source of annotation: Marvin or Ruth Sackner.

The collage was made from fragments of 19th century engravings. -- Source of annotation: Marvin or Ruth Sackner.

This book was edited by Raffaela Marzano and Sergio Iagulli. The latter contributed one introductory essay and David Meltzer the other. These long poems describing the 'hidden" encompass a period of 1972 to 2006. They began from Hirschman's reading of a work allegedly written by le Comte de St. Germain, a noted mystical personage whose legend is that since the 18th century he reppears ever young even to this day. The word "arcane" is derived from the Latin word Arcanum which means a place where occult or esoteric books or objects are preserved. The forms of the Arcanes are developed from sudden flashes of thoughts to a phrase or event to manifest the inner voices that Hirschman hears. A drawing by Hirschman accompanies 100 copies of this book (Sackner Archive copy). -- Source of annotation: Marvin or Ruth Sackner.