Depicts a landscape image from a Greek classic but the caption deals with an allied air raid in progress. John Flaxman (1755-1826) was a British-born Swedenborgian sculptor, painter, designer and illustrator. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of indications of battles and wars from the year 1 to 1999. The battles are printed in micrographic text vertically, with the yearly dates placed vertically in the center of the pages. Miranda Maher designates on the cover that "Years with No Acts of 'OPEN AND DECLARED ARMED HOSTILE CONFLICT' are Indicated with a Perpendicular LIne. Perhaps They Were Periods of Peace." Actually there is only one red, vertical line in the year 329, indicating no battles. The book is printed on light weight, beige paper with repeating, gilded Fleurs de Lis, -- Source of annotation: Marvin or Ruth Sackner.

This issue documents events of the May 1968 revolution in Paris through reproductions of newspaper clippings and photographs. The envelope is designed in the form of a record jacket. -- Source of annotation: Marvin or Ruth Sackner.

The duplicates are printed in different colors/ -- Source of annotation: Marvin or Ruth Sackner.

Poem depicts a political demonstration against the establishment. -- Source of annotation: Marvin or Ruth Sackner.

This folded pamphlet has one page of critical text and unfolded a reproduced Heartfield propoganda poster. -- Source of annotation: Marvin or Ruth Sackner.

Jack Hirschman translated two of the poems in this issue. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this poem deals with Brazil's rain forest. -- Source of annotation: Marvin or Ruth Sackner.

Sanders has written a clear history of the United States from 1940 - 1961 in blank verse interposed with a slight amount of visual poetics.There are 300 copies of the hard cover edition and an unspecified number of soft cover copies. Of these 300 copies, 125 were numbered and signed by Sanders (current copy) and 26 copies in boards by Earle Gray were lettered and signed by Sanders (also held by the Sackner Archive). In these copies, images are printed on thr front and back covers. A dust jacket was not issued, -- Source of annotation: Marvin or Ruth Sackner.

Sanders has written a clear history of the United States from 1940 - 1961 in blank verse interposed with a slight amount of visual poetics.There are 300 copies of the hard cover edition and an unspecified number of soft cover copies. Of these 300 copies, 125 were numbered and signed by Sanders (also held by Sackner Archive) and 26 copies in boards by Earle Gray were lettered and signed by Sanders (current copy). In these copies, images are printed on the front and back covers. A dust jacket was not issued, -- Source of annotation: Marvin or Ruth Sackner.

Sanders has written a clear history of the United States from 1940 - 1961 in blank verse interposed with a slight amount of visual poetics.There are 300 copies of the hard cover edition and an unspecified number of soft cover copies. Of these 300 copies, 125 were numbered and signed by Sanders (also held by Sackner Archive) and 26 copies in boards by Earle Gray were lettered and signed by Sanders (current copy). In these copies, images are printed on the front and back covers. A dust jacket was not issued, -- Source of annotation: Marvin or Ruth Sackner.

This print is from the Prisoners of Conscience series. -- Source of annotation: Marvin or Ruth Sackner.

The cover of the leaflet is printed on blue paper, the unbound page on rose colored paper. This references Picasso's Blue and Rose periods of painting around the turn of the century. The poem is taken from the French revolutionary J.L. David's Instructions for the Festival of the Supreme Being, 1794 in which he describes his vision, ...Mothers will hold bouquets of roses in their hands, and girls will carry baskets filled with flowers. -- Source of annotation: Marvin or Ruth Sackner.

This work was begun in Winter 1988 and completed posthumously in Winter 1998. The main image on the label appears to be rows of wooden coffins. The piece is an HIV metaphor. -- Source of annotation: Marvin or Ruth Sackner.