A head shot of Rehfeldt is depicted with the title written across his face - waiting for the Berlin wall to collapse! -- Source of annotation: Marvin or Ruth Sackner.

The text on this card reads, "Waldemir is the venom in the liberal snake." Waldemar refers to Waldemar Januszczack, the art critic of the Guardian newspaper, who was opposed to Finlay's commission proposal for the city of Paris. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was co-curated by Alma on Dobbin (N.Y.) and Laura Kruger. The exhibition was done in tribute to 600,000 Hungarian Jews who perished in the Holocaust. Waldsee was a deception by the Nazis as a ficticious place from where postcards of lies describing their happiness as dictated by the Nazis were sent to other Jews but in reality were written before being killed in the gas chambers of Auschwitz. -- Source of annotation: Marvin or Ruth Sackner.

The book begins with a chronology listing Hitler's rise to power and the relation of the building in Munich called Ehrentempel. The end papers consist of a photograph of the building. The right sided pages depict drawings of wild flowers, the left sided the names of the flowers. The pamphlet, written by Patrick Eyres in German, is a critical text about Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.

The same photographic image of a Vietnamese(?) man and woman viewing the corpses of two others lying in a pit are repeated on each page with a different caption. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Yoko Ono box. -- Source of annotation: Marvin or Ruth Sackner.

These prints that have a dense text deal with the concerns of a nuclear wall. -- Source of annotation: Marvin or Ruth Sackner.

The title of this book in English is "Why Adolf Hitler has not become an Artist." Each of the contributing artists/poets answers this question with one or more drawings or poems. For example, Olbrich writes a sentence,"? -- It's a true story." Garnier provides three ink drawings of caricatures of Hitler that focus on his prominent facial features, his moustache and hair swept to one side. They are captioned, espressionismus, Hil Heitler, and entartete Kunst. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Heissenbuttel attempts to make a case for the nonvisual, concrete elements in poems that antedated contemporary, concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The title is written across a photographic reproduction of a bronze statue of Lenin made by N.A. Andrejew in 1932. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by the Brazilian Sergio Bessa (b.1951) who serves as the Director of the Bronx Museum in NYC. A biography of Bessa appears on David Daniels' Gates of Paradise web site. For this exhibition, Kay Rosen contributed four pages of language poetry and Vic Muniz three pages entitled "Study for Neon." -- Source of annotation: Marvin or Ruth Sackner.

The subject is about various antennas and their uses. A circular picture on each page depicts a varient antenna and explanatory texts are printed at the bottom of the pages. -- Source of annotation: Marvin or Ruth Sackner.

This book documents a proposed ice sculpture for the U.S. Capitol building grounds. -- Source of annotation: Marvin or Ruth Sackner.

Kruger's worded photographs are a contemporary extension of the emblem poems of the 17th & 18th centuries and the more recent picture poems of Kenneth Patchen and Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

The complete text that reads, "When I go - I'm taking nationalism - and the internal combustion - engine with me" is printed in red over the image of crushed, stained and pierced paper. -- Source of annotation: Marvin or Ruth Sackner.