Leftwich contributes a brief introduction that explains these poems. -- Source of annotation: Marvin or Ruth Sackner.

The inscription by both authors on the colophon relates to the fact that the publication of this book, as noted, was made possible by a grant from the National Endowment for the Arts. -- Source of annotation: Marvin or Ruth Sackner.

The text is densely overprinted in different orientations on paper stock of various sizes, colors and thicknesses. Tibetan symbols are also overprinted on the text. This makes for a difficult read. The back cover is rubberstamped "distributed by Ganglia, 55 Admiral Road, Toronto Canada." -- Source of annotation: Marvin or Ruth Sackner.

This piece (Opus 10) is depicted in Tom Phillips: Works Texts To 1974, page 255. It is stated that the edition size was 100, but this copy indicates that the size was 150. -- Source of annotation: Marvin or Ruth Sackner.

This work is reproduced in the exhibition catalogue "Concrete, Experimental Visual" (1989). One collage (Solar VI) is framed and hung. Solar III is also reproduced in Mendes de Sousa, Carlos & Ribeiro, Eunice Editors: Antologia da Poesia Experimental Portuguesa: Anos 60 - Anos 80, 2004, a book held by the Sackner Archive. The Sackners lent these collages to the exhibition 'Poesure et Peintrie' (1991) in Marseile. -- Source of annotation: Marvin or Ruth Sackner.

This map depicts Phillips' neighborhood and the sites he has photographed year after year to demonstrate changes over time. This has been a continuing project since 1972. -- Source of annotation: Marvin or Ruth Sackner.

The texts intermingle the early democratic principles of America' founding fathers with slavery issues. -- Source of annotation: Marvin or Ruth Sackner.

The panels and base of this sculpture are collages with photocopied prints. The work was included in the I.C.A. exhibition of Guillaume Apollinaire, 1968. -- Source of annotation: Marvin or Ruth Sackner.

The panels and base of this sculpture are collages with photocopied prints. The work was included in the I.C.A. exhibition of Guillaume Apollinaire, 1968. -- Source of annotation: Marvin or Ruth Sackner.

This is one of a series of artworks inspired by the work of Bruno Munari. On his web site, White muses, the images are"composed of graphITE, old letters/stamps/diagrams from the Porta Portese flea market, superimposed photos taken in Rome, [Ital.] red wine, [Ital.] coffee & MISC ephemera, grit, fingerprints & physical imPRESSions of Rome [with ADded REflections on Bruno Munari & starLING flight patterns." -- Source of annotation: Marvin or Ruth Sackner.

This is one of a series of artworks inspired by the work of Bruno Munari. On his web site, White muses, the images are"composed of graphITE, old letters/stamps/diagrams from the Porta Portese flea market, superimposed photos taken in Rome, [Ital.] red wine, [Ital.] coffee & MISC ephemera, grit, fingerprints & physical imPRESSions of Rome [with ADded REflections on Bruno Munari & starLING flight patterns." -- Source of annotation: Marvin or Ruth Sackner.

This is one of a series of artworks inspired by the work of Bruno Munari. On his web site, White muses, the images are"composed of graphITE, old letters/stamps/diagrams from the Porta Portese flea market, superimposed photos taken in Rome, [Ital.] red wine, [Ital.] coffee & MISC ephemera, grit, fingerprints & physical imPRESSions of Rome [with ADded REflections on Bruno Munari & starLING flight patterns." -- Source of annotation: Marvin or Ruth Sackner.