The images from 32 artists in this exhibition were based upon their reaction to the Gulf war. -- Source of annotation: Marvin or Ruth Sackner.

This volume was realized for the inauguration of Isgro's "The Bees if the Torah" and a concert by Moni Ovadia for the re-opening of the Belforte Bookshop in Livorno after 63 years of closure as a result of the wartime regime. The press has resumed publishing Hebrew texts under the name of Belforte which was first started in 1805. The first part of the book is an illustrated time line of Italian political and cultural history in the world, in Italy and in Livorno and the relationship of the Belforte press to these events. The second part of the book illuminates the work of Emilio Isgro who represents the "Jews as bees that extract the honey from the Book and carry it to the various groups that they encounter in their journeys." isgro is interviewd in depth by Silvia Guastalla. -- Source of annotation: Marvin or Ruth Sackner.

Isabel Andrews contributes an essay of Tom Phillips entitled "The Artist as Collector. She indicates that "Tom Phillips' collection of African goldweights - miniature sculptures from West Africa - is probably the finest in private hands. He talks to Apollo about why these objects echo his love of iimaginative territory." -- Source of annotation: Marvin or Ruth Sackner.

Three of the cards were designed by Tom Phillips with two of them based upon " A Humument" imagery. -- Source of annotation: Marvin or Ruth Sackner.

Every other page is a drawing of a nude in a kneeling position whose body is filled with printed text opposite a page of dense handwriting. -- Source of annotation: Marvin or Ruth Sackner.

This is an early example of the art of appropriation later popularized by Richard Pettibone and Sherrie Levine. -- Source of annotation: Marvin or Ruth Sackner.

Wood engravings are by Roberto Altmann and text is by G. Peskoff, nom de plume of Helene Deicha. -- Source of annotation: Marvin or Ruth Sackner.

The cover consists of a colored reproduction of a Hirschman's expressionistic drawing. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent the painted triptych, "The Divine Comedy" to the first retrospective exhibition of Laffoley's paintings. This work is illustrated in the fold out pages and mentioned in the essay of Jeanne Marie Wasilik. J.W. Mahoney discussed the photographically reproduced serigraph, "The Alchemy of Breathing." The original drawing of this work was commissioned for the '"Beauty of Breathing" exhibition and is held by the Sackner Archive. Paul Laffoley contributed an insightful autobiographical essay in which he writes about his current project on the Pantheon. He also made collages expressly for illustrating this catalogue. Each of the paintings reproduced in the catalogue has an in depth comment by the Loffoley. The exhibition was curated by Elizabeth Ferrer, Director of the Austin Museum of Art. -- Source of annotation: Marvin or Ruth Sackner.

According to documents in the Archive of this project, Finlay negotiated with Kenward Elmslie for its publication and it was included in an anthology he edited, ZZZZZZ, 1977. The images consist of toy airplanes on an ironing board to simulated an air craft carrie A toy iron served as an icon for an enemy crusier. The photographs give the viewer an impression that the airplanes are flying but this is an illusion accomplished with the photography by Carl Heideken. The printed pages are tear sheets. -- Source of annotation: Marvin or Ruth Sackner.