This book served as the catalogue for the exhibition of Phillips' work in the Royal Academy Sackler Gallery, London. Huston Paschal writes in the introduction that "Phillips explores the timeless marks encoding meaning...and he is on a search for self." Several references are made to the Sackners in the text written by Phillips, and many works in the Archive are illustrated including "Oh Those Reds, Speaking in Tongues, The Dante Binding, Humument Globe, The Dante Diary, and A Humument Pages. -- Source of annotation: Marvin or Ruth Sackner.

This book served as the catalogue for the exhibition of Phillips' work in the Royal Academy Sackler Gallery, London. Huston Paschal writes in the introduction that "Phillips explores the timeless marks encoding meaning...and he is on a search for self." Several references are made to the Sackners in the text written by Phillips, and many works in the Archive are illustrated including "Oh Those Reds, Speaking in Tongues, The Dante Binding, Humument Globe, The Dante Diary, and A Humument Pages. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was designed by Finlay. The 10 photographs in this book from Finlay's garden are captioned with text from Finlay's "Detached Sentances on Gardening." -- Source of annotation: Marvin or Ruth Sackner.

In an interview with Lynn Alexander, Michael Jacobson describes asemic writing and the influence of Tim Gaze on his work. Jacobson states that asemic writing is a nataural combination of texts and images and "sits between art & literature." He believes "asemic writing is descended from all forms of writing,...and also captures the techno-anxiety & information overload of a post-literate culture better than traditional forms of literary expression." -- Source of annotation: Marvin or Ruth Sackner.

Wade Wilson contributes an incisive essay on the technical, socio-political and artistic background of Horndeski's paintings. "The artist paints on a horizontal canvas, like Pollack, with a knife and uses fluid acrylic paints which permit him to "achieve some remarkable effects as the paints mix on the canvas." -- Source of annotation: Marvin or Ruth Sackner.

The drawings were geometric and abstract markings done in af micrographic style. An accompanying review from Art in America indicates that a drawing takes two to three months to complete. -- Source of annotation: Marvin or Ruth Sackner.

This is the "third" edition of the book that presents a retrospective of Phillips' ouevre. The "second" edition and its year of publication are a mystery. -- Source of annotation: Marvin or Ruth Sackner.

This is the first edition of the book that presents a retrospective of Phillips' ouevre. In view of the importance of Tom Phillips in shaping the Sackner Archive, one copy is stored as a reference text, the other copy with Tom Phillips books in a box in the alcove off the second bedroom. -- Source of annotation: Marvin or Ruth Sackner.

The duplicate is an unsigned version. -- Source of annotation: Marvin or Ruth Sackner.

Most of the illustrations in this book were done by students. -- Source of annotation: Marvin or Ruth Sackner.

This is an anthology of previously published poems. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners contributed the coral rock to John Furnival's stone wall collection in his home garden in Stroud. -- Source of annotation: Marvin or Ruth Sackner.

Canon print. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Marvin Malone. The entire issue is devoted to poems by Charles Bukowski who signed it with a small ink drawing. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition checklist was curated by Kathy Ernst and Marilyn Rosenberg. -- Source of annotation: Marvin or Ruth Sackner.