The four artists in this book are Wally Depew who wrote and designed the woodblock prints for the overleaf for the fold-out for it, and the cited artists, Sol LeWitt, Darrel Forney and Linda Bandt. The theme of the this book involves wordplay. Depew used three adjacent letters from each artist's name, e.g. SOL, FOR, & LIN to rubberstamp words containing these letters on each page. For example, SOLEMN, FORCE, LINGUIST. The loose sheet entitled, ANALYSIS, documents the statistics involved with rubberstamping. -- Source of annotation: Marvin or Ruth Sackner.

This copy of the book, one of 18 was printed on Hahnemuhle paper and the remaining 200 on art board. Several four-letter words are printed within a grid of 5 x 5 letters. -- Source of annotation: Marvin or Ruth Sackner.

Bervin has highlighted words within Shakespeare's sonnets to form a new poetry akin to Tom Phillips' "A Humument" without images and the alteration of classic poems by Irving Weiss in his "Visual Voices: The Poem As a Print Object." Bervin writes "I stripped Shakespeare's sonnets bare to the "nets" to make the space of the poems open, porous, possible - a divergent elsewhere." -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a single word and the words that can be formed from it with adjacent letters. The covers were designed by Wally Depew. There are four copies of covers with purple and two copies with red backgrounds. One red copy is stored in a Kostelanetz box, the others in a Depew box. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts a page of the white pages of the New York telephone directory with an embedded concrete poem consisting of the name "Cohen." -- Source of annotation: Marvin or Ruth Sackner.

Hill circled words on a page from a novel similar to Phillips' "A Humument" but without an artistic intervention. Stored in Reed Altemus portfolio box. -- Source of annotation: Marvin or Ruth Sackner.