The 'pages' consist of seven lengths of string fixed to the inside at the spine onto which have been collaged several fragments of paper with a handwritten word, e.g., clear, their, from, rare, sand, tightly, etc. -- Source of annotation: Marvin or Ruth Sackner.

The jars simulate anatomic specimen containers. The box is entirely collaged both on its outside and inside with texts from an old medical dictionary or compendium of medical terms. This book object was Collins' response to Marvin Sackner's sending her a copy of the exhibition catalogue, "The Beauty in Breathing." -- Source of annotation: Marvin or Ruth Sackner.

This book originally published in 1924 by the Macmillan Co. was altered by the the artist into a book object with the shape of a portion of a face including the nose. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2nd edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

Five of the book covers have handcolored painted and/or collage additions. Two of the books have string spines.Sixteen items are listed on the table of contents label.l -- Source of annotation: Marvin or Ruth Sackner.

The title is reflected in the eight open-faced, pop-up, heart shaped pages. Andrew Binder found the metal lower half of the box container which suggested a half of a heart. The book pages are designed to be opened and viewed from the back forward, like a Hebrew book. Each collaged page is intricately engineered and lushly illustrated with drawings of men and women, various flora, hearts marked with Russian text, hands, rib cage, insects, a 3D spiral, sea creatures, and a fish. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was designed by the first three authors and the exhibition was curated by the last two. Ron Glowin contributed an essay on the art of making art in boxes. -- Source of annotation: Marvin or Ruth Sackner.

These five books, each relating to one of the senses, are a "tour de force" of book design. They have a playful quality which permits interaction between the reader and the book through unfoldings, pulling apart layered objects, and visual peeks for a fun filled, kinetic experience. The text is replete with puns and cliches. -- Source of annotation: Marvin or Ruth Sackner.

The pages consist of a designer alphabet by Reichert. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 12 & 5, and pages 28 & 21 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. Macia related that he was inspired to make these drawings after visiting the Sackner Archive and viewing Tom Phillips' A Humument. -- Source of annotation: Marvin or Ruth Sackner.

Each "page" of this book is a round rubber gasket upon which the artist has printed statements beginning with O, e.g. O MY, OOO LA LA, OH WELL. The book is "bound" with a macrame strip. The title also refers to the well-known, erotic French novel with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Pages of the book are sealed together. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this book deals with women's lips, eyes, and vagina. -- Source of annotation: Marvin or Ruth Sackner.

The pages of this book are rolled on a wooden rod and held in place by a malleable lead sheet stamped with the title, "Tomzack." -- Source of annotation: Marvin or Ruth Sackner.

This is a fragment of a telephone book that Sit (1917-1987) has torn in a progression such that the narrowest page occurs at the beginning, the widest pages toward the middle, and the torn pages narrow at the end. It is reminiscent of the torn pages, artist books by Buzz Spector and Scott McCarney but Sit tears the pages more crudely. -- Source of annotation: Marvin or Ruth Sackner.