The two loose sheets describe undesirable side-effects of capitalism and a site list of watchdogs and gadflies. The currency consists of five photocopied 20 dollar bills, realistically reproduced on the recto and containing environmentally incorrect sites on the verso, e.g., Mexico strip mining, Rewanda genocide, Burma forced labor, Brazil deforestation, and Los Angeles toxic ghettos. -- Source of annotation: Marvin or Ruth Sackner.

The pages are composed of collages. -- Source of annotation: Marvin or Ruth Sackner.

The pages are composed of collages. -- Source of annotation: Marvin or Ruth Sackner.

The title page states "(concrete poem project for daLevy & the poets of cleveland)." -- Source of annotation: Marvin or Ruth Sackner.

The pages are printed in grey ink with half of the vertical page with a different font printed upside down. The left side of the page is a Basinski poem and the right side a Basinski story. Abstract forms and illustrations are interspersed on the pages. -- Source of annotation: Marvin or Ruth Sackner.

The pages are printed in grey ink with half of the vertical page with a different font printed upside down. The left side of the page is a Basinski poem and the right side a Basinski story. Abstract forms and illustrations are interspersed on the pages. The Sackner Archive also holds a deluxe copy of this book. -- Source of annotation: Marvin or Ruth Sackner.

This work was featured in an exhibition curated by Fernando Aguiar, "Imaginaros Da Ruptura = Poeticas Visualis" held in Douro e Vale do Coa, Portugal. The surfaces of the prints in this book are on glossy paper. -- Source of annotation: Marvin or Ruth Sackner.

The author indicated that the "book" is a translucent envelope containing six "certificates" with texts addressing: Surveillance & Knowledge, Surveillance & Purity, Surveillance & Reciprocity, Surveillance & Glamour, and Surveillance & Absurdity. In between the certificates are the SurVeils - masks of onionskin paper with different life-sized images of closed eyes with little eye-holes: To hide your open eyes and aid in "surveilling your surveillors." To reinforce the deception, at the bottom of each veil is rubberstamped "my eyes are closed." Adhesive dots can be attached to the eyes. -- Source of annotation: Marvin or Ruth Sackner.

The images in this book are letraset collages; the fold-out depicts the "untitled" letraset collage in the collection of the Sackner Archive. The loose sheet is an Beaulieu's explanation as to why he prefers letraset and typing to computer generated art. -- Source of annotation: Marvin or Ruth Sackner.

The illustrations depict visual poetic collages made by Ori early on; many are framed by a drawing of a stage. Luciano Ori was born in Florence in 1928. -- Source of annotation: Marvin or Ruth Sackner.

Book was printed from black & white photographs (rigidly planned) of poems that had already been made with wood block type. Further comments on this book can be found in Campbell's exhibition catalogue at the Yale Center for British Art (held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

This book object has the shape of a headless ballerina. -- Source of annotation: Marvin or Ruth Sackner.

The cover has calligraphic text by Seille. -- Source of annotation: Marvin or Ruth Sackner.

The soft cover book has a smaller book bound into the back cover. The book and tape are housed in an envelope which is attached to and folded into the poster. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheets are randomly cut from newspapers in different languages that are published for the most part in New York City. -- Source of annotation: Marvin or Ruth Sackner.

The bookbinding was done by Jane Rollo. Each copy is virtually unique since collages were made adhering a limited number of the defective printed pages onto the pagea of the printed book. -- Source of annotation: Marvin or Ruth Sackner.