This page includes the text of the poems for the printed booklet. On the verso, Finlay provides the meaning of the acronyms for two of the poems, viz., "The Sonnet's Poem: S.W.A.L.K." (Sealed With A Loving Kiss) and "The Forrest Poem: St A.G." (St Anthony Guide). -- Source of annotation: Marvin or Ruth Sackner.

Nine books and drawings held by the Sackner Archive are depicted and annotated as "Collezione privata, Miami Beach" in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This portrait of Jarry is drawn with indecipherable words that are overwritten and formed with different ink widths of the pen. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts an original drawing. -- Source of annotation: Marvin or Ruth Sackner.

This is a facsimile edition of one of the artist's sketchbooks. It was edited and designed for publication by Gerald Malanga. Mention is made of asbestos and nicotine in one of the poems. -- Source of annotation: Marvin or Ruth Sackner.

This print is from the Prisoners of Conscience series. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a partially legible phrase printed vertically across the poster. -- Source of annotation: Marvin or Ruth Sackner.

Poster includes written Italian words and words using a made-up language typical of Oberto's style of presentations. Oberto ("OM") [1925-2011] was a visual poet, asemic writer, anarchist, anartist, founder of the seminal vispo mag "Ana etcetera" (1958-70). He exhibited in solo and collective shows (with Munari, Dorfles, Fontana and many others) from the 50s up to 2011. He also made experimental movies, and wrote philosophical essays about writing & art. He lived in New York for a decade or so, then came back to Genoa in the 90s. -- Source of annotation: Marvin or Ruth Sackner.

This poem on Apollo and Daphne is adapted from Greek mythology. -- Source of annotation: Marvin or Ruth Sackner.

This poem dealing with Apollo and Daphne has been modified by Finlay to signify that Apollo is the revolutionary and Daphne the French republic. -- Source of annotation: Marvin or Ruth Sackner.

Also listed as "Ovid: Metamorphoses Book I, Fable XII."

Imagery and typography reflect the "hippy" culture of the 60's. This first edition has been printed in black and white. -- Source of annotation: Marvin or Ruth Sackner.

Imagery and calligraphy reflect the "hippy" culture of the 1960's. This second edition has been printed in colors that reflect this culture. -- Source of annotation: Marvin or Ruth Sackner.

In a personal communication to the Sackners, Adler commented that this poem-drawing was an attempt at a new visual alphabet equivalent to Chinese lettering. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." The drawing is structured over a Finlay work "sea ms." -- Source of annotation: Marvin or Ruth Sackner.