This print depicts a column of printer's visual ornaments with skulls in the center row. -- Source of annotation: Marvin or Ruth Sackner.

Jack Hirschman contriburtes an introductory essay describing Glik's poems and songs as personifying the creed of Partisans against Nazism particularly in Vilna , Lithuania. "When the news of the Waqrsaw Ghetto uprising reached the Vilna ghetto, it inspired Hirsh to write his famous song-poem "Zog Nit Keynmor (Don't Ever Say)"... In a short time and with amazing speed, Hirsh Glik's song became the anthem of the Resistance: It swept through the ghettos and camps and became known as "the Song of the Partisans." -- Source of annotation: Marvin or Ruth Sackner.

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.

This print is not listed in Finlay's book, Prints 1963-1997. -- Source of annotation: Marvin or Ruth Sackner.

The cover design by Barb O'Connelly was made from a mimeo-stencil cut with a can opener. -- Source of annotation: Marvin or Ruth Sackner.

Cover photos by Mark Kaufman. Second zero edition. -- 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 recto of this painted book object has the aphorism "God Saves" whereas the verso has the printed admonishment, "Wear Under Jacket, Left Pocket." -- Source of annotation: Marvin or Ruth Sackner.

Two of each of the pencils are stamped on the side panels with the following: YOU ARE TRAPPED ON THE EARTH SO YOU WILL EXPLODE; WHAT URGE WILL SAVE US NOW THAT SEX WON'T?; PROTECT ME FROM WHAT I WANT; MEN DON'T PROTECT YOU ANYMORE; THE BEGINNING OF THE WAR WILL BE SECRET; THE FUTURE IS STUPID. This series predates the edition published by the Albright-Knox Gallery Buffalo in 1991 in which the stampings were done in black ink. -- Source of annotation: Marvin or Ruth Sackner.

The eight colored prints play off the image of the Pansey, the flower as a camouflaged image of Panzer, the German armored tank. A section of this book is entitled, "Detached Sentances on Camouflage: In the Manner of Shenstone. William Snenstone (1714-1763) was a poet and gardner. This list aphorisms about floral and military tank camouflage. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Yeah magazine box. -- Source of annotation: Marvin or Ruth Sackner.

Temple denotes the exhibition space at Finlay's residence. The caption under an image of a Greek temple includes a definition, a quote from The Metamorphosis of Ovid, and the storming of Finlay's Temple by the Strathclyde region tax collectors who launched a surprise attack on Budget day, March 15, and successfully looted the garden TEMPLE. The definition is "a marbled edifice, a veined edifice; the seat or summit of reason." -- Source of annotation: Marvin or Ruth Sackner.

The leaflet provides an explanation for the image on the medal. Virtue is signified by two classical columns and terror by the two posts of the Guillotine. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a human-like dog with a handwritten text that decries the designation "artist" to many contemporaries. The poem concludes, "The only people left who seem to be artists are illustrators. -- Source of annotation: Marvin or Ruth Sackner.

The collage was made from fragments of 19th century engravings. -- Source of annotation: Marvin or Ruth Sackner.