The photographs consist of images of tree trunks and branches painted by Janet Boulton and photographed by Robin Gillanders. The images satisfy the caption on the first page, viz., HIGHLIGHT, n., a mark, sign, or medal, awarded by the light. The book was printed and bound by Colin Sackett. One copy of this book was given by Finlay to the Sackners as a Christmas gift. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheets of white papercard that were perforated with circular white holes placed at random on the different leaves, are held together by a single loose leaf ring. -- Source of annotation: Marvin or Ruth Sackner.

Trasobares covered the cedar box with a wire lid that that opens like a gate to the nostalgic garden of Cornell's collage, "For Josephine," that is printed on the cover of the book, Joseph Cornell: Gifts of Desire by Dickran Tashjian. When the book is removed, the open gate reveals Cornell in his garden in Flushing, New York. In a direct reference to Cornell's assemblages, Trasobares selected an array of evocative objects for display in the box's small compartments." -- Source of annotation: Marvin or Ruth Sackner.

This work was commissioned by the Sackner Archive to include a sampler of Horndeski's work. The theme is a couple who appear on the top of the box reading in their library with the sky outside their windows reminiscent of Van Gough's Starry Night. The top of the box depicts a fragment of a music score by Vivaldi and the sides calligraphic text and diagrams on Michaelson's theory of light and distance; all paintings are landscapes that relate to the couple's activities near their house. -- Source of annotation: Marvin or Ruth Sackner.

According to this book, published to commemorate Christmas 2000, HUFF, n. is defined as follows: a fit of anger, sulks, or offended dignity (Chambers); a fit of petulance caused by an affront (Oxford); an armed withdrawal (IHF). The pages consist of black and white photographs of plants in Finlay's gardens as well as wood or stone engraved benches with aphorisms. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts deconstructed images all involving women. The texts read from image on left to right and top to bottom, "(1) a course in Sussex; (2) a photograph of a curious muse; (3) constant to the subject - the subject extended - he talked and his range came - pursuing the subject; (4) fair sex in various capitals - the politics show; (5) came across a picture of flesh; and circles - The Art revelation; (6) her, smiling her last. - they were Europe." -- Source of annotation: Marvin or Ruth Sackner.

Cover is original silkscreen print by Kryss. -- Source of annotation: Marvin or Ruth Sackner.

The images are reminiscent of those by Raymond Pettibone. The prints originated from ink wash drawings on white, blue, pink, and yellow paper stock. Some of the prints are folded. -- Source of annotation: Marvin or Ruth Sackner.

There are pseudo-German baroque texts running througout the book that spawn figures or heads from the letters. -- Source of annotation: Marvin or Ruth Sackner.

According to Kettner, "First (and only) edition. Average press run for Bomb Shelter: 300-500 copies. Light gray cover with matching text of heavy vellum offset stock. Mixture of art, visual poetry and prose poetry. An orgy of collage-like visions, whipped to a froth and served to the raging, cosmic furnace." -- Source of annotation: Marvin or Ruth Sackner.

It is mentioned that Gordon's work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.