This exhibition consisted of Lewty's textural works, some overlaid with abstract markings rather than surreal creatures as in his earlier works, others purely textural with more formal lettering. In his introductory essay, Paul Hills writes that in these textural paintings, Simon Lewty "has banished the lure of the figurative...to forestall and inclination to read the painting in terms of illustration, thereby bringing us forcibly back to the work as an object, to the look of the whole, to the matter of the text and its material presence." -- Source of annotation: Marvin or Ruth Sackner.

This drawing was originally conceived as a scroll but when it was exhibited at the Miami Art Museum for an exhibtion"Visual Poetics" (2003), it was flattened and placed in a case and has remained as such. A derail of this drawing is depicted in Lewty's exhibition "The Centre of the Field" held at te Ikon Gallery Birmingham, Englanmd in 1984. -- Source of annotation: Marvin or Ruth Sackner.

The drawing iks framed but not covered with a plexiglas sheet. It was the cover image for a card announcing a private viewing at the Serpentine Gallery 1985. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue depicts details From The Dull Brethren 1984, Preparations For Their Arrival 1984, The Centre of the Field 1983, and The Unbinding of a Hedge 1983 drawings. The first two drawings of the preceding are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

A derail of this drawing is depicted in Lewty's exhibition "The Centre of the Field" held at te Ikon Gallery Birmingham, Englanmd in 1984. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition consisted of Lewty's mainly more visual than textural works. -- Source of annotation: Marvin or Ruth Sackner.

The publication of this catalogue was supported in part by the Sackner Archive. Peter Larkin contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.