The exhibition was curated by Judith K. Brodsky and Edward H. Hutchins who each contributed an introductory essay. The books were mainly sculptural in construction. -- Source of annotation: Marvin or Ruth Sackner.

The author describes the history of the typeface using a layout in which each letter of the alphabet is printed at the top of the page with a different typeface that incorporates text. The traces the history of each letter. Text at the lower half of the page layed out in three columns provides the history of a different typeface, one each to a page. The typefaces include among others, Baskerville, Helvita, Optima, Times Roman, Univers, Bernhard Fashion, Hellena, Casion Openface, Clarendon, Avant Garde, Quadrata, Souvenir, Tiffany, Copperplate Gothic, Bodoni, Serif Gothic, and Brush. -- Source of annotation: Marvin or Ruth Sackner.

This consists of reproduced political quotes from books, periodicals and newspapers on war and peace with innovative layouts. It is accompanied by loose page spreads used for exhibition. Linoleum cuts, zinc cuts, letterpress with lead and wood type. Non-adhesive binding using a German Medieval chain stitch. "In 1984 I began collecting material for a book examining how often and why we (as humans) have gone to war. Rather than write or commission the text, I selected quotations and worked them together typographically using the wood and lead fonts available in my studio. The book was also a means to improve my letterpress printing technique. The book is essentially a collection of broadsides with the emphasis on two-page spreads. The German Medieval binding technique was selected because it did not take any space away from the two-page spreads.". -- Source of annotation: Marvin or Ruth Sackner.

This consists of reproduced political quotes from books, periodicals and newspapers on war and peace with innovative layouts. The bound, numbered, and signed copy of the book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.