The drawing consists of the linear, almost micrographic, handwritten ink text upon which two abstract figures executed in gray-black watercolor are superimposed . -- Source of annotation: Marvin or Ruth Sackner.

This issue has an extensive illustrated essay about teaching children to make artists books by Susan Kapuscinski Gaylord. -- Source of annotation: Marvin or Ruth Sackner.

Richard Kindersley contributes an essay "Standing Stones" in which he describes ancient stones in the British Isles as well as his own works of ten stones commissioned for the Millennium. Each stone is engraved with a quotation of a famous author of the period. Jordenne Ferrington describes and illustrates the selections from the contest celebrating "The Graceful Envelope." -- Source of annotation: Marvin or Ruth Sackner.

The images and the letterpress printed poem of the two prints are identical but the calligraphic words, "terra cotta" have different colored hues. -- Source of annotation: Marvin or Ruth Sackner.

The drawing consists of the three lines of micrographic text. The first reads, "This message would come to you or be experienced in your absence by the tongue of his anger which you never confronted. But you, receiving more than time or money, looking over pasts like rooftops. Nurenberg. You said Dresden or that you dread them or you dread him." The second reads, "And this is as good as you can do? Halfway out then all the way in feels better during sex but I forget it has been so long. There are still half-burned candles where our trail ended." The third reads, "Like there would be time enough like there would always be time & we knew there never would be but we never wished to destroy the illusion of a future together." -- Source of annotation: Marvin or Ruth Sackner.