Scope and Contents Villegle describes his philosophy and technique of first using posters during the post war years from the walls of Paris. He writes that "instead of attending an art school or going to the Louvre to study the riddles that masterpieces sometimes reveal, instead of meditation in the closed world of the traditional painter's studio, I would go out and come across the unexpected surprise, the plastic adventure awaiting me at a street corner...I was attracted to the mural imagery of advertising and propaganda and tore it down only when it could escape from the aggression of politics and finance, when the entangled and curtailed representations had been abruptly metamorphosed, when the rallying cries and slogans, cut short or not, were superimposed in a typographical landscape. Then, diverted from its peremptory, manipulative and utilitarian purpose, imagery and its comments would lead to other games and puns, to poetic illegibility at the crossroads of words." -- Source of annotation:...

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The inscription to Marvin and Ruth Sackner is written in Villegle's classic calligraphic style -- Source of annotation: Marvin or Ruth Sackner.

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In the chapter titled "Spontaneous Manifestation" Villegle writes,"Paradoxically, laceration is connective: the torn, divided, destroyed parts trigger relationships with a mutilated world of harlequins, tonal medleys, untotalizable or apparently unconnected fragments. A wrenching slash, by uncovering successive layers of paper, helps to create a new, suggestive meaning that unifies the highly divergent phenomena printed thereon." -- Source of annotation: Marvin or Ruth Sackner.

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Kaira Cabansas contributed a major essay titled " Poster Archeology" that traced the career, work and artistic milieu of Villegle and the New Realists. The book includes over 200 color illustrations of the artist's works and poems. Nicholas Bourriaud conducted an interview with Villegle and Francois Bon wrote about "Peeling Back the Layers of Time." -- Source of annotation: Marvin or Ruth Sackner.