The text is taken from The Song of Songs 4:6. The perforations on three of the pages are pairs of Hebrew 'yod's' in a large typeface.' The text is based upon the phrase, "In the heat of the day {life}, God is a protective shadow." -- Source of annotation: Marvin or Ruth Sackner.

The Decoration of Medieval Manuscripts by Evelyn Cohen describes and illustrates Hebrew micrography. In "The Art of the Hebrew Book in the Twentieth Century, Leila Avrin describes the facsimile edition of David Moss' Haggadah, held by the Sackner Archive. The original was commissioned by Richard and Beatrice Levy. Also mentioned is Lynne Avadenka whose work is held by the Archive. -- Source of annotation: Marvin or Ruth Sackner.

Books by authors mentioned in the listing above were lent to the exhibition by the Sackner Archive and were printed on the unbound page. The exhibition was curated by Barbara Young. -- Source of annotation: Marvin or Ruth Sackner.

This book dealing with the Passover song, Chad Gadya, was inspired by the work of El Lissitzky. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was published for the exhibition held at the Grolier Club in New York from March 24 to May 28 2010. Several of the editioned books in this exhibition are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Avadenka constructed a three dimensonal fold-out tunnel section using the final three pages of the book to create a sea-like environment in which the Hebrew words for womb, water and sea are printed on each level. She has mined these words from the Hebrew word for compassion, "rachamim." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was presented to participants in the Central Agency for Jewish Education (CAJE) of Greater Miami tour of the Sackner Archive. Curated by Marvin Sackner, all 86 works on display demonstrated the use of Hebrew letters, words and texts in ancient and modern contexts. The catalog listing is illustrated with 30 images scanned into the Archive data base. -- Source of annotation: Marvin or Ruth Sackner.

Avedenka's "The Book of Ruth," a book object held by the Sackner Archive, is depicted in an essay on her work by Vincent Carducci. -- Source of annotation: Marvin or Ruth Sackner.

The curator Luar Kruger contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

This exquisite corpse collaboration was organized by the Silver Buckle Press at the University of Wisconsin-Madison Libraries under the direction of Tracy Honn. It consists of 16 prints of heads and 15 prints of tails on handmade papers of artistically rendered horses. Many contain witty references to horses in history, literature, mythology and including horse flies, the Trojan horse and the seahorse. With varying typography, imaginative imagery, unusual poetry and text, the multi-media prints are a visual/verbal spin off of the "Cadavres Exquis" of the French surrealists of the 1930's. It is the second volume of the series by this press; the first in 1992, edited by Barbara Tetenbaum was entitled,"A Printer's Exquisite Corpse." -- Source of annotation: Marvin or Ruth Sackner.

This book consists of photographs of castles in Europe. -- Source of annotation: Marvin or Ruth Sackner.

This book was published by Karen Kunc/Blue Heron Press to accompany The Liquid Language of Artist's Books Exhibition. Kunc curated the exhibition along with Bob Ebendorf and she also contributed a catalogue forward, Braided Streams, analyzing the history and rational of artists' books. The Sackner Archive is mentioned as holding the works of Claire Satin and Susan Share. -- Source of annotation: Marvin or Ruth Sackner.