This essay for the Flowers Gallery London publication, State of Art was titled "Miami Vice" when printed. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue depicts two works from the Sackner Archive who is also listed among the supporters of this publication. The drawing was given to the 11 supporters of the publication of this book. -- Source of annotation: Marvin or Ruth Sackner.

Most of the images depicted in this catalogue are examples of Language Art. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue depicts two works from the Sackner Archive that is also listed among the supporters of this publication. A drawing given to the 11 supporters of the publication of this book is depicted in another entry. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes an essay and interview with Ely by Ian Boyden, Director of the Sheehan Gallery. The illustrations are reproduced from the book with the same title as the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This book was assembled by Sara Sackner on the occasion of Marvin Sackner's 70th birthday. It contains clips from the film "Concrete" that Sara produced about the Archive. Her dedication reads, " Oh Clips!/ Speak to me/ LONG and short/ Tell me / Where you want to go!" -- Source of annotation: Marvin or Ruth Sackner.

This is a copy of Drucker's catalogue essay for the exhibition "Symbols to Stories" at the Centre Gallery, Miami-Dade Community College from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue documents an exhibition of artist books (multiples) by Hutchins. The check list of books are printed four to a card that is slipped into woven page strips also with book listings. The cards illustrate three book installations. The Sackner Archive is listed as holding work by Hutchins. -- Source of annotation: Marvin or Ruth Sackner.

Andrea Dezso takes the leitmotif of her life - an artist caught between civilizations - and gives it to us in crafted form. The entire body of her work, from the drawings and fragments of her journal, to the cut-out silhouettes, to the ceramic figures, to the needlepoint and kitchenware, is the material for a gigantic story: part fairytale, part diary, part chapter of world history. The total picture is so sad, magical, melancholy and hilarious that it couldn't possibly be true. but it is. Morgan Meis contributes a descriptive essay of Dezso's life and work. The Sackner Archive is listed as holding her pieces. -- Source of annotation: Marvin or Ruth Sackner.

The image is an abstract brush stroked calligraphic mark. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent six works to this exhibition which was acknowledged in the pamphlet. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of Tom Phillips lecture and exhibition of A Humument at the Van Pelt Library. The Humument pages were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue includes an essay by Marvin Sackner, "The Collector as a Performer" that is printed in English and also French with a translation by Albert Behar, his grandson. Photographic reproductions of the artworks lent by the Sackner Archive as well as an interior photograph of their apartment that houses the Archive are also included in this catalogue. Artists whose works were lent by the SacknerArchive to this exhibition and are photographically reproduced in this catalogue include Ben, Hubaut, Nadau, and Seille. In addition and not photographically reproduced, several Lettriste magazines were also displayed in a case. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue includes an essay by Marvin Sackner, "The Collector as a Performer" that is printed in English and also French with a translation by Albert Behar, his grandson. Photographic reproductions of the artworks lent by the Sackner Archive as well as an interior photograph of their apartment that houses the Archive are also included in this catalogue. Artists whose works were lent by the SacknerArchive to this exhibition and are photographically reproduced in this catalogue include Ben, Hubaut, Nadau, and Seille. In addition and not photographically reproduced, several Lettriste magazines were also displayed in a case. Jacques Halbert has signed his illustrated page and placed a cherry sticker. Joel Hubaut contributed a full page drawing opposite the illustration of his work "Hologramme vivant." He drew this while a guest at the Sackners apartment during the exhibition opening festivities. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was composed of the Goldberg Variations, lent by Elena Presser, and, the Anna Magdalena Bach Notebook, lent by the Sackner Archive. Critical essays were contributed by Elena Presser and Rosalyn Turek, the Bach scholar and musician. The director, Elsa Weiner Longhauser, describes the Sackner Archive as "a brilliant, comprehensive collection and Presser's work a rare tour de force." -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Nora Quinlan and William Brown. The Sackner Archive lent four works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue summarizes the visual poetic collages and assemblages made by Vitone. It reproduces a fragment of "Lettere n.80," a collage that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Craig Saper and Theo Lutz. The Sackner Archive lent 25 artists' books and 23 typewriter works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a lengthy interview with the Fluxus artist, Jeff Perkins. The latter collaborated with Guy de Cointet in performances in Los Angeles. Marvin Sackner is mentioned as giving a lecture at the University of the Arts in Philadelphia for the 10th anniversary of the master of fine arts in book arts and printmaking program. -- Source of annotation: Marvin or Ruth Sackner.

In the section of exhibition catalogs, "Networking Artists and Poets: Assemblings from the Ruth and Marvin Archive of concrete and Visual Poetry" is reviewed. The exhibition, curated by Craig Saper at the University of Pennsylvania Library, focused on post-war collections that circumvented the gallery system with direct mailings, collected in folios, bound volumes, and boxes of original artists' prints, poems, texts pages, books and textual objects and were called assemblings. The designer Greg Baer was praised for his sensitivity to the materials and to the energy of the collectors themselves. Saper's text becomes an explanation for the captioned illustrations and also a rhapsody on these materials. The catalog has a checklist of the 53 items in the exhibition, "just the top of the iceberg of the thousands of items in the Sackner collection." -- Source of annotation: Marvin or Ruth Sackner.