This book was the inspiration for the founding of the Sackner Archive and includes poems byh 70 poets.. Emmett Williams was born in 1925 and died in February 2007. -- Source of annotation: Marvin or Ruth Sackner.

This book was the inspiration for the founding of the Sackner Archive and includes poems by 70 poets. -- Source of annotation: Marvin or Ruth Sackner.

A note in Fluxus Codex indicates that this work was included in several Fluxus assemblage boxes and also sold separately. -- Source of annotation: Marvin or Ruth Sackner.

A text-score signed, ("The libretto in this Hundertmark Edition is original from 1960...") an original photo and a magnifier. -- Source of annotation: Marvin or Ruth Sackner.

Peter Moore's photograph appears on the cover. -- Source of annotation: Marvin or Ruth Sackner.

In her essay "The Myth and the Mythmaker," curator Kathleen Edwards wrote that Roth was influenced by Dadaism, Surrealism, Pop Art, Abstract Expressionism, Fluxus and Conceptual Art. Buzz Spector contributed an essay "The Artist as Archivist, The Book as Body: Dieter Roth's Gesammelte Werke." He defined an Archive as a "repository of texts and/or images organized around a given subject. It provides for a relation of general equivalence between its components, and for a means of sorting through their accumulation. Unlike dictionaries or encyclopedias, which define words or ideas in relation to general linguistic or cultural models, and whose cognitive "force" is directed centrifugally, toward the margins of a discursive terrain, the force of the archive is centipetal, drawing in traces of its concern that coalesce to form clearer - which is to say, denser, more focused - insights into the meaning of its subject." -- Source of annotation: Marvin or Ruth Sackner.

Russell Radzinski edited the catalogue and contributed an introductory essay "Art/Power/Works and the Approach to Conceptual Art." For the exhibition Emmett Williams presented a new version of his Alphabet Symphony. It was conducted by his wife Ann Noel. -- Source of annotation: Marvin or Ruth Sackner.

These cards describe the scope of the collection -- Source of annotation: Marvin or Ruth Sackner.

Stored on shelf with Hundertmark material. -- Source of annotation: Marvin or Ruth Sackner.

Different parts of Tom Phillips' poster print, "Benches" are collaged onto the covers of the catalogues. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Tom Trusky. The cover and pages are in the the shape of oversize matches. -- Source of annotation: Marvin or Ruth Sackner.

Theodore Verweyen contributes an essay in which he compares examples of Baroque figurative poetry to examples of modern concrete poetry. Eugen Gomringer writes an essay that compares examples of modern German concrete poetry to examples from poets in other countries. -- Source of annotation: Marvin or Ruth Sackner.

The verso of the card is Steen's offset poem "the poem begins here." The message from Steen to Williams deals with the time of arrival in New York from a Copenhagen flight. -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Abbey of Gethsemani. The card reads, "Dear Emmett: Here are a few loose sheets from MPond (Monks Pond) which will show which concretes I took from author - & 'embellished.' Hope the magazine will be on its way soon." -- Source of annotation: Marvin or Ruth Sackner.

This card of December 10, 1968, eight days before Merton's death, was typed by Patrick Hart, secretary to Thomas Merton. He gives permission to Williams to use poems in a forthcoming anthology that was never published. -- Source of annotation: Marvin or Ruth Sackner.