An explanation of each work is provided in a soft cover book accompanying the works that are stored within the large green box in form-fitted compartments. The translation from the Italian is handwritten in English on the verso of each of the 45 works. Carrega comes to concrete and visual poetry from a literary tradition rather than as a visual one This work is a mini-retrospective of his oeuvre dating from 1955; it has a great deal in common with conceptual art and text. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Ugo Carrega and Mario Diacono. -- Source of annotation: Marvin or Ruth Sackner.

Nine books and drawings held by the Sackner Archive are depicted and annotated as "Collezione privata, Miami Beach" in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Nine books and drawings held by the Sackner Archive are depicted and annotated as "Collezione privata, Miami Beach" in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Titled "Ana Etcetera" and includes supplement. -- Source of annotation: Marvin or Ruth Sackner.

The text deals with historic aspects of artist books, concrete poetry, and visual poetry in Italy during the twentieth century with illustrations from the seveties and eighties. The collage is tipped-in to the page facing the title page. -- Source of annotation: Marvin or Ruth Sackner.

The Archive of New Writing, as named by Carrega and supported by Della Grazia, opened October, 1989 and issued this catalogue. The Sackners are cited in Carrega's article "Why? Because?" (page 14); "I came to know Shusaku Arakawa and Madeline Gins, Marvin and Ruth Sackner, the most important world collectors of the verbo-visual experience." -- Source of annotation: Marvin or Ruth Sackner.

Tiziano Santi contributed an essay "Between Word and Image" which traces the history of visual and concrete poetry through Dada, Futurism, calligrams, Cubism, Fluxus happenings and the contemporary Italian poets. Manfredo Massironi's essay describes the beginnings of classical calligraphy in Europe and the Middle East. This book also served as a caalogue for the Belle Lettre Award winners. The works were grouped into the following categories: traditional calligraphy, expressive calligraphy, words and images, words and abstract for, the word as image, and conceptual works. There are several reproductions of pages by Brody Neuenschwander for "The Pillow Book" by Peter Greenaway. Brody Neuenschwander was awarded the first prize Belle Lettere Award for "the Book of Silence;" Canto Five of Dante's Inferno by Ingmire is described in a separate chapter. -- Source of annotation: Marvin or Ruth Sackner.

The card painted by Carrega is present in one copy but not in the duplicate. Eight pages of text consist of an overprinting of poets names and titles of their works and two pages are a key to this text. A fold-out page before the text reads in large letters "when the saints are marching in." -- Source of annotation: Marvin or Ruth Sackner.

Edited by Luciano Caruso and Sonia Puccetti. The rubberstamping on the collage reads, "come si comporta la mente - sognata dalla mano?" Globs of red paint were dripped onto the orange colored, cloth substrate. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Luciano Caruso and Sonia Puccetti. The collage is consists of blue paint on over a music score paper. The poem by Carrega is printed from a handwritten manuscript. -- Source of annotation: Marvin or Ruth Sackner.