David Dalby provides an introductory essay entitled "Africa and the Written Word." -- Source of annotation: Marvin or Ruth Sackner.

This is a revision of a book published in 1977 which surveys 20th century art history with accentuation of works with visual/verbal imagery. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition at Cornell University consisted of selections from the Jan amd Meda Mladek Collection. -- Source of annotation: Marvin or Ruth Sackner.

This was the first artist book exhibition that the Sackners attended. It made a major impact on them in terms of the their subsequent direction in collecting. The catalog includes reproductions of Kenneth Snelson's drawings for the sculpture, Forest Devil, the maquette of which is held by the Sackners. Marcel Broodthaers' Un Coup de Des and Jes Petersen's Piero Manzoni, books held by the Sackner Archive were exhibited. -- Source of annotation: Marvin or Ruth Sackner.

Gloria Picazo contributed a critical essay opening with a quote by Kolar "Someday it will be possible to make poetry out of anything." Foissage is described when "a mere piece of paper is wrinkled, then flattened down and finally set upon a support. The strange writing left in the piece of paper by the wrinkles is another of the means usedby Kolar to make a poem visible." -- Source of annotation: Marvin or Ruth Sackner.

In this book, Kolar produced a special edition of the catalogue of his work in which he intervened to collage or tip-in reproductions of printed fragments of collages used in other books onto the reproductions of collages of the pages in this book. Each of the 50 copies of this boook is unique. -- Source of annotation: Marvin or Ruth Sackner.

Jindrich Chalupecky contributed an introductory essay entitled "The Heretical Surrealism of Ladislav Novak." Novak describes his first meeting with Jiri Kolar in 1961 as one of the greatest experiences of his life. Kolar gave him "the kind of stimulus needed and the knowledge that in art one must be ruthless and thorough, that even the most brilliant idea isn't enough in itself, that one must develop it in series, push it, advertise it, etc." -- Source of annotation: Marvin or Ruth Sackner.

The photograph depicts Butor and Qotbi. Michel Sicard contributed an essay in which he defiined the types of work that Butor entered into a collaboration with artists. -- Source of annotation: Marvin or Ruth Sackner.

Kinetic letter picture by Timm Ulrichs which is reproduced is falsely attributed to Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

Ignacio Gomez de Liano contributes an essay "La nueva poesia y los problemas de la Estetica contemporanea." Maria Aurora Marques writes about "Poesia Experimental en Espana" and Maria Lluisa Borras describes "La Poesia Visual en Cataluna." -- Source of annotation: Marvin or Ruth Sackner.

This essay is about Tool and is stored with the Tool publications. The Sackner Archive holds another copy, an original, that is included in "Agentzia 2." -- Source of annotation: Marvin or Ruth Sackner.

The bookbinding was done by Jane Rollo. Each copy is virtually unique since collages were made adhering a limited number of the defective printed pages onto the pagea of the printed book. -- Source of annotation: Marvin or Ruth Sackner.

Cluver contributed an essay, "On Representation in Concrete and Semiotic Poetry." Eric Vos wrote about "Visual Literature and Semiotic Conventions." Eduardo Kac's wrote on "Holopoetry and Hyperpoetry." Charlotte Schoell-Glas contributed "The Medium is the Message: Ian Hamilton Finlay's Garden Little Sparta,"an essay that reviewed the political side of Finlay's work. David Scott described the postage stamps of Donald Evans in "Semiotics and Ideology in Mixed Messages: The Postage Stamp."Cluver focuses on the word, "Ekphrasis" defined by some as "the verbal representation of graphic representation." -- Source of annotation: Marvin or Ruth Sackner.

This book was later published in an expanded 2nd edition. -- Source of annotation: Marvin or Ruth Sackner.