The cards depict a logo for the Activist, Cultivated, Confused, and Dispossessed. -- Source of annotation: Marvin or Ruth Sackner.

The repitition of the statement "Art Is A Weapon!" creates a moire efffect. A central square is printed in finer type making a Malevich style logo. -- Source of annotation: Marvin or Ruth Sackner.

The text and images are printed as dark grays or blacks on black such that their reading is made difficult. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition at Printed Matter was held concurrently with the major exhibition at Neuberger Museum of Art. Both were curated by Johanna Drucker. This catalogue also lists the price of the works for sale. -- Source of annotation: Marvin or Ruth Sackner.

Several of the pages in part one are Corris' typographical renditions of writings by Berthold Brecht. In parts two and three, Corris utilized concrete and visual poetic techniques to flesh out the politics of art. Composed and output by the author on Compugraphic Editwriter 7700, MCS 10 with Preview, MCS 20 with Power Page, and Compugraphic 8400. Funded in part by The National Endowment for the Arts. Part One, Typographic Samples: Excerpts from E.P. Thompson's "Letter to America," the Mask of Evil, This Babylonian Confusion, Ballad on Approving of the World, and other titles by Bertolt Brecht. Part Two, Typographic Pictures: "Logo for the Confused" and 15 other selections. Part Three, Typographic Polemics: Decomposition (after Alfred Barr), The Cultivated Hope (after Oscar Wilde), The Sucess and Failure of Stuart Davis, and The Sublime is Now (after Barnett Newman). -- Source of annotation: Marvin or Ruth Sackner.

Acconi's sculpture "Name Calling Chair" is an excellent example of sculptural concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Review of Michael Corris' books, "As if the Pillars of Society" and "Typographical Samples, Pictures & Polemics." -- Source of annotation: Marvin or Ruth Sackner.