The prints in this portfolio are language based, generally as conceptual texts. Ian Hamilton Finlay contributes a silkscreened text, printed in alternating green and purple letters, refering to gardens, ruins and the French Revolution. The text of Hamish Fulton relates to his walks in the country. Jenny Holzer lists "Truisms" in a print that has been folded. A black and white photograph of a brick wall by Joseph Kosuth is overlaid with a printed quote from in Dutch by Piet Mondrian. Richard Long presents "A Cloudless Walk" printed in white capital letters on a sky blue background. Lawrence Weiner's silkscreened print "The Salt of the Earth Mingled with the Salt of the Sea" gives an appearance that these words have been handcolored with red crayon. Remy Zaugg made an aquatint composed of three words, Grauw Beeld Blind, in a gray color on a background of a lighter gray color. Hans Waander's silkscreened concrete poetic print is composed of the words, Kingfish, kingfisher, fisherman, in several languages and typefaces. Rosangelo Renno's silkscreened print of text deals with an event that inspired a famous anti-war photograph of the Vietnam War. The text, which follows is printed in pink on a lime green background, and designed such that the words fade into the horizon. The text reads, "The children had just left the temple when the jets dropped four barrels of napalm and four bombs. The entire area was engulfed by a gigantic ball of fire. X, was hit by drops of napalm. Howling in pain and tearing off her burning clothes in agony, she ran toward the photographer's camera and straight into history." Thomas Locher's silkscreened print, Two Doors, consists of a line drawing of one door labeled with positive aphorisms on the left side and an identical door labeled with negative aphorisms on the right side. Douglas Gordon's silkscreened concrete poem, Laughing - Crying, is printed as a mirror image. Domien Coppelmans, silkscreened print which is entitled, Connected to Sleep, prints the title with a typeface that is based upon the clear color of day with the blackness of night, the Yin and the Yang. Thomas A. Clark's silkscreened, white rectangle on white paper, carries the text on the rectangle, "This space may be considered as a glade or clearing, an area opened to a brightness which may be found again in other spaces." -- Source of annotation: Marvin or Ruth Sackner.