The Hoiuedard exhibtion presented 26 plastic poems, 26 typewriter poems, and 13 one sided plastic laminated poems with titles. None of these Houedard poems were titled. Gu ardian Obituary for Audrey Barker: Audrey Barker, who has died aged 69, was an inspiration to the development of the young as artists, especially through her work and thoughts about people with disabilities. She was born in West Ham, in London's docklands, and during the second world war was evacuated to a farm where she contracted tuberculosis from untreated milk. This led to crippling bone damage and eight years in hospital. She missed much formal education, but she read avidly, gaining a scholarship to East Ham Grammar School for Girls in 1944, later attending Walthamstow School of Art (1950-55) and then Leicester College of Art for a teacher training year. She exhibited her paintings widely from 1953 in group shows such as Young Contemporaries, the Royal Academy summer shows, the New English Art club and John Moores, as well as in many provincial galleries. She taught art in London but became ill, returning to teaching when she recovered. In 1961, she moved to Cumberland to marry Denis Barker, also a teacher and artist. After a major reappraisal of her art, she began building what were then known as environments and inviting people like Adrian Henri to perform. During her year at the University of Newcastle, she began to work on compartmented assemblages and won an Abbot Hall Gallery prize, in Cumbria in 1964. She was proud of having been fired from lecturing at Carlisle College of Art, where she felt stifled by conservative attitudes. A brief but inspiring association with the surrealist Joseph Cornell in New York in 1966 turned Barker's work around. In the winter of 1967, she had an exhibition with "boxes" (assemblages often within compartmented trays) at the burgeoning Lisson Gallery, London, with dsh (Dom Sylvester Houedard), the Benedictine monk typewriter-artist. Through the gallery, she began friendships with Ken Cox and Li Yuan Chia, who, after visiting Audrey, also ended up living near her, opening the LYC museum and gallery in a farmhouse on Hadrian's Wall acquired from another local artist, Winifred Nicholson. Severe migraines and over-medication blotted out much of the 1970s for Barker and, although healers eventually dispelled the headaches, she began to suffer from severe arthritis. During this period she and Denis started a business, Barkers of Lanercost, reproducing Roman artefacts from the newly discovered Vindolanda Fort, and period costume dolls, which were collected world-wide. They designed and made soft toys (memorably a dressed badger and a giant Otterburn trout in tweed), and the northern speciality of hooked rugs, and made screenprints, using the talents and new skills of local people. This venture developed, and at their own expense they bought and restored the ruined Abbey Mill, Lanercost, as a small arts centre and sheltered workshop for disabled people whose difficulties Audrey shared. Despite favourable reports and the support of Melvyn Bragg, it collapsed in 1987. This was soon followed by divorce. Then, at Abbey Mill, she began to conceive and execute the last phase of her work: pioneering ideas about accessibility, intellectual and physical, exploiting the language of disability as a channel of communication. Her multisensory installations, attended by the public in their thousands, were directed with unwavering certainty of concept and spatial relation. Her largest piece, Festival of the Five Senses, 1989, filled the Wentworth Leisure Centre, Hexham, with performances by artists, actors, musicians, poets and athletes. She rejected approaches from the ICA in London, as access to its upper galleries required a demeaning wheelchair ride through the kitchens to a service lift. Barker challenged assumptions about the nature of art, disability and access. Her slogan was "access is a state of mind". She served on Arts Council committees, including the combined arts, and the arts and disability moni toring panel, where her uncompromising care and honesty won her many friends, including Lord Rix. In 1993, at an Arts Council symposium, she accepted a woman of the decade award for her contribution to arts and disabilities, but turned down an MBE. In 1997 she gave an address by proxy to the Royal Society of Arts, which presented the work of schizophrenic artist Aidan Shingler and her own, including a project that she felt as proud of as any artwork. This was teaching Alan Foley, a profoundly deaf and almost blind 40-year-old. Through Audrey's teaching and communication skills - "I just hit him" - he was drawn out of his isolation and produced paintings and sculptures, including a life-sized horse, which were sometimes exhibited within her installations. Despite illness, she continued with installations, the final one, Art: An Illusion at Keswick art gallery in 2000. Almost housebound after breast cancer and renal failure, which she overcame with an iron will and strict diet, she struggled to come to terms with making artworks once more. Two days before her death, she was described as "feisty" and wanting to get out of the hospice and get on with some work. Audrey Barker, artist and teacher, born November 1 1932; died August 25 2002 -- Source of annotation: Marvin or Ruth Sackner.