The enclosed card lists Wood's website as "havent-gardeart." -- Source of annotation: Marvin or Ruth Sackner.

This page refers to the altering of A Human Document by Phillips to A Humument. The poem reads, "scribe, scribe the once or twice story - the story reveal a sister story - see now the arts connect - a veil thrown over a veil - as changes made the book continue." -- Source of annotation: Marvin or Ruth Sackner.

The poem reads "Suddenly, to move to that greater ; and admired expense ; move - Suddenly moving amongst the art black fashion of Mayfair of Paris movements, - the art world smiled" This poem is about the financial excesses of the art market with an abstract expressionist image as the background. -- Source of annotation: Marvin or Ruth Sackner.

An fauve-like painting a half portrait of a figure the right upper corner adjacent to a stylized pack of wolves(?) with an animal figure in the air above them, a visual metaphor for, to throw to the wolves. The poem is a love poem to Fiona Maddocks who was living in Oxford prior to her marriage to Phillips in October 1995. Phillips poem: "Be nice to an artist in June [visual image = don't throw him to the wolves], surprise him in London and taste his picture, o women adore art tomorrow." This is one of two versions of page 91. -- Source of annotation: Marvin or Ruth Sackner.

This page depicts the frame of a window with the date X.III.XCV (night of Phillips' wedding to Fiona Maddocks) written underneath its bottom part. The image within the frame is an abstract painting in Phillips' style. Phillips poem: "thus we touch as we touch, for this is our first world, we start tomorrow an unbelievable dream, all my tonight, and my night by night as one." At the lower right, "for f"[iona]. The wedding actually took place on Oct.29, 1995. -- Source of annotation: Marvin or Ruth Sackner.

The poem reads, "a nine muse world beyond the portico of legends - beyond the library - rest on a rock- beyond the music of a blossoming horse." -- Source of annotation: Marvin or Ruth Sackner.

The drawing forms one surface of a postcard. -- Source of annotation: Marvin or Ruth Sackner.

This is an abstract expressionistic homage to the artist, William Dekooning. -- Source of annotation: Marvin or Ruth Sackner.

Gerard Terborch (1617-1681). He was a Dutch painter of portraits and genre scenes noted for their subtle light and color. -- Source of annotation: Marvin or Ruth Sackner.

Kowski makes highly charged abstract expressionist paintings and buries their titles in the painting. -- Source of annotation: Marvin or Ruth Sackner.

These prints were mimeographed using thermography from drip-ink orignals. -- Source of annotation: Marvin or Ruth Sackner.

Designated No.21 in Artists' Cards series. -- Source of annotation: Marvin or Ruth Sackner.

This lettered edition differs from the numbered edition on that the print is mounted on heavier card stock. -- Source of annotation: Marvin or Ruth Sackner.

This print consists of densely packed brown and black images with occasional white highlights and appears almost like a giant doodle. The word R.A.T. in small letters in the center lower 1/3 is the only verbal reference. The print was part of nine other prints by Fahlstrom that were published by multipla editions. *WEB 1998: Sharon Avery-Fahlström. The correct title is "Dr. Livingstone Collage." Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

The text of this work relates to the native American drum which Hirschman heard while attending a protest meeting for Leonard Peletier, a native American, who has been incarcerated for many years. The painting was done on the floor giving Hirschman the impression that he was doing a "sand painting." -- Source of annotation: Marvin or Ruth Sackner.

This booklet was one of six published as a supplement to Incidences No.2 that commemorated exhibitions sponsored by ARTCI-BLE in Montpellier, France 1994-1995. -- Source of annotation: Marvin or Ruth Sackner.