This is the second edition of the book which is in part a facsimile of the artist's sketch book. -- Source of annotation: Marvin or Ruth Sackner.

Laxson writes that the "title is inspired by D.H. Lawrence who said - Don't trust the artist. Trust the tale." And the tale is written by Laxson in brilliant twists, turns, shapes of typography and drawings. -- Source of annotation: Marvin or Ruth Sackner.

This is a critical review of the artist book of undersea photographs by Busonero with the poetic collaboration by de Charmoy; the work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Printed by Dieter Sdun. The text was taken from Erik Satie and Georg Christoph Lichtenberg. -- Source of annotation: Marvin or Ruth Sackner.

Printed by Dieter Sdun. The text was taken from Erik Satie and Georg Christoph Lichtenberg. This is one of the three books with the same overall title. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this periodical is poetry and weather. -- Source of annotation: Marvin or Ruth Sackner.

The hexagonal poem object can be turned and pulled to change the configuration of the text and image panels. -- Source of annotation: Marvin or Ruth Sackner.

This is a trade edition German novel in which Cepl has collaged the covers and a small portion of each page with torn or cut fragments of printed text from other books or periodicals with different languages. The covers and part of their insides are covered completely with such fragments -- Source of annotation: Marvin or Ruth Sackner.

A caption for a picture poem is printed at the bottom of each left hand page along with a printer's ornament of a hand pointing to each blank right hand page. -- Source of annotation: Marvin or Ruth Sackner.

The two masks are identical and represent a frontal image of a male face with glasses. -- Source of annotation: Marvin or Ruth Sackner.

This is an erotic illustrated novel that begins with juvenille, masculine, sexual awaking and continues through first romance and then to sexual fantasies. The book was written by Crombie and the slipcase, available only in the special edition, was designed by Bourne. -- Source of annotation: Marvin or Ruth Sackner.

Pages consist of tan paper of heavy stock and yellow pages of light stock. Several pages are rubberstamped in black, blue, green and red inks with brief lines of poetry, fiction or left blank. One page is rubberstamped with images of condoms and another with a rejection stamp of the Tate Gallery, London. -- Source of annotation: Marvin or Ruth Sackner.

Pages consist of rubberstamped, random arrangements of varied colored letters and numbers that signify a metaphor for sexual orgasm. The two copies with identical cover and number of pages differ in the rubbrstamped letters and numbers/ -- Source of annotation: Marvin or Ruth Sackner.

Pages consist of rubberstamped images of screws, nuts, bolts being fastened together and into a wall signifying a metaphor for sexual orgasm. The fold-out page is rubberstamped ying-yang sanitary napkin bag. It is likely that few copies were produced. -- Source of annotation: Marvin or Ruth Sackner.

According to Agius (Artists' Books 2005 catalogue), only Vol.1 & 2 were published. Therefore, this a unique volume. Further, it was submitted to Biennale De Paris for exhibition as evidenced by the label on the back cover in 1982. The cover appears to be accidentally torn but the pages are intact. Petasz writes in the margin of one of its pages "Genuine 15 pages of stupid mandalas to protect your intellect against unexpected insemination by reality." -- Source of annotation: Marvin or Ruth Sackner.

This issue documents the books of Immoos; one of these books, 'appear-disappear' is held by the Sackner Archive -- Source of annotation: Marvin or Ruth Sackner.