The theme of this book is a correspondence from a man dying with AIDS with Heft. -- Source of annotation: Marvin or Ruth Sackner.

According to Stokes' WEB site: "A ravishing series of visual dishes have been served up for our delectation, varying from the raw to the overdone the verse providing the cutlery for this feast. The text by the Russian poet collaborator plays a role more like the guy ropes and pegs that keep a tent erect and fixed in one place." -- Source of annotation: Marvin or Ruth Sackner.

Heimbach used the first page of a German newspaper and transferred letters from the words on this page to the 24 pages of his book such that in the printed, final form, the words are read through layers in three dimensions. -- Source of annotation: Marvin or Ruth Sackner.

The transparent pages are printed recto-verso with the texts in varied size fonts and typefaces. This book was reprinted c.1995 by the Faculty Fine Arts in Cuenca. -- Source of annotation: Marvin or Ruth Sackner.

The poem is a portion of a poem written by Peret, "Je Sublime" (1936) printed on pages with abstract shapes. -- Source of annotation: Marvin or Ruth Sackner.

This book is a neo-dada perspective of Melbourne, Australia. The introduction states that this "discourse is useful in gaining insight into human interaction, disciplines, boundaries, place, space. But, of course, the possibility of gaining insight is a Modern notion...and this is a postmodern work" -- Source of annotation: Marvin or Ruth Sackner.

This exhibition originated from the Sackner Archive and was curated by the Sackners. It consisted of an introductory essay by Marvin Sackner and a classification system for the pages exhibited: 1) Hidden Meanings, 2) Cancelled, 3) Cut, Torn Crumpled, Perforated, 3) Fragmented, 4) Layered, 5) Sculptured, and 6) Sewn and Woven. The cover of the book was designed by Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

The largest book consists of dictionary pages over which is printed, "Anatole France suggested that the dictionary is the universe in alphabetical order. But life does not come in alphabetical order." The smaller three books consist of photocopied colored prints made from found printed text and images collages. -- Source of annotation: Marvin or Ruth Sackner.

This book is described by the author as "a jounal of observations, impressions, experinces & sensations." Each of the acetate pages is backed with a white, papercard page. Numbers 1 and 2 were printed in 1998 in Rome and numbers 3 through 30 were printed in Great Barrington, Massachusetts in 2000. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a single large woodcut letter of a word. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a single large woodcut letter of a word. -- Source of annotation: Marvin or Ruth Sackner.

Each page deals with one letter of the alphabet which depicts a image and a handwritten poem with each word beginning with the same letter of the alphabet. For example, the letter 'A' page reprints the following Aron ate abalone at alternate altitudes. "Anton asked after Anne, "Avon averred. Anne answered afirmatively, after assuming an attitude as alien as always." Animals argue as arrogantly," Anne asserted... The accompanying image to this story is a wrapper for 'Tums,' the antacid. -- Source of annotation: Marvin or Ruth Sackner.

This book dealing with the Passover song, Chad Gadya, was inspired by the work of El Lissitzky. -- Source of annotation: Marvin or Ruth Sackner.

The text deals with historic aspects of artist books, concrete poetry, and visual poetry in Italy during the twentieth century with illustrations from the seveties and eighties. The collage is tipped-in to the page facing the title page. -- Source of annotation: Marvin or Ruth Sackner.