The pages are printed in grey ink with half of the vertical page with a different font printed upside down. The left side of the page is a Basinski poem and the right side a Basinski story. Abstract forms and illustrations are interspersed on the pages. The Sackner Archive also holds a deluxe copy of this book. -- Source of annotation: Marvin or Ruth Sackner.

The images accompanying the text are mostly unrelated to each other. The authors are Francis Osowski and Leonie aka Catherine Bourbon. -- Source of annotation: Marvin or Ruth Sackner.

The texts used in this book were written by Margaret Atwood, Nick Hornby, Nathaniel Hawthorne and others. Stored with Archetype Press material. -- Source of annotation: Marvin or Ruth Sackner.

The collaged elements on the page are embroidered last names in various colors of artists who have utilized stripes in their paintings, e.g., Agnes Martin, Barnett Newman, Blinky Palermo, Bridget Riley, and Daniel Buren. -- Source of annotation: Marvin or Ruth Sackner.

This work consists of typed graphic compositions based upon piano execises. The single unique typing in this book is signed. -- Source of annotation: Marvin or Ruth Sackner.

The booklet and its pages are circular shaped. This copy of the periodical has an extra booklet purchased subsequently to the initial acquisition. -- Source of annotation: Marvin or Ruth Sackner.

The book mark is typical of Caruso's work. The poem is printed in letterpress and the unconventional art is the light blue handprint of Michele Maria, Luciano's daughter, with a calligraphic notation is black ink above it. -- Source of annotation: Marvin or Ruth Sackner.

Although the tirage for this book is 20 copies, each book is unique since the letters of the text formed from different colored papers have been individually cut with a scissors by Gette. These letters have varied calligraphic styles and dimensions. The pages consist solely of text and the theme relates to Gette's wife and their vacations in her Swedish birthplace. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a typewritten list of German cities and the time of arrival or departure of trains between them and Paris (rubberstamped in blue ink). -- Source of annotation: Marvin or Ruth Sackner.

This work was featured in an exhibition curated by Fernando Aguiar, "Imaginaros Da Ruptura = Poeticas Visualis" held in Douro e Vale do Coa, Portugal. The surfaces of the prints in this book are on glossy paper. -- Source of annotation: Marvin or Ruth Sackner.

The visual art in this book deals with the theme of eyes. This copy has a varient additional cover covering the original cover. -- Source of annotation: Marvin or Ruth Sackner.

The visual art in this book deals with the theme of eyes. -- Source of annotation: Marvin or Ruth Sackner.

Pages are either blank with a single phrase at the bottom or have a small black, tan & white image and caption centered in the upper half along with a phrase at the bottom of the page. -- Source of annotation: Marvin or Ruth Sackner.

The author indicated that the "book" is a translucent envelope containing six "certificates" with texts addressing: Surveillance & Knowledge, Surveillance & Purity, Surveillance & Reciprocity, Surveillance & Glamour, and Surveillance & Absurdity. In between the certificates are the SurVeils - masks of onionskin paper with different life-sized images of closed eyes with little eye-holes: To hide your open eyes and aid in "surveilling your surveillors." To reinforce the deception, at the bottom of each veil is rubberstamped "my eyes are closed." Adhesive dots can be attached to the eyes. -- Source of annotation: Marvin or Ruth Sackner.

The images in this book are letraset collages; the fold-out depicts the "untitled" letraset collage in the collection of the Sackner Archive. The loose sheet is an Beaulieu's explanation as to why he prefers letraset and typing to computer generated art. -- Source of annotation: Marvin or Ruth Sackner.