The text consists of variations on the words, 'gloom,' 'whom,' and 'womb.' -- Source of annotation: Marvin or Ruth Sackner.

The author writes on the loose sheet that "this is my artists book, with my artists nickname "Enrique Cuyen." A big hug from Argaentina. I will receive more information." His real name is Fernando Gioia. -- Source of annotation: Marvin or Ruth Sackner.

This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The first 22 copies were signed by Hirschman; this copy is signed and inscribed but is out of series. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

This story is about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. One typed manuscript has the layout but not the typographic appearance of the published work. The other two that are handwritten provide that appearance. The basis for the writing of this work is discussed by Hirschman in Kulchur No.14, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Printed for the exhibition Visualog 3. -- Source of annotation: Marvin or Ruth Sackner.

This issue deals with concrete and visual poetry as well as experimental fiction. Notable contributions include concrete poems by Raymond Federman and Keith Robertson. The pamphlet by John M. Bennett is entitled "Image Standards." The covers depict concrete poems by Richard Kostelanetz. The folded poster is an uncut single sheet for Kostelanetz's booklet, "Modulations." -- Source of annotation: Marvin or Ruth Sackner.

This anthology consists of a collection of concrete poems worldwide with a focus on Canadian poets. -- Source of annotation: Marvin or Ruth Sackner.

The Beauty in Breathing exhibition from the American Lung Association curated by Marvin Sackner is reviewed on the front page. -- Source of annotation: Marvin or Ruth Sackner.

Privides a listing of International concrete poets by country along with a comment about their major categories of work, e.g., visual concrete poetry; visual, typewriter and concrete poetry, etc. ICPA Supplements No.1-4 are the unbound pages that list new items into the collection. In the introduction, P.Claire thanks the Sackners for sharing information about their Archive. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue consists of a listing of books and artworks in this exhibition; there is only one image - cover by ferdinand kriwet. The First International Exhibition of Concrete, Phonetic, and Kinetic Poetry was held in the Rushmore Rooms, St. Catharine's College, Cambridge, and sponsored by the Shirley Society in 1964 published a catalogue of four pages that is out of print and not in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by pete spence and Raymond Cortese. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by pete spence. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by pete spence. -- Source of annotation: Marvin or Ruth Sackner.