This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. This poster has a great deal of water damage. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. The lexical key is published in the catalogue but not on the poster. An arrow pointing to the left means 'yes' and an arrow pointing to the right means 'no.' -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Verdi's biography. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the fourth poster without an image in the catalogue by Bremer and is therefore is designated No.159c. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. Water damage is present on the top of the poster but the image is intact. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a concrete poem in the shape of an hourglass. -- Source of annotation: Marvin or Ruth Sackner.

Slavko Matkovic (1948-1994) was the founder of the group Bosch + Bosch in Subotica in 1972. In Subotica, he was the initiator and editor of Kontaktor 972 (published two). In 1974 in collaboration with Szombathy Balint, he founded the international review, Arts Wow (published three issues). He was engaged in projects in the spirit of new artistic practices, interventions in the area, conceptual works, visual poetry, book author, the new comic strip, Artom mail and literature. -- Source of annotation: Marvin or Ruth Sackner.

This book depicts representative examples of Tipping's wordworks. The first edition was published in January 1997, this second edition in November 1997. -- Source of annotation: Marvin or Ruth Sackner.

These texts from 1948 to 1999 were selected by Bob Cobbing and Jennifer Pike for this publication. -- Source of annotation: Marvin or Ruth Sackner.

Message on verso indicates that artist is a friend of Robert Rehfeldt who lives in East Berlin. -- Source of annotation: Marvin or Ruth Sackner.

Designated as Quartos No.3. A Canadian version of this book was published by Weed Flower Press in 1973 but the titles were differently placed on the pages. -- Source of annotation: Marvin or Ruth Sackner.

In the table of contents, each author was assigned a hieroglyph rather than a page number to point to the contribution. There were 150 numbered copies in the edition, with 26 lettered copies for the contributors. -- Source of annotation: Marvin or Ruth Sackner.