Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard thanks Donatello [cinicolo 3) for the greenbook and writes that he is" trying to catch up on letters & writing bookreviews &tc & typing out things for the anthology of soundpoetry i am supposed to have finished last year." -- Source of annotation: Marvin or Ruth Sackner.

Houedard thanks Donatello for the greenbook and writes that he is" trying to catch up on letters & writing bookreviews &tc & typing out things for the anthology of soundpoetry i am supposed to have finished last year." -- Source of annotation: Marvin or Ruth Sackner.

Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

Includes a photocopy of Mallarme's Un Coup de Des (1914), -- Source of annotation: Marvin or Ruth Sackner.

The Archive of New Writing, as named by Carrega and supported by Della Grazia, opened October, 1989 and issued this catalogue. The Sackners are cited in Carrega's article "Why? Because?" (page 14); "I came to know Shusaku Arakawa and Madeline Gins, Marvin and Ruth Sackner, the most important world collectors of the verbo-visual experience." -- Source of annotation: Marvin or Ruth Sackner.

This book recounts the story of Paolo Della Grazia's "Archive of New Writing" donated to MART. -- Source of annotation: Marvin or Ruth Sackner.

This work was published as a triptych of prints in 1964 and then as broadsides in Eyearun in 1966. Cobbing stated on title page that first publication was 1966 but the Sackner Archive holds the prints published in 1964. -- Source of annotation: Marvin or Ruth Sackner.

Dan Jaffe was the editor and publisher of this book and wrote to the Sackners "It's with pleasure that I remember my visit to your home and your cordiality.... -- Source of annotation: Marvin or Ruth Sackner.

Each card consists of a single word concrete poem describing the political situation in Argentina. Examples of words are indiferncia, inseguridad, hambre, miseria. -- Source of annotation: Marvin or Ruth Sackner.

This is the first paperback edition of the book. -- Source of annotation: Marvin or Ruth Sackner.