The letter E is repeated in clusters of four creating a cross-like image in five rows. -- Source of annotation: Marvin or Ruth Sackner.

A limited edition portfolio consisting of prints of the the subject matter in this book designated "Typoaktionen 2" (1976) is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Each print depicts a typewriter poem formed by a square grid of punctuation signs, parentheses and carats designed in a complex arrangement. -- Source of annotation: Marvin or Ruth Sackner.

The poem depicts a bow and arrow with the bow formed from the word "mehrheit" repeated three times. the arrow is formed from the word "andersdenkende." Mehrheit means majority and andersdenkende dissident in English. The arrow pierces the bow and drips red drops of blood. the verso depicts a fragment of another shaped poem. Hosselbarth or Hoesselbarth is now known as Kai Selbar. -- Source of annotation: Marvin or Ruth Sackner.

The concrete poems in this portfolio are printed with contemporary typefaces sans serif. Hosselbarth or Hoesselbarth is now known as Kai Selbar. The Sackner Archive holds two copies of this portfolio. In this one, the portfolio is covered with brown fabric and the cover print has a blue background. In the other copy, the portfolio is covered with black fabric and the cover print has a black background. The images of the prints are identical but there are minor differences in color registration on some of them. The number of artist proof copies is unknown. -- Source of annotation: Marvin or Ruth Sackner.

The concrete poems in this portfolio are printed with contemporary typefaces sans serif. Hosselbarth or Hoesselbarth is now known as Kai Selbar. The Sackner Archive holds two copies of this portfolio. In this one, the portfolio is covered with black fabric and the cover print has a black background. In the other copy, the portfolio is covered with brown fabric and the cover print has a blue background. The images of the prints are identical but there are minor differences in color registration on some of them. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a concrete poem, generally of one or two words, in bold typeface. -- Source of annotation: Marvin or Ruth Sackner.

The introduction was written by Rigby Graham. This book is stored with Jos C. Brilliantes book, "Sonnets in Concrete volume one." Bridgewater in other publications also spelled his name as Bridgwater. -- Source of annotation: Marvin or Ruth Sackner.

Consists of handset, metal type, alphabetical texts with ornaments printed on different composition papers utilizing such typefaces as Helvetica, Bembo, Caslon, Centaur, Garamond, Bernhard Gothic Light, Modern Roman, News Gothic, Plantin, Chandelier, Cheltenham, Traftin, Packard, and Puritan. -- Source of annotation: Marvin or Ruth Sackner.

The work consists of two flat panels of green colored plexiglas that enclose a clear panel held together by four plastic housings for disposable hypodermic needles. Seagram placed large, paper-cut, black and white, letters of varied size onto the clear plexiglas panel to form the text. It begins "U Tempest Us Nota Wit Ut Tel A Vision Air Y... -- Source of annotation: Marvin or Ruth Sackner.

A book of text and images dealing with color. -- Source of annotation: Marvin or Ruth Sackner.

This is the second edition of the book first published in an edition of 30 copies in 1978. Its theme is the Elephant. -- Source of annotation: Marvin or Ruth Sackner.

The book reprints an in depth lecture delivered by Schmidt on the occasion of Peter Daniel's exhibition of Lab-Art. He states that Daniel's subject matter is located between literature and pictorial art. In reviewing Daniel's Ein Sof, a Kabbalistic book, and Lab-Art, Schmidt traces the development of the awareness of language since the nineteenth century, relating the influence of Ferdinand Saussure and his emphasis on phonetics, Walter Benjamin and Jaques Derrida and their theories of language. In relation to Daniel's use of collage, Schmidt quotes the Kabbalah concerning the origin of letters, "He [God] outlined them, dug them out, weighed them, combined and transposed them."The print, Lab-Art, An open manifesto, designed by Daniel, that is held by the Sackner Archive, is reproduced in the book. -- Source of annotation: Marvin or Ruth Sackner.

This book depicts examples of the work of five Nurnberg letterpress publishing houses based upon the typoraphy of Hermann Zapf. -- Source of annotation: Marvin or Ruth Sackner.

Some of the pages inside untitled(1964) were based upon images used for levy's 6 cleveland prints (renegade press, 1964). There were 5 copies produced probably each one different from the other. This edition reprints copy #2. Reprints: Book 14T (1966), The Para-Concrete Manifesto (1966), Untitled (include pages from 6 Cleveland Prints, 1964), and the envelope, mailed originally to Ian Hamilton Finlay, with the holograph address reproduced here and contains The Egyptian Prayer Wheel (1966). -- Source of annotation: Marvin or Ruth Sackner.