The work of Monica Bengoa was installed in a designated gallery at the Frost Museum at Florida International University. -- Source of annotation: Marvin or Ruth Sackner.

Director Glenn Lowry writes in the catalogue forward that "Dieter Roth was an endlessly inventive and thought-provoking artist whose substantial body of work, made over the course of nearly five decades, is both prodigious and idiosyncratic. In his experiments with forms, materials, and language, Roth challenged the boundaries not only between mediums but between art and everyday life." Curator Sarah Suzuki writes that "it is easier to describe what he is not than what he is : Above all, he is not a propagandist, and he is not a prophet. He is neither a moralist nor an immoralist. And he is no joiner...He is a member of no ism, group or movement, although many movements, groups, and isms would like to claim him as one of their own." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was co-curated by Alma on Dobbin (N.Y.) and Laura Kruger. The exhibition was done in tribute to 600,000 Hungarian Jews who perished in the Holocaust. Waldsee was a deception by the Nazis as a ficticious place from where postcards of lies describing their happiness as dictated by the Nazis were sent to other Jews but in reality were written before being killed in the gas chambers of Auschwitz. -- Source of annotation: Marvin or Ruth Sackner.

Review of W. Berman exhibition at L.A. Louver Gallery. -- Source of annotation: Marvin or Ruth Sackner.

This work was published for the session on "Innovation and the Carnivalesque in Postmodern Canadian Poetry" at the Northeast Modern Language Association. The text is designed in short spaced paragraphs in two columns. The loose sheet contains variations of Gomringer's poem Silencio by Christian Wagenknecht. -- Source of annotation: Marvin or Ruth Sackner.

This is the first edition of this text by the authors of "The Medium is the Massage." It brings together all forms of conflict, political, racial, and religious, into meaningful perspective. It offers ideas and an understanding essential to the "electric age." The ideas presented in this book seem to forecast the information age and even the advent of the Internet. The text is combined with multiple black and white images and includes many relevant quotations in the margins from James Joyce's "Finnagan's Wake." -- Source of annotation: Marvin or Ruth Sackner.

This is part one of a trilogy in regards to thhe way language is used as an atempt to resolve conflicts.he work is a mechanically reproduced collage of texts relating to war and peace. Laid in are a folded one-page statement about the piece and a folded sheet, printed on both sides, titled "A History of the Arms Race;" this is present in one copy but not in the other copy. Riddell writes in his statement: 'The literary format offered is unusual, in that it employs a strategy which shifts the responsibility for production- communication from the traditional power-locus of an exclusive Authority towards the 'reader-participant/s'." -- Source of annotation: Marvin or Ruth Sackner.

In this book, Heissenbuttel attempts to make a case for the nonvisual, concrete elements in poems that antedated contemporary, concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The authors present the history of their first publication of this book in the intoduction. Steven Heller, Kit Hinrichs, April Greiman, Michael Carabetta and George Lois all contributed statements in the afterward about the influence this book, first published in 1962, had on them as graphic designers. -- Source of annotation: Marvin or Ruth Sackner.

This book does not include any of Kempton's signature typewriter glyphs. The theme deals mainly with preservation of the environment. This edition is one of 25 copies handbound and signed by Kempton for individuals who helped to support its publication. The Sackners were among that group and are so mentioned. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Auerhahn Pamphlet No.2. Meltzer provides a favorable critique of Patchen's poetry and literary work in this pamphlet. -- Source of annotation: Marvin or Ruth Sackner.

Kruger's worded photographs are a contemporary extension of the emblem poems of the 17th & 18th centuries and the more recent picture poems of Kenneth Patchen and Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

This is the proceedings of a congress (Interface 2) on the role of the computer in the arts. -- Source of annotation: Marvin or Ruth Sackner.

Introductory essays for this outstanding Assembling periodical are provided by Denis Poniz and Franci Zagoricnik. The latter mentions that the first publication of Slovene Concrete Poetry appeared in 1966 and that international collaborations began in 1967. Further, Zagoricnik indicates that Westeast was highly influenced by Spatola's Anthology Geiger. The content is weighted toward concrete poetry and typewriter poetry although several other artistic and poetic genres are included. This issue has been poorly bound causing pages to become loosened from the binding. This issue was dedicated to Seiichi Niikuni (1925-1977) and includes several photographic reproductions by Japanese poets influenced by his work. -- Source of annotation: Marvin or Ruth Sackner.

This piece was published in Rampike Vol.6 No.1. curry includes 5 handwritten Haiku poems by Hood (collaged onto pages) written as varients in House of Cards, Runaway Spoon & form the basis for curry's critical text. In a letter to the Sackners, curry notes that Jirgins (editor Rampike) "fucked it up by typesetting all the poems (including the bp Single letter translation!)(i'd provided him with a photocopy of bp's drawn version), rendering my discussion of Hood's handwriting superfluous..." -- Source of annotation: Marvin or Ruth Sackner.

This is an unpublished article submitted to What magazine that contrasts bill bissett's book, "what," with the imaginary contents of What Magazine. bissett's book is also held by the Sackner Archive. The original typed manuscript was never returned from the magazine to curry. -- Source of annotation: Marvin or Ruth Sackner.