Francesco Conz contributed an essay "Winterreise" about his visits to Fluxus artists in Europe. Hannah Higgins writes about "Fluxus and the Sensible Thought c. 2001." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Clive Phillpot and Jon Hendricks. -- Source of annotation: Marvin or Ruth Sackner.

This book tracks the interdisciplinary and international arts movement that began in the 1960's..."Fluxus is both an attitude towards art -making and culture that is not historically limited, and a specific historic group...This attitude is in part traceable to the network of interrelated ideas about culture, politics, and society explored earlier in the twentieth century by the Futurists, the Dadaists, and the Surrealists. Some of these same ideas were later explored after World War II by artists associated with groups such as Lettrism, International Situationism, Nouveau Realisme, and Fluxus itself." -- Source of annotation: Marvin or Ruth Sackner.

Revich contributes a simple "elevator" description of Fluxus. -- Source of annotation: Marvin or Ruth Sackner.

Kevin Concannon contributed a critical essay, "Sometimes a word is worth a thousand pictures; Toko Ono's art as a verb." -- Source of annotation: Marvin or Ruth Sackner.

This is a publication of Zona. -- Source of annotation: Marvin or Ruth Sackner.

The final page contains the poem "Tvgrama" by Augusto de Campos. -- Source of annotation: Marvin or Ruth Sackner.

Barbora Toman Tylova who visited the Sackner Archive in 2011 contributed an illustrated essay dealing with her experience with the books held by the Archive. -- Source of annotation: Marvin or Ruth Sackner.

Published on the occasion of an exhibition at workffortheeyetodo in London, April-May, 1994. -- Source of annotation: Marvin or Ruth Sackner.

The editor of this volume, Jean-Francois Bory, provides an introductory essay on the artist and cartoonist Jean-Louis Forain. -- Source of annotation: Marvin or Ruth Sackner.

El Lissitzky describes his theatrical plans for "The Electrical-Mechanical Spectacle." It was published as a folio of ten colored lithographs which were used by Mayakovsky in "For Reading Out Loud." The Spectacle used the music from "Victory Over the Sun" by Krutchyck with sets by Malevich. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes information on the Brighton Festival Exhibition of Concrete Poetry that was directed by Stephen Bann. The founding of Black Mountain College is described by Lewis Shelley. "The Early Days of Concrete Poetry" are described by Eugen Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

This issue contains the second section in the series on the history of Black Mountain College. The article on sound poetry by Hausmann was translated by Stephen Bann. -- Source of annotation: Marvin or Ruth Sackner.

Contains section three of the history of Black Mountain College. -- Source of annotation: Marvin or Ruth Sackner.

John Bowlt contributes an in-depth essay titled "Russian Exhibitions, 1904 to 1922." The series on Black Mountain College is continued with "Play, Life, Illusion 1924-37," a Spectodrama by Xanti Schawinsky. An excerpt of the experimental novel, Grabinoulor, by Albert-Birot that has been translated into English by Barabara Wright is included as well as a bibliography of several small magazines. -- Source of annotation: Marvin or Ruth Sackner.

Hans Richter contributes "In Memory of Marcel Duchamp." Mark Hedden continues the series on BMC with "Notes on Theatre at Black Mountain College." The magazine Kulture, published by Lita Hornick, is indexed. -- Source of annotation: Marvin or Ruth Sackner.

All pages are perforated by 8 small holes that held rivets shipped with this issue; these were attached by the subscriber to the spine. -- Source of annotation: Marvin or Ruth Sackner.