The exhibition was curated by Ruggero Maggi. The essays and art works in this book all relate to the chaos and fractal theory in mathematics, art and poetry. As Angelo Bertani writes in his essay, On Apparent Order and Chaos, "What seems to be extremely significant is the artist's need (now extremely widespread) to go out from protected, appointed places and instead, contend directly with existence, with the richess of material, with the spaces of life: in this sense, the creeping crisis of painting, the growing prevalence of installations and video-works are a sign, beyond the current fashion of the will to contend with change, accident and the relative: the other names for chaos. Moreover, in a world where technology prevails, perhaps only the ways of art can inser ta fragment of liberty into the oppressive mechanism of necessity." -- Source of annotation: Marvin or Ruth Sackner.

Stored in Olbrich box. -- Source of annotation: Marvin or Ruth Sackner.

The verso of the card is Steen's offset poem "the poem begins here." The message from Steen to Williams deals with the time of arrival in New York from a Copenhagen flight. -- Source of annotation: Marvin or Ruth Sackner.

Furnival requests additional information about the proposed Stedlijk Museum exhibition, the dates and the financial arrangements. The recto of the card is Openings Press Card Series No.6: Furnival: Bestiary. -- Source of annotation: Marvin or Ruth Sackner.

Spence addresses Vleeskens as Mr! and comments that he likes Annaberg. -- Source of annotation: Marvin or Ruth Sackner.

Spence addresses Vleeskens as Mr! Spose! and comments about meeting a correspondence networker in Germany named Jorg with his family. The recto of the card is a visual poem by Michael Ende. -- Source of annotation: Marvin or Ruth Sackner.

Spence addresses Vleeskens as Mr! and comments that he likes Minden Germany and mentions a visit to Peter Netmail. -- Source of annotation: Marvin or Ruth Sackner.

levy mentions WORK-HOUSE sentence and also asks harris for cement ["concrete poetry" MAS interpretation] from him and other poets if "you will cut stencils -for -- Source of annotation: Marvin or Ruth Sackner.

The opening sentence of this card reads "BLEW BOOK yours to BURN | EAT | DISTR-BUTTE| anything you want to do with it... -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Abbey of Gethsemani. The card reads, "Dear Emmett: Here are a few loose sheets from MPond (Monks Pond) which will show which concretes I took from author - & 'embellished.' Hope the magazine will be on its way soon." -- Source of annotation: Marvin or Ruth Sackner.

This card of December 10, 1968, eight days before Merton's death, was typed by Patrick Hart, secretary to Thomas Merton. He gives permission to Williams to use poems in a forthcoming anthology that was never published. -- Source of annotation: Marvin or Ruth Sackner.

The card is written on the verso of "sixty natural greens," a conceptual art piece. Nannucci asks Williams to make a contribution to his magazine, Mela. -- Source of annotation: Marvin or Ruth Sackner.

Message is written on verso of Openings Press Card Series No. 6 (Bestiary). Furnival invites Dowden to give a reading at Corsham Court and sends him six Plakat cards. -- Source of annotation: Marvin or Ruth Sackner.

levy wrutes about contributions of concrete poetry being solicited for a forthcoming issue of Paris Review. -- Source of annotation: Marvin or Ruth Sackner.

Announces publication of Berenice. -- Source of annotation: Marvin or Ruth Sackner.

Mentions work submitted for Commonpress No.17. -- Source of annotation: Marvin or Ruth Sackner.

Horn describes trip to Florida. -- Source of annotation: Marvin or Ruth Sackner.

Horn discusses trip to Florida and thanks Pyros for invitation to design cover for the magazine, "Dramatika." -- Source of annotation: Marvin or Ruth Sackner.