Designated ICPA Publication No.4. The images consist of the leaves from the Gingko tree and the work was performed at the Toronto Festival, Harbourfront Arts Centre 1984. -- Source of annotation: Marvin or Ruth Sackner.

Baroni's son is photographed next to a copy-art work with Vittore pictured at 3 showing a very strong resemblance. The background is the Baroni library. -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts a black & white abstract collage. The book was published in conjunction with an exhibition at Al Mecante di Stampa in Milan. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Robert Hobbs. Mark Lombardi's drawings create visual narratives of the way money flows in our post-imperial, transnational economy: from corporations to political organizations, from individuals to various ad hoc groups, most of them acting outside of and transcending national boundaries. Using graphite and colored pencil, and information culled from newspaper accounts, TV, and other sources in the public domain, Lombardi maps the economic underpinnings of our global society. One of the drawings depicted in the catalogue is entitled Meyer Lansky's Financial Network 1960-78. Lansky was a patient of Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

The first fourpages consist of preparatory elements for GO no. 26. The remaining pages are abstract drawings for woodcuts. -- Source of annotation: Marvin or Ruth Sackner.

This card reproduces one of the pages from Hobbs' "Torque of the Town." -- Source of annotation: Marvin or Ruth Sackner.

This card reproduces one of the pages from Hobbs' "Torque of the Town." -- Source of annotation: Marvin or Ruth Sackner.

This piece (Opus 5) was originally published by AIA gallery in 1966 in an edition of 100; the current copy was reprinted by Tetrad Press in 1972 in an undisclosed tirage. Depicted in Tom Phillips: Works Texts To 1974, page 250. -- Source of annotation: Marvin or Ruth Sackner.

John Furnival writes a personal note on the top of a review article of the Sensations exhibition at the Royal Academy. The reviewer states, "Tom Phillips showed skulls at the Dulwich Gallery last year, and though they were not as gory as Marc Quinn's cranial efforts at the Sensation show, the availability of a comparison of the work of a grand old man and an Academician to boot, and the oh-so new offering of the anti-Academician tendency was telling. The theme of the body as the surprising temple of the spiritual is perennial and inexhaustible. But the new wave is adding very little, even in terms of style. The forms they are using have already been plundered, and have had the surprise knocked out of them." -- Source of annotation: Marvin or Ruth Sackner.

Each book consists of a one page drawing entitled "Stupidogramm" consisting of a grid of commas with an area enclosed by an ink line drawing. Not one of the 200 copies is alike. This publication is stored in the 'R' flat files drawer. Note that Roth uses the name Diter Rot for this issue. -- Source of annotation: Marvin or Ruth Sackner.

Baroni is listed as a contributing editor of this periodical and has used a Cavellini label to hold the pages of the magazine together, open to an interview conducted by Baroni with Guglielmo Achille Cavellini and Carlo Battisti. The image on the back cover depicts Cavellini in his paper labeled raincoat and umbrella standing before a densely calligraphic column. -- Source of annotation: Marvin or Ruth Sackner.

This work includes several items. There is a letter from John Bennett reflecting his visit to the Archive with the Director of the Library and the Vice President of Development of Ohio State University. The bib was from Joe Stone Crabs' Restaurant on Miami Beach where the Sackners took the group for lunch. Bennett stamped and wrote his characteristic poetry on the bib that he titled "Stone Crab Variations." -- Source of annotation: Marvin or Ruth Sackner.