The assembled leaflets form a grey G. It should be noted that Depew in his list of 2005 mentions that gray G (spelling different from this entry, viz., grey G) is printed letterpress in 100 copies in 1973 and is very rare. Further, this copy of ironwhoresbook No.2 is in error and a varient since Empo is the ironwhorsebook No.2. Stored in Wally Depew box. -- Source of annotation: Marvin or Ruth Sackner.

The assembled leaflets form a grey G. It should be noted that Depew in his list of 2005 mentions that gray G (spelling different from this entry, viz., grey G) is printed letterpress in 100 copies in 1973 and is very rare. Stored in Wally Depew box. -- Source of annotation: Marvin or Ruth Sackner.

The leaflets depict wide curved and straight gray bars, presumably taken from the letters pbdq. Stored in Wally Depew box. -- Source of annotation: Marvin or Ruth Sackner.

The collage consists of printed strips of Italian text fixed to the background white canvas in a chaotic lattice-like pattern. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a photocopy of a collage composed of fragmented texts and abstract or realistic images. -- Source of annotation: Marvin or Ruth Sackner.

Pascal Pithois published the card. -- Source of annotation: Marvin or Ruth Sackner.

Pascal Pithois published the card. This version of the card has a small red square collaged onto it. -- Source of annotation: Marvin or Ruth Sackner.

Kocman made a diagonal cut across all the pages of a physics laboratory calalogue distributed by W. Hruby in 1913 (as on the cover). This book bears a relation to Buzz Spector's book object, "The Outline of Art" (1982) who tore each page at progrssively closer edges to the right hand border. -- Source of annotation: Marvin or Ruth Sackner.

Kocman made a diagonal cut across all the pages of a physics laboratory calalogue distributed by W. Hruby in 1913 (as on the cover). This book bears a relation to Buzz Spector's book object, "The Outline of Art" (1982) who tore each page at progrssively closer edges to the right hand border. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the second poster without an image in the catalogue by Bremer and is therefore is designated No.159a. The edges around the image are damaged. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the poster was not depicted in the catalogue and the page reference is to Lopez Vera' biography. The poem is laid out as a tondo with an indecipherible fragmented text. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the third poster without an image in the catalogue by Bremer and is therefore is designated No.159b. The image depicted in the poster is a dove. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.