The flash memory card provides Tom Phillips' reading of A Humument pages along with depiction of the page he is reading from. The Humument print of this record reads, time transparent, - now the arts connect. -- Source of annotation: Marvin or Ruth Sackner.

Roberta Smith reviews Tom Phillips' exhibition at Flowers Gallery NYC on June 3, 2005. She was particularly taken with the new collage works that "are the stongest in the show." She adds that "They are made with tiny chips of paper cut from comic books and laid on with dense almost scalelike surfaces... The surprise is that anything new can be done with collage or comics. The reward aside from visual pleasure, is confirmation that anything is possible." -- Source of annotation: Marvin or Ruth Sackner.

Two copies are held by the Sackner Archive; there are slight variations in the cover drawings by Nichol. -- Source of annotation: Marvin or Ruth Sackner.

The inscription on the envelope stating that the work is unpublished was written by Bob Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

This work is included in an envelope that contained Torque 1.2, Torque maximum rotational ephemeral series 1.1 and 1.2. -- Source of annotation: Marvin or Ruth Sackner.

This work is included in an envelope that contained Torque 1.2, Torque maximum rotational ephemeral series 1.1 and 1.2. -- Source of annotation: Marvin or Ruth Sackner.

Collage depicts an image of a woman with found Hungarian text. -- Source of annotation: Marvin or Ruth Sackner.

Collage depicts a head portrait of a woman overlaid with surrounding Hungarian text. -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

Luther Blissett is the alto-ego of Piermario Ciani and this book documents his beliefs and works. -- Source of annotation: Marvin or Ruth Sackner.

The printed Hebrew text collaged onto this sculpture was taken from the text of Chronicles in the bible. The object onto which the paper was collaged is an old wine press. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue includes an essay by Marvin Sackner, "The Collector as a Performer" that is printed in English and also French with a translation by Albert Behar, his grandson. Photographic reproductions of the artworks lent by the Sackner Archive as well as an interior photograph of their apartment that houses the Archive are also included in this catalogue. Artists whose works were lent by the SacknerArchive to this exhibition and are photographically reproduced in this catalogue include Ben, Hubaut, Nadau, and Seille. In addition and not photographically reproduced, several Lettriste magazines were also displayed in a case. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue includes an essay by Marvin Sackner, "The Collector as a Performer" that is printed in English and also French with a translation by Albert Behar, his grandson. Photographic reproductions of the artworks lent by the Sackner Archive as well as an interior photograph of their apartment that houses the Archive are also included in this catalogue. Artists whose works were lent by the SacknerArchive to this exhibition and are photographically reproduced in this catalogue include Ben, Hubaut, Nadau, and Seille. In addition and not photographically reproduced, several Lettriste magazines were also displayed in a case. Jacques Halbert has signed his illustrated page and placed a cherry sticker. Joel Hubaut contributed a full page drawing opposite the illustration of his work "Hologramme vivant." He drew this while a guest at the Sackners apartment during the exhibition opening festivities. -- Source of annotation: Marvin or Ruth Sackner.

This book represents a comprehensive survey of Ben Vautier's work from 1957 to 1973. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition consisted of Lewty's mainly more visual than textural works. -- Source of annotation: Marvin or Ruth Sackner.

The poem is formed by dense clusters of words and letters except for the arches that are formed by lines to provide the shape and tilt of the Tower of Pisa. The subject matter deals in part with nations who have held the tower during its existence, e.g., France, Germany, and Italy. The print is silkscreened onto Arches 88 paper. -- Source of annotation: Marvin or Ruth Sackner.

The poem is formed by dense clusters of words and letters except for the arches that are formed by lines to provide the shape and tilt of the Tower of Pisa. The subject matter deals in part with nations who have held the tower during its existence, e.g., France, Germany, and Italy. This unsigned print is depicted in black on page 36 of Furnival's book "Lost for Words" (2011). -- Source of annotation: Marvin or Ruth Sackner.

This panel depicts a component of Furnival's tower works. -- Source of annotation: Marvin or Ruth Sackner.

The poem is formed by dense clusters of words and letters except for the arches that are formed by lines to provide the shape and tilt of the Tower of Pisa. The subject matter deals in part with nations who have held the tower during its existence, e.g., France, Germany, and Italy. This print is depicted in red in one image and black in another image on page 36 og Furnival's book "Lost for Words" (2011). The Sackner copy is printed in blue ink. -- Source of annotation: Marvin or Ruth Sackner.