This is a review of the Tom Phillips "A Humument" exhibition at the Kamin Gallery, Van Pelt Library of the University of Pennsylvania. The Sackner Archive lent the works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Kaelen Wilson-Goldie contributes an essay, "The Rematerialization of Artists' Books" in which she mentions the Sackner Archive as the largest collection of artworks that blend text and image in private hands. -- Source of annotation: Marvin or Ruth Sackner.

This review of Personal Choice: Selections from Four Alumni Collections states that "the Sackner section, installed on the second floor of the ICA, is the most intellectually challenging part of the show." -- Source of annotation: Marvin or Ruth Sackner.

The exhibitio nwas curated by William Cobbing, Bob Cobbing's grandson and Rosie Cooper at the Exhibition Research Centre in Liverpool. It consisted of printed matter, paintings, documents, films, sound works, objects and artefacts.The Sackners were described as "owners of the most comprehensive archive of sound and concrete poetry." Stored in Bob Cobbing box. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of Tom Phillips' Slade Lectures. The Sackners attended two of the eight and were interviewed by Vetta at one of them. She wrote the following. "At the opening I met a charming couple from Miami who have been collectors of Tom's work since they saw his 1974 exhibition. They thought it was the work of more than one artist. I asked what attracted them in addition to the diversity. They replied 'his wit and intellect.' I would add to that his sensitivity to color." -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent two books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent two books to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a review by Tracy Aollinger Turner of "An American Avant Garde: Second Wave" curated and conceived by John M. Bennett in the Rare Books and Manuscripts Library at Ohio State University. Ruth and Marvin Sackner attended the exhibition and Marvin delivered the keynote address at the poetry symposium. -- Source of annotation: Marvin or Ruth Sackner.

Review of Sackner collection of Russian Avant Garde art at the Lowe Museum, University of Miami. -- Source of annotation: Marvin or Ruth Sackner.

This is an illustrated review of Tom Phillips' exhibition at the North Carolina Museum of Art. All works in the exhibition were from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Martha Carothers shares her expertise on the history of pop-up books with the publication of "Brooklyn Pops Up!" The book coincides with the exhibition at the Brooklyn Central Library and includes the history and art of the movable book. The Sackner Archive is mentioned as holding Carothers' original bookworks. -- Source of annotation: Marvin or Ruth Sackner.

This a beautifully illustrated review of the Miami art scene that includes several images and a brief description of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of the Tom Phillips exhibition in the Van Pelt Library, University of Pennsylvania as borrowed from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of Tom Phillips lecture and exhibition of A Humument at the Van Pelt Library. The Humument pages were lent by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

In the section of exhibition catalogs, "Networking Artists and Poets: Assemblings from the Ruth and Marvin Archive of concrete and Visual Poetry" is reviewed. The exhibition, curated by Craig Saper at the University of Pennsylvania Library, focused on post-war collections that circumvented the gallery system with direct mailings, collected in folios, bound volumes, and boxes of original artists' prints, poems, texts pages, books and textual objects and were called assemblings. The designer Greg Baer was praised for his sensitivity to the materials and to the energy of the collectors themselves. Saper's text becomes an explanation for the captioned illustrations and also a rhapsody on these materials. The catalog has a checklist of the 53 items in the exhibition, "just the top of the iceberg of the thousands of items in the Sackner collection." -- Source of annotation: Marvin or Ruth Sackner.

This is a review of an exhibition in which all the works were loaned from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Fernando Gonzalez reviews the multi media performance of De Campos, Poetry Is Risk, and the concrete poetry movement in Brazil in his first article; he describes the Sackner Archive in the second section. The Sackners are photographed in their gallery. -- Source of annotation: Marvin or Ruth Sackner.