Deals with Knowle's theme of the bean. -- Source of annotation: Marvin or Ruth Sackner.

Clive Phillpot contributed a critical essay. -- Source of annotation: Marvin or Ruth Sackner.

The installation of Alison Knowles' "A Finger Book" is announced. The Sackner Archive holds another version of this work. -- Source of annotation: Marvin or Ruth Sackner.

Alison Knowles analyzed the cracks on the bottom crusts of her home-made breads and discovered a universe of rivers, Matching each crack in the crust to a river pattern, she created palladium prints with river image, literary passages and text fragments. Henry Martin, in his introductory text, describes this book as an "experience." -- Source of annotation: Marvin or Ruth Sackner.

Higgins died in Quebec at a sound poetry colloquium one day after performing a piece that involved screaming as loudly as possible for as long as possible. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition for action/artworks that consisted of artists' instructions realized by the participating museums, was curated by Hans-Ulrich Obrist. "Do It" is not concerned with copies, images or reproductions of artworks, but with human interpretation. No artworks are shipped to the venues, instead everyday actions and materials serve as the starting point for the artworks to be recreated at each performance site according to the artists's written instructions. -- Source of annotation: Marvin or Ruth Sackner.

Theme of exhibition was mainly Fluxus music. -- Source of annotation: Marvin or Ruth Sackner.

Review of exhibition "Pictures to be read/Poetry to be seen". -- Source of annotation: Marvin or Ruth Sackner.

The page by Ann Noel resembles the "I" painting held by the Sackner Archive. No two I's are typographically repeated in this work. -- Source of annotation: Marvin or Ruth Sackner.

Jerome Rothenberg contributes a pre-face in which he writes that "Footnotes, presented here, is the accounting of where Alison Knowles' feet (and hands and mind) have taken her." The pages of this book are reproductions of notebook pages dating from 1975 to 1995, inscribed and collaged by Knowles. As Knowles herself stated, "It is important to remember that we are free to make art and poetry out of anything: A loaf of bread, some beans, a hasty jotting on the train." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was first conceived on the occasion of the exhibition "Geoffrey Hendricks, For Brian Buczak, in Memoriam" in Dorf Tyrol, Merano, Italy in 1997. It was re-published in 2003 in conjunction with the exhibition "Geoffrey Hendricks, Accidental Significance: Collaboration with Brian Buczak" at the Emily Harvey Gallery, New York. -- Source of annotation: Marvin or Ruth Sackner.

The text and sounds derive from time spent in New Mexico and Alberta, Canada, a span of several years. Frijoles Canyon is the name of the site where the recordings were made in New Mexico. -- Source of annotation: Marvin or Ruth Sackner.

Higgins related at a symposium on Portuguese concrete and visual poetry at Yale University, New Haven, CT, that the name "Great Bear" originated from the name of a water cooler at Something Else Press - wanted pamphlets to refreshing just like the water from the Great Bear water cooler. -- Source of annotation: Marvin or Ruth Sackner.

The editor of this boxed series is Lisa Pearson. This is a reprint of a book using computer programming that Knowles published in 1968. -- Source of annotation: Marvin or Ruth Sackner.

Lists multiples, publications, prints, catalogues and ephemera of Fluxus. -- Source of annotation: Marvin or Ruth Sackner.

Curated by Wendy Woon. Nancy Tousley contributed an essay tracing the history of artists' books in Canada and the United States. Felipe Ehrenberg's essay describes his work as a book artist in England and Mexico. -- Source of annotation: Marvin or Ruth Sackner.