Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

These are photocopied images done for the cover of Baroni's book with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Baroni provides an in-depth discussion of mail art with sections dealing with submovements, e.g., assemblings, fluxus, xerox art, etc. and sections dealing with major figures, e.g., Ray Johnson, Robin Crozier, etc. He also mentions the Sackner Archive as a resource for mail art. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni, this issue is dedicated to the work of Jurgen Olbrich and coincides with an exhibition in Baroni's gallery, Il Soppalco. The covers have original colored photocopied prints by Olbrich. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni, this issue is dedicated to the work of Jurgen Olbrich and coincides with an exhibition in Baroni's gallery, Il Soppalco. The covers have original colored photocopied prints by Olbrich. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni, this issue is dedicated to the work of Jurgen Olbrich and coincides with an exhibition in Baroni's gallery, Il Soppalco. The covers have original colored photocopied prints by Olbrich. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni, this issue is dedicated to the work of Jurgen Olbrich and coincides with an exhibition in Baroni's gallery, Il Soppalco. The covers have original colored photocopied prints by Olbrich. -- Source of annotation: Marvin or Ruth Sackner.

This box was fabricated by Vittore Baroni to hold all the issues of Arte Postale. -- Source of annotation: Marvin or Ruth Sackner.

The reviews and articles deal with the rock band, Le Forbici di Manitu. -- Source of annotation: Marvin or Ruth Sackner.