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This exhibition was curated by Richard Andrews. The introduction and seven essays for this exhibition catalogue trace and describe Constructivism and its influence on Western art history in the twentieth century. Many of the works were drawn from Russian collections and are therefore newly seen in the west. The catalogue includes a timeline from 1909 to 1933 comparing events in Russia and in Western Europe. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition explores how the accordion fold has been used in the West within a variety of different printed matter contexts with a special emphasis on publications produced by artists from the 1960s onwards. -- Source of annotation: Marvin or Ruth Sackner.

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Nancy Princenthal contributed an essay, "The Bookmakers' Odds: A Short, Subjective Survey of Recent Publications by Artists." The catalogue includes a sixteen page insert by Lawrence Weiner of conceptual art. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Martin Attwood. -- Source of annotation: Marvin or Ruth Sackner.

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This book lists artists' books mainly from England, America and Germany by the year of publication. The books form the collection of the Library of the Chelsea School of Art (now the Chelsea College of Art and Design). Essays explore the history of b arts, Mallarme and Broodthaers, Russian Futurist book, Fluxus books, minimalist and conceptual books, feminist books and book collecting. A chronology, glossary and index provide reference material. Many books are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Lynn Zelevansky and was shown at the Los Angeles County Art Museum in which books were lent by the Getty. The same books were lent by the Sackner Archive to the MIami Art Museum when it traveled there. Peter Frank contributed as essay entitled, "geometric literature: From Concrete Poetry to Artists' Books." Amazon Review: In the decades following World War II artists in Europe, North America, and South America began experimenting with geometric forms. Rebelling equally against the mathematical purity of earlier geometric modernism and what many saw as the emotional excesses of abstract expressionism and Art Informel, these artists emphasized three-dimensionality, the repetition of modular elements, the conceptual underpinnings of art, and the performative to engage the viewer in the creative process and achieve broader intellectual, sensual, and emotive range in their work. Beyond Geometry, which accompanies an exhibition at the Los Angeles County...

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This is a sumptuously illustrated catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Barbara J. London. The catalogue consists of citations without images and consisted of trade edition books. -- Source of annotation: Marvin or Ruth Sackner.

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Carl Andre writes to Ruth and Marvin Sackner, "Thank you for forwarding the bibliography of your monumental collection. It was such a great pleasure to meet you & to see the great works & publications which you have gathered together. Thank you also for helping to make Ana's & my stay in Miami so delightful & rewarding." -- Source of annotation: Marvin or Ruth Sackner.

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Andre writes about his exhibition at Paula Cooper's Gallery that since" you have Seven Books this show will not be entirely novel to you. But it is the assembly of a vision." -- Source of annotation: Marvin or Ruth Sackner.

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Andre writes his message on the verso of an announcement card for the panel on which the Sackners participated at the Getty Center "Reading & the Arts of the Book." Other panelists were John Hollander, Simon Cutts and Marth Wilson. -- Source of annotation: Marvin or Ruth Sackner.

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Andre writes that he hopes to "have a chance to thaw out in Florida this winter. How wonderful it would be to pay you a visit & inspect your recent acquisitions." -- Source of annotation: Marvin or Ruth Sackner.

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Andre reports to the Sackners that an exhibition of all of his remaining poetry, about 800 pages, will open in Paula Cooper's gallery on September10,1993. He writes, "I would consider it a great honor if it would be possible for you to visit the show before the opening date. There simply are no people in North America whose opinion I would value so highly." There is an ornimental ink line drawing om the address portion of the card -- Source of annotation: Marvin or Ruth Sackner.