This exhibition and catalogue was curated by Harald Szeemann; Charles Harrison organized the London exhibition. This catalogue consists of a suite of 78 single leaves with photo and biographical information of the artists and their works, alphabetically arranged with cardboard thumb index. This is the Second enlarged edition of the famous Szeemann catalogue on conceptual art. The exhibition was held in the Kunsthalle Bern (Switzerland) in March and April 1969 and moved to London in the fall of the same year, where the show was curated by Charles Harrison and sponsored by Philip Morris Europe, as stated on the title leaf of the present catalogue. As Charles Harrison explains in his forword, the London catalogue was supplemented without withdrawal of any material from the original catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This essay reviews the holdings of 149 livres d'artistes (also artists books) which were acquired in 1990 by the Department of Prints at the University of Paris-Sorbonne. Several books held by the Sackner Archive are cited in this essay. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue documents an important, extensive extensive exhibition of artists books. The cover depicts a page from "A Humument" by Tom Phillips. The original of this page is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The theme of the exhibition, curated by Guy Bleus, was "Portugal." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes an essay on networking in mail art and statements by artists on the subject. The theme of the exhibition was "Portugal." -- Source of annotation: Marvin or Ruth Sackner.

The photographic self-portrait series by Michael Badura which is held by the Sackner Archive is reproduced in this catalog. -- Source of annotation: Marvin or Ruth Sackner.

The closing paragraph states, "An interesting side note involves the Miami contribution. Because some of this work was intentionally prefab and repetitive, there are similar models of certain pieces. So when the Getty collection refused to allow 30 donated works to travel for this show, what a surprise it was to find replacements right here: 28 came from the private collection of Ruth and Marvin Sackner, a testament to the significance of local collections." -- Source of annotation: Marvin or Ruth Sackner.

John Russell contends that "the same few artists dominate all the major contemporary collections...[because] we feel comfortable with what we know, and for better and for worse that sensation is available in full measure in museums of modern art...It is, in fact, the buildings, and not what we see in them, that are full of surprises." -- Source of annotation: Marvin or Ruth Sackner.