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Edited by Germano Celant. -- Source of annotation: Marvin or Ruth Sackner.

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This copy is the 2nd edition. -- Source of annotation: Marvin or Ruth Sackner.

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This publication was mailed to Wally Depew from Tokyo. This issue depicts two reproductions of graphite drawings, one of Gilbert and the other of George dated 1970. -- 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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The printing was done with grey ink on lavender colored stock. Words, phrases or fragments are printed to form a spiral on the recto-verso sides when the pages are slowly flipped. -- Source of annotation: Marvin or Ruth Sackner.

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Goethals provides highly annotated citations for each work displayed in this exhibition. Most of the books in are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Guy Schraenen who also wrote a critical essay in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Critical essay written by Mary Davis MacNaughton. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This catalogue has two loose trading cards by Chuck Stake along with a chronology of the art form. -- Source of annotation: Marvin or Ruth Sackner.

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Important conceptual art piece that gives instructions by each artist to a Projects Class. Byars gave his instructions in microscopic text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The prints in this portfolio are language based, generally as conceptual texts. Ian Hamilton Finlay contributes a silkscreened text, printed in alternating green and purple letters, refering to gardens, ruins and the French Revolution. The text of Hamish Fulton relates to his walks in the country. Jenny Holzer lists "Truisms" in a print that has been folded. A black and white photograph of a brick wall by Joseph Kosuth is overlaid with a printed quote from in Dutch by Piet Mondrian. Richard Long presents "A Cloudless Walk" printed in white capital letters on a sky blue background. Lawrence Weiner's silkscreened print "The Salt of the Earth Mingled with the Salt of the Sea" gives an appearance that these words have been handcolored with red crayon. Remy Zaugg made an aquatint composed of three words, Grauw Beeld Blind, in a gray color on a background of a lighter gray color. Hans Waander's silkscreened concrete poetic print is composed of the words, Kingfish, kingfisher, fisherman,...

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Each participating artist was invited to make a proposal for a work in public space and a work for a portfolio. These artists all use text and language for their works. An introductory essay by Tjeu Teeuwen traces the relationship between text and image from early religious works through the influences of Mallarme, cubist collages, calligrams, futurism, dada, constructivism, De Stijl, concrete poetry, fluxus and conceptual art. Essays are also included on art in public places and nomadic art. -- Source of annotation: Marvin or Ruth Sackner.