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This check list was obtained by the Sackners from Kramarsky, one of America's most outstanding drawing collectors, on a visit to his space in New York city. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. The Sackners purchased Tim Rollins' portfolio " The Temptation of Saint Antony I-XIV)" from this auction. Duchamp's "The Large Glass and Related Works" and Samuel Beckett and Jasper Johns' "Fizzles," were also offered at this auction. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This volume, edited and with an introduction by Lorin Cuoco, accompanied the catalogue for "The Dual Muse: The Writer as Artist-the Artist as Writer" exhibition at the Washington University Gallery of Art. Cuoco writes in the introduction as follows. "We were greatly inspired by the Ruth and Marvin Sackner Archive of Concrete and Visual Poetry in Miami, Florida, where William Gass first saw the work of Tom Phillips, and where the collaborators went to observe for themselves the great treasures of this collecting couple. As a consequence of this visit, Kevin Ray, the head of special collections of Washington University's Olin Library, decided to devote an entire exhibit to Tom Phillips' work on the translation and illustration of Dante's Inferno...We extend our thanks to the lenders of the exhibition and to the museums and galleries that provided the permission and reproductions for this volume. The greatest debt, though, is to Ruth and Marvin Sackner for their constant generosity...

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Elizabeth Armstrong curated the exhibition and wrote the catalogue essays along with Sheila McGuire. Jennifer Bartlett's print Day and Night (1978), a work held by the Sackner Archive, is documented and reproduced. -- Source of annotation: Marvin or Ruth Sackner.

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The works in this exhibition were loaned from The Gilbert and Lila Silverman Collection. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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Tom Phillips' The Birth of Art (1973), 10 etchings, is depicted on page 85; this work is not held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.