This book surveys contemporary concrete and visual poets country by country. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. The shape of the poem depicts the frontal torso og a nude woman. -- Source of annotation: Marvin or Ruth Sackner.

de Vree explains the meanings of the sound poems, "Riviera and Met Leven Is Ein Baccarat." -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns poets Blaine has contacted requesting work for exhibition of Davis UU. -- Source of annotation: Marvin or Ruth Sackner.

This letter is a lengthy polemic in which Cobbing argues with Chopin's assertions on contesting the history of sound poetry. He dates and mentions his own performances of sound poetry from his first attempts in 1942. He argues with Chopin on the dating of the works of Heidsieck, Wolman, de Vree, Lockwood, Dufrene, Gysin and Jandl. -- Source of annotation: Marvin or Ruth Sackner.

This portfolio depicts one work from each of the members of the group. The contribution of Paul de Vree was original but posthumous. One drawing is unsigned and might have been done by Blaine. The painting by Verdi is abstract in imagery. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a reproduction of an ideogram with translation by Peter Mayer from Ho Chi Minh's "Prison Diary," a book held by the Sackner Archive. Gianni Bertini and Sarenco in an essay "Poesia Visiva e Conceptual Art/Un Plagio Organizzato," attack Kosuth for copying from Ulrichs, Ben, and Moineau, Andre for copying from all northern concrete poets, amd Artschwager for copying from Gappmayr. -- Source of annotation: Marvin or Ruth Sackner.

This issue has two major themes, experimental poetry in Latin America and the point that concrete and visual poetry preceded conceptual art. -- Source of annotation: Marvin or Ruth Sackner.

In an essay in this issue, Sarenco continues his polemics against Conceptual Artists like Kosuth and Merz calling them the "facists of the culture." -- Source of annotation: Marvin or Ruth Sackner.

In an editorial in this issue, Sarenco and de Vree distinguish concrete poetry from poesia visiva. Isgro, Miccini, Perfetti, and Vaccari contribute brief statements on the significance of visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes polemics against conceptual artists and concrete poets. -- Source of annotation: Marvin or Ruth Sackner.

Mat stamped "Editore Francesco Conz." -- Source of annotation: Marvin or Ruth Sackner.

Several listings in this Catalog refer to the Sackner Archive catalog of 1986. -- Source of annotation: Marvin or Ruth Sackner.

The poem depicts an armored tank rendered inactive by sispending it on pillers so it cannot move.. -- Source of annotation: Marvin or Ruth Sackner.

Includes an introduction by Jan Van der Hoeven and several essays by De Vree on aspects of visual and concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.