This box was a gift to Marvin Sackner from his daughter Sara, and her family, on his 80th birthday. Each card reads "Happy 80th Birthday, Dad-Ta! May you live to be... 120. Love always! Sara Andy Zach Eli Albert." Every card is numbered 1-83, and the last card explains the rules of playing the game "120."

The poem reads " A most magnificent kind of woners catalogue - DOCUMDNT the universe; and vanish - doumenti--libri----multa--admirandi! - at his bedside - all the reading of the thing with the stamp of art. tp ms and rs." Here Phillips is prising the Sackners' catalogue of their collection of concrete and visual poetry(1986) for which he also designed the cover. The same poem with a different image as a print with only 'tp' for Hansjorg Mayer publications catalogue is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Omar Khouri contributes an introductory essay about De Araujo's poems. The web address of the Sackner Archive is listed under places with more of De Araujo's work. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue lists Andryczuk's personal publications and provides illustrations of them that are ofter tipped-in. It also lists publications of other poets that he has published. -- Source of annotation: Marvin or Ruth Sackner.

The four books making up this exhibition catalog, which in itself can be classified as an artist book, comprise the topics, Sculpture, Artist and Process, Related Objects, and Bookworks. The latter includes Marvin Sackner's critical essay, "Who Says Thirteen Is Unlucky?" The theme of several of the pieces in the exhibition is Satin's adaptation of John Cage, Jasper Johns and Merce Cunningham's collaborative work, "Dancers on a Plane." -- Source of annotation: Marvin or Ruth Sackner.

The catalogue has several introductory essays including one contributed by Marvin Sackner. Other sections include a) Books, b) Unique Manuscripts & Books, and c) Drawings, Prints, Posters & Miscellaneous. Fifty catalogues had an accompanying print. The print is a red and blue colored concrete poetic landscape image formed by rubberstamping words in French and English. The unbound pages provide translations for the critical essays written in French. The print is stored separately in a de Charmoy box. -- Source of annotation: Marvin or Ruth Sackner.

This copy is printed on white papercard stock. One of the poems "waTer vaPour" in this set was commented upon by Bob Grumman in his book "From Haiku to Lyriku" (2007). "Anyway, here's a clue: think lower case uppered. Remember gas expands." -- Source of annotation: Marvin or Ruth Sackner.

Huth describes his visit to the Sackner Archive on April 13th in the section titled "Home Sweet Museum." -- Source of annotation: Marvin or Ruth Sackner.

In the colophon, Gallo mentions that the production of this book was made possible in part due to a grant from the Sackner Archive. The binding was done by Daniel Kelm. Each page has a single poem that was printed letterpress or from plates generated thru Alphatype or Postscript applications. The Archive for this book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This work consists of the responses to a questionaire on Mail Art Archives sent to the recipients by Ferranto. Some of the collectors also indicated that their collections were for sale. -- Source of annotation: Marvin or Ruth Sackner.

Page 50, plate 44, depicts Wingbook, an artist book in edition of 12 that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The book was edited by Piotr Rypson. -- Source of annotation: Marvin or Ruth Sackner.

This is one of 25 signed and numbered copies. The remaining 25 copies in the run were unsigned. In the introduction, Helmes writes "In the late 70's I met Ruth and Marvin Sackner and Richard Kostelanetz. They, along with Karl Kempton and Kay Arndt, have been critical supporters of my work for which I am continually grateful." This book consists of a varied selection of Helmes' poems, reproduced from rubberstamping, line stencilling and letraset collaging. -- Source of annotation: Marvin or Ruth Sackner.

This is the prototype novel of psychosexual intrigue and sexual abuse. The letter from Jan McLaughlin to the Sackners thanks them for hiring and firing her from work as assistant to the curator of the Archive so that she could produce something of substance in her life as writer, poet and performer in New York. -- Source of annotation: Marvin or Ruth Sackner.

The Emily Harvey Foundation also supported this publication. -- Source of annotation: Marvin or Ruth Sackner.