This book reprints several of Gerz's works that had been previously published in Neue Texte, Opus International, Agentzia, Stereo Headphones, Visuelle Poesie, The San Francisco Earthquake, Geiger, etc. The originals of one of the poems reproduced in this book, e.g., "Dieschweigendemehrheit (Heil)" is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book is designated No.782 in Gerz's Catalogue Raisonne Volume III. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Volker Rattemeyer and Renate Petzinger. The book edition of EXIT that is held by the Sackner Archive is depicted and described on pages 38-39. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Volker Rattemeyer and Renate Petzinger. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Volker Rattemeyer and Renate Petzinger. Gerz created his body of visual/concrete poetry during his sojourn to Paris from 1969-1972 as depicted in pages 24-45 of this book. The Sackners met him in 1981 in Paris and purchased several of the works that are depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was edited by Renate Petzinger and Volker Rattemeyer. -- Source of annotation: Marvin or Ruth Sackner.

The book is designed to resemble a photograph album with black pages and a single large photograph collaged onto each page. It is a memorial to the Dachau concentration camp in a rather sterlle way.. The writing of the "Dachau Museum" and the writing of the "Dachau Camp" are now intermingled and "their simple presence is the proof of their innocence." This piece is dscribed in Gerz's Catalogue Raisonne Volume II, pages 38-39, a book held by the Sackner Archive. It is designated No.783 in Volume III. The Sackner copy is from the 1st edition; the 2nd edition was reprinted in 300 copies in 1996. -- Source of annotation: Marvin or Ruth Sackner.

For its time, this book is highly experimental both in its writing and typographic presentation and layout. Some of the poems appear to have been made by the cut-up technique popularized by Gysin and Burroughs. The German and English languages are often intermingled in the same sentences. Others poems are concrete and visual in format. Originals of a few of the visual poems are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is Gerz's first book and the first edition. For its time, this book was highly experimental both in its writing and typographic presentation and layout. Some of the poems appear to have been made by the cut-up technique popularized by Gysin and Burroughs. The German and English languages were often intermingled in the same sentences. Others poems were concrete and visual in format. Originals of a few of the visual poems are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.