The cover of this catalogue and two of the pages depict photographic reproductions of crumpled pages of telephone books; the Sackner Archive holds a unique artist book by Sit of torn telephone pages. -- Source of annotation: Marvin or Ruth Sackner.

The book is punctured in its center with a hole to simulate that is a round circle that toward the end of the book becomes raged as a simulation of a bullet hole. Each page contains an identical landscape with the bullet hole placed above the horizon. At the bottom of each page are the different coordinates, e.g. 51o 21'N x 12o 25'E, that symbolize the location where violence took place. -- Source of annotation: Marvin or Ruth Sackner.

The book is the editioned version of Maher's original bookwork "100 Coordinates of Violence" which is held by in the Sackner Archive. It was published to coincide with an installation at Kunstbuncker in Nurnberg, Germany. The original book consisted of pages shot through by bullets. Now the 1000 coordinates that symbolize the location where violence took place are listed on each page. An afterward lists several pages of "better informed, better organized and more selflessly dedicated curmudgeons... to fuel your own investigations." -- Source of annotation: Marvin or Ruth Sackner.

This is Carl Andre's first one man show in a musem and his first catalogue. Johannes Cladders wrote the German text for the book object. All the English texts are in Andre's own handwriting and appear to be printed offset though another process might have been used. On the folder cover, Andre writes, "A man climbs a mountain because it is there. A man makes a work of art because it is not there." -- Source of annotation: Marvin or Ruth Sackner.

Gertrude Jekyll was a leading designer of gardens. The rose of Gertrude Stein's well known poem can also be identified as the tip of the old-fashioned garden watering can. -- Source of annotation: Marvin or Ruth Sackner.

This is a proposal for a straight and level path of 78 clay bricks stamped with names of Virgil in place of the maker's name. The path is to be built indoors, on a level floor, or out-of-doors on any grass-covered level ground without shade. Finlay s walk upon but for the mind to follow. It leads from Carl Andre's brick compositions to an elegiac classicism. -- Source of annotation: Marvin or Ruth Sackner.

The recto of the photograph announces a performance by Blaine at Galerie Donguy, Paris, on December 1, 1998. Some of the photographs are images of store facades with signs that stated "Mode a Suivre." -- Source of annotation: Marvin or Ruth Sackner.

This book was a result of an initial installation in the Freud Museum, London, 1994 called "The Reading Room." Hiller states that "it locates something else which is entirely distinct conceptually." The artist created complex boxes with found objects and texts "orchestrating relationships, and inventing fluid taxonomies, while not excluding [herself] from them...Sequences, patterns, repetitions and gaps structure this book." This is a second edition of this book which coincides with the exhibition of the work at the Tate Modern. The Sackner Archive also contains the 1995 first edition. -- Source of annotation: Marvin or Ruth Sackner.

The artist writes in an Afterward, "The title looks back on my recent experience of creating an installation at and for the Freud Museum and at the same time, it locates something else which is entirely distinct conceptually. What I think is positioned here is an extended and episodic view of my personal sense of inhabiting an historically-specific museum of culture with permeable boundaries...Probably artists function by simultaneously enacting the reciprocal roles of curator and subject, therapist and client; I've worked by collecting objects, orchestrating relationships, and inventing fluid taxonomies, while not excluding myself from them." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition mostly dealt with tapestries. -- Source of annotation: Marvin or Ruth Sackner.

The object is a chewing gum cast of Descossey's tongue. In September 2000, over 3300 of Descossy's chewing gum sculptures were destroyed in a fire on a warehouse where they were stored. -- Source of annotation: Marvin or Ruth Sackner.

Pages consist of an arrangement of pins with successive enlargements by xerox process and a drawing of the copy-art installation for this work. -- Source of annotation: Marvin or Ruth Sackner.