This postcard is designed to be mailed. -- Source of annotation: Marvin or Ruth Sackner.

Each rubberstamp has one aphorism, e.g., "Words Tend To Be Inadequate." Stephen Bury in "Artist's Multiples," list the title as "Untitled," 1991. -- Source of annotation: Marvin or Ruth Sackner.

Jenny Holzer, a conceptual artist who represented the United States at the Venice Biennale in 1990, is known for her utilization of language as art. The opening piece in this book reads "It's a safe game to play with your nose, shutting off the air and letting it flow again. Then you can escalate and see how long you can last until you pass out, your hand relaxes and you breathe normally again." This is her first book. -- Source of annotation: Marvin or Ruth Sackner.

Jenny Holzer, a conceptual artist who represented the United States at the Venice Biennale in 1990, is known for her utilization of language as art. The opening piece in this book reads "It's a safe game to play with your nose, shutting off the air and letting it flow again. Then you can escalate and see how long you can last until you pass out, your hand relaxes and you breathe normally again." -- Source of annotation: Marvin or Ruth Sackner.

This card was printed on the occasion of Franklin Furnace's 20th anniversary. -- Source of annotation: Marvin or Ruth Sackner.

The texts printed here are reproductions of original drawings for the inscriptions on stone sarcophagi in the exhibition. The book is also part of a videotape presentation with the same title. -- Source of annotation: Marvin or Ruth Sackner.

The texts printed here are reproductions of original drawings for the inscriptions on stone sarcophagi in the exhibition. The book is also part of a videotape presentation with the same title, the combination also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book was first published in 1998. -- Source of annotation: Marvin or Ruth Sackner.

Beatrix Ruf writes that "the language of the LUSTMORD texts is as direct as the images of the daily media reporting on war, horrors, crimes, and murder...LUSTMORD produces feelings, perceptions intuitions of the danger which lurks in the tangle if act, participation, sympathy, helplessness and disgust." Holzer's texts were displayed on LED screens, carved benches, as tattoos, bones, labels. The exhibition took place at the former Carthusian Monastery at Ittengen. -- Source of annotation: Marvin or Ruth Sackner.

The labels consist of short messages, e.g., Private Property Created Crime. -- Source of annotation: Marvin or Ruth Sackner.

The aphorism reads "Raise Boys and Girls the Same Way." Truisms was in the exhibition in MoMA titled "Thinking Print: Books to Billboards, 1980 - 95." The Sackner Archive holds a multiple LED edition of Truisms. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes a critical essay by Joan Simon and an interview with Bruce Ferguson. -- Source of annotation: Marvin or Ruth Sackner.

Michael Auping contributed a major essay "Reading Holzer or Speaking in Tongues." The Sackners attended this exhibition in Venice. An additional copy of the poster is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The works in this exhibition featured neon, computer generated, video, and LED word works. Ferdinand Schmatz contributed an essay entitled "Word-Writing-Space - The NON-written Book: Approaches to Mallarme, Light and Time." Peter Weibel's essay is "The Medium Writing in the Age of the Turing Galaxy." Curator Grita Insam, guest curator, contributed a catalogue epilogue relating to the theme of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This book lists of Holzer's aphorisms in bold and colored typography translated from English to other languages. Most have a political slant. The print lists the aphorisms in alphabetical order. -- Source of annotation: Marvin or Ruth Sackner.