Each line of text in this leather bound antique found book was hand cancelled by the artist to create a new 20th century artist book. The fore-edges are drawn to resemble the abstsract makings of the leather binding. -- Source of annotation: Marvin or Ruth Sackner.

The concrete poem first composed by Hansjorg Mayer, SAU AUS USA, is printed in bold typeface on every page of this book. The colophon also has an illegible signature, possibly Gerike, the name of the printing house where this book was published. -- Source of annotation: Marvin or Ruth Sackner.

The prints depict alphabetical patterns. -- Source of annotation: Marvin or Ruth Sackner.

Books by authors mentioned in the listing above were lent to the exhibition by the Sackner Archive and were printed on the unbound page. The exhibition was curated by Barbara Young. -- Source of annotation: Marvin or Ruth Sackner.

Bluebeard's Castle by Ronald King, "Ein Deutsches Reqyiem - After Brahms" by Tom Phillips, "S.M.S." Issues No.1,3,4,5, "De Morandi" by Ian Tyson, and "Selected Shorter Poems" by Emmett Williams, which were exhibited, are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The artist writes that this draft scroll titled "Ambiguous" was completed on heavy white paper, printed with rubber stamps using purple ink. It was generated by looking up the etymology of the word 'ambiguous' in Webster's dictionary and following successively descending roots until after about 2000 words, the sequence became exhausted and closed with the word, 'sally.' These root words form a visual wave pattern resembling the constellations composed by Eugen Gomringer. Chadwick was also the editor of the periodicals"Shit and Holy Shit." -- Source of annotation: Marvin or Ruth Sackner.

Page 31 depicts Joan Iverson Goswell's "The George Book" that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poems are typed on blue stock paper. The box was made by Timothy Ely. -- Source of annotation: Marvin or Ruth Sackner.

The poems were copied onto standard white paper. -- Source of annotation: Marvin or Ruth Sackner.

The box was made for the Sackner Archive by Timothy Ely. There are 20 stapled pages each with a typed poem; two additional poems are typed on the verso of two pages. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Elizabeth Phillips and Tony Zwicker; the introduction was written by Robert Rainwater. The Sackner Archive owns other copies of the following books that were exhibited: Mel Bochner: Ludwig Wittgenstein's On Certainty; Henrik Drescher's Too Much Bliss; Jasper Johns' Foirades/Fizzles; Barbara Kruger's My Pretty Pony; Lucas Samarus' Book; Edwin Schlossberg's Wordswordswords; Wallace Ting's 1 cent Life; Trevor Winkfield's Harry Mathews The Way Home. -- Source of annotation: Marvin or Ruth Sackner.

The translucent pages of varied colors are printed with headings of different musical tempos in Italian. These overlay photographs of a male nude which were done by Andreas Pohlmann. The figure is photographed realistically and in distorted views done either contemporaneously or in a dark room manipulation. The poems printed together with drips of colored inks relate to a disturbed mental state. The words have been appropriated from musical lyrics of the rock groups, U2, The Beatles, Rainbirds, and Chris Rea. -- Source of annotation: Marvin or Ruth Sackner.

This issue is devoted to conservation and preservation of books and works on paper. -- Source of annotation: Marvin or Ruth Sackner.

Contains article on photographing books. -- Source of annotation: Marvin or Ruth Sackner.

Contains article by Kyle on "Origin and Adaptation of the Concertina Fold." -- Source of annotation: Marvin or Ruth Sackner.

Edited by Alastair Johnston. -- Source of annotation: Marvin or Ruth Sackner.