Rye Armstrong contributed an illustrated essay, "Blessed Be the Book," concerning the work of Brainard Carey (aka Brian Salzsberg). Carey, a book artist whose work is held by the Sackner Archive, is described as a neo-monk who has recreated the Book of Job, transcribing, illustrating and binding it by hand. Carole Grossman discusses the difference between livre d'artiste and artists' books in her essay '"Books at the Limit." She writes that artists' books "are very much an international twentieth century phenomenon...and frequently question the meaning and role of the book as an art form. Often the artists hark back to the original idea of a clandestine private press and use their artistic abilities to underscore their own political or social ideas. As a general rule one can expect private-press or fine-press books and livres d'artistes to be more in the classical tradition of book design than artists' books." -- Source of annotation: Marvin or Ruth Sackner.

Marvin Sackner's essay, "Recollections of John Eric Broaddus" is featured. Walter Hamady's exhibition at Granary Books, "Boxes and Collages," is reviewed; one of the assemblages in this exhibition was acquired by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Steven Heller contributes an essay "Szyk Transit: The greatest work of a once-famous anti-fascist illustrator has been beautifully restored, but not without some conflict along the way," the work of the Polish artist Arthur Szyk. Rick Poynor questions how graphic designers will shape the discourse about climate change in his essay "Warm Regards." Jennifer Ehrenberg describes contemporary artists' books made in Cuba in her essay "Cuba Libros!" -- Source of annotation: Marvin or Ruth Sackner.

Also includes Small Magazine Review 96 and 97. Bob Grumman contributes a report of his participation as an artist associate at the Atlantic Center for the Arts at New Smyrna Beach, Florida. He writes that the stay included a "field trip" to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Reproduces in color the painting by Tom Phillips, "The Sackner Artchive," taken from the Phillips' exhibition catalog, Works and Texts 1992. This painting was commissioned by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a lengthy interview with the Fluxus artist, Jeff Perkins. The latter collaborated with Guy de Cointet in performances in Los Angeles. Marvin Sackner is mentioned as giving a lecture at the University of the Arts in Philadelphia for the 10th anniversary of the master of fine arts in book arts and printmaking program. -- Source of annotation: Marvin or Ruth Sackner.

In the section of exhibition catalogs, "Networking Artists and Poets: Assemblings from the Ruth and Marvin Archive of concrete and Visual Poetry" is reviewed. The exhibition, curated by Craig Saper at the University of Pennsylvania Library, focused on post-war collections that circumvented the gallery system with direct mailings, collected in folios, bound volumes, and boxes of original artists' prints, poems, texts pages, books and textual objects and were called assemblings. The designer Greg Baer was praised for his sensitivity to the materials and to the energy of the collectors themselves. Saper's text becomes an explanation for the captioned illustrations and also a rhapsody on these materials. The catalog has a checklist of the 53 items in the exhibition, "just the top of the iceberg of the thousands of items in the Sackner collection." -- Source of annotation: Marvin or Ruth Sackner.