This card depicts an example of Villegle's unique calligraphic style. -- Source of annotation: Marvin or Ruth Sackner.

Ken Olisa created a thank you note after touring the Archive with Marvin Sackner using an American Airlines business class menu while returning to London. The first page message as 'mined' by Olisa reads, " Dear M & R - Thank you for making my trip to Miami Beach such a pleasure. Your discriminating taste created a unique selection. You have clearly inspired American Airlines judging by the quality of the front cover! You helped to make this trip something special. Best regards, Ken Olisa - DMATEKOn the back cover, Olisa reveals the following by selecting particular letters and connecting them with lines (after the fashion of Tom Phillips): "The piece on collecting was very funny - Ken." the latter statement refers to an essay given to Olisa by the Sackners involving the behavior of book collectors. -- Source of annotation: Marvin or Ruth Sackner.

C.C. Elian (Christine) uses a personal invented calligraphic alphabet; its key is printed in a pamphlet held by the Sackner Archive. The text bordering the small photograph in the center of this picture above a diagram begins: We were as stangers/ Gathered by sudden night, it was years and yesterday, Already the lost sight/Of details so telling, Letters falling/To phrases spelling, The subjects and objects/The stories we made, Each within glass houses, Twin souls in a slow serenade... -- Source of annotation: Marvin or Ruth Sackner.

The following works held by the Sackner Archive are depicted in the catalogue: Accame's "Visioni del Partcolare [15 drawings]," Barsky's "Botschraft einer Toilettenpapierrolle," Mau's "Ein Stern erzahlt ge-Schichten," Partem's "alphabetique phonetique," and Schmidt's "gemau in anbetracht einer verschiebung." -- Source of annotation: Marvin or Ruth Sackner.

The " am" reverses to "we." The verso contians dsh writing "am i? am i" in the l.l. corner. -- Source of annotation: Marvin or Ruth Sackner.

The " am" reverses to "we." The verso contians dsh writing, "am i? am i" in the l.l. corner. -- Source of annotation: Marvin or Ruth Sackner.

This is a facsimile edition of one of the artist's sketchbooks. It was edited and designed for publication by Gerald Malanga. Mention is made of asbestos and nicotine in one of the poems. -- Source of annotation: Marvin or Ruth Sackner.

Contains reproduction of Guillot's painting "...di cui cenore e inizio ..." (1988), which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This print is from the Prisoners of Conscience series. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this issue is Graffiti. -- Source of annotation: Marvin or Ruth Sackner.

The organically shaped object is painted pink, orange, green and yellow. The Greek word for amulet is written vertically on a flat, pink surface. -- Source of annotation: Marvin or Ruth Sackner.

The line (sentence) on the inside of the unfolded card reads, "The mute dispenser of the vernal shower." Vernal means youth or pertaining to spring and "vernal shower." It was utilized in a poem by Thomas Gray (British, 1771-1771) as "Sweet is the breath of vernal shower,The bee's collected treasures sweet, Sweet music's melting full, but sweeter yet. The still small voice of gratitude." -- Source of annotation: Marvin or Ruth Sackner.

The text is an ancient Aztec song describing the Tlacuilos painters. Printed in letterpress on Mexican bark paper, the illustrations are from the codex Borgia. Dedicated to Genis' father, an Aztec artist, who died in 1980. -- Source of annotation: Marvin or Ruth Sackner.

This drawing is a combination of a preparatory drawing for a constructivist sculpture rendered in graphite and colored pencil framed by a dense calligraphic script that was done by automatic writing. -- Source of annotation: Marvin or Ruth Sackner.