The exhibition consisted of four sections: 1) Ray Johnson collages; 2) Michael Morris concrete/constructivist drawings; 3) international concrete poems and 4) film and tapes of sound poetry. Michael Rhodes traces the historic roots of concrete poetry from 1897 to 1964. Edwin Varney contributes an illustrated, critical essay defining concrete poetry that is expressed in concrete poetic terms. Ian Hamilton Finlay and Stephen Scobie collaborate with an essay on definitions of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

At this exhibition, three catalogues were published and enclosed within a single slipcase. The first book that depicts the print, "Marine" on its cover, is apparently a reprinting of a catalogue laid out by Hansjorg Mayer which originated at the Kunsthalle Basel in 1990. It contains an introductory essay by Thomas Kellein. It features reproductions of publications by Finlay's Wild Hawthorn Press as well as photographic views of Stoneypath. The second book that depicts the print, "star steer" on its cover, features Finlay's stone, glass, and neon sculptures. It contains critical essays by Peter Weiermair and Stephen Bann. The third book is a biobibliography in English compiled by Pia Simig. -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Thomas Kellein. Layout design was done by Hansjorg Mayer. The cover depicts a picture poem, "Homage to Modern Art." The catalogue is a retrospective of Finlay's ouevre. -- Source of annotation: Marvin or Ruth Sackner.