Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Baroni in an essay, "Of Cyberwebs & Snailwebs," states that the death of Ray Johnson was a turning point in the mail art network. Points out that mail art is now collected and appreciated in academic circles at the same time that a contrary form of communication, internet surfing has now begun. However, believes that it will be "collaboration not competition, old and new media helping one another, integrated into a global tactic that should evolve [h]armoniously and lovingly." In addition, Baroni describes the making of his E.O.N. Share Piece, a work held by the Sackner Archive, as well as his experiences on the Internet. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Vittore Baroni. -- Source of annotation: Marvin or Ruth Sackner.

This documents a collaborative mail art project between 1979-1981. -- Source of annotation: Marvin or Ruth Sackner.

This documents a collaborative mail art project between 1979-1981. -- Source of annotation: Marvin or Ruth Sackner.

This documents a collaborative mail art project from 1978-1983. -- Source of annotation: Marvin or Ruth Sackner.

This documents a collaborative mail art project from 1978-1983. -- Source of annotation: Marvin or Ruth Sackner.

Baroni discusses his beginnings as a stamp and correspondence artist and Arte Postale. He mentions collaborative texts for a CD and floppy dics, and a book project in 1993. -- Source of annotation: Marvin or Ruth Sackner.

These cards describe the scope of the collection -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Piermario Ciani. -- Source of annotation: Marvin or Ruth Sackner.

One of the publisher's names, FUN, stands for Funtastic United Nations. The banknotes are fake currencies issued by made-up countries. The book documents the history of artists' currencies. -- Source of annotation: Marvin or Ruth Sackner.

This a compilation of a questionaire sent to mail artists along with a request for a photographic portrait. Lloyd added abstract markings to the portraits. -- Source of annotation: Marvin or Ruth Sackner.

This broadside was addressed to Ruth & Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

This broadside in an unfolded state together with other Ryosuke Cohen's Brain Cells and cards are stored in a large green & black folder. -- Source of annotation: Marvin or Ruth Sackner.