The catalogue consists of commentaries and reproductions of paintings and books done by the artist. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Chopin box. Amazon.com: Since the 1960s, conceptual artists Henri Chopin (Pairs-London), Guy de Cointet (Paris-Los Angeles) and Channa Horwitz (Los Angeles) have dedicated themselves to analyzing system deducing the rules and consolidating them into visible structures. This book accompanied the parallel where drawings by these three respected artists generate new meaning as the aesthetic-visual translation of early post-structuralist thought. A Void, taken from George Perec's experimental novel, which famously did not include the letter 'e' as a nod to language epistemological constraints. Riffing on this idea, the artists' works seem clearly embroiled in such systems of meaning-making. Horwitz's on the boundary of symbol and performance, while Chopin explored the line between chaos and order. de Cointet left behind an oeuvre characterized by codes and puzzles for future generations. -- Source of annotation: Marvin or Ruth Sackner.

A review of the Arcadian garden of Ian Hamilton Finlay that is stored in Finlay box. -- Source of annotation: Marvin or Ruth Sackner.

This is a review of the sophisticated software program created by W. Bradford Paley that "turns a linear narrative into an interactive map in which the relationships between words that may be pages apart can be perceived at a glance...Different stories look different As a result, Mr. Paley's software effectively turns any prose into concrete poetry in which a work's size and location are as important to its meaning as how it is used." -- Source of annotation: Marvin or Ruth Sackner.

Phillips analyzes two paintings of Johannes Vermeer as part of his series on music in art through the ages. -- Source of annotation: Marvin or Ruth Sackner.

Brooke-Rose discusses E. Pound's use of language and literary technique, his treatment of sources and influences. Considerable discussion of Pound's use of ideograms in "The Cantos." -- Source of annotation: Marvin or Ruth Sackner.

The concrete, poster poem on the verso was composed with letraset. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Ugo Carrega and Mario Diacono. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Peter Ganick. -- Source of annotation: Marvin or Ruth Sackner.

This issue prints chapters from a book on Robert Duncan that describe the infuence of theosophy and other hermetic orders in his youth on his poetry. -- Source of annotation: Marvin or Ruth Sackner.

The Altered Page catalog (Sackner Archive) from the Center for Book Arts exhibition is mentioned. -- Source of annotation: Marvin or Ruth Sackner.

Omar Khouri contributes an introductory essay about De Araujo's poems. The web address of the Sackner Archive is listed under places with more of De Araujo's work. -- Source of annotation: Marvin or Ruth Sackner.

The subtitle of this catalogue is "A Printmaking Response to the Bombing of Al-Mutanabbi Street." This was the ancient booksellers street in Baghdad Street bombed adn devastated by a car bomb in 2007. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue covers the season of programing at the mueum including dance and theatre productions and several exhibition projects anD an artist's residency. A major portion was devoted to the work and interviews with Mathias Goeritz who named the building "El Eco as an expression of his desire for this small space to have a large cultural impact, for its projects to reverberate from this center outwards and its local cultural production to resonate within the larger context of the international artistic community." -- Source of annotation: Marvin or Ruth Sackner.

This book, curated by Stuart Ashman with artist profiles by Suzanne Deats, features abstract artists from New Mexico. Included is Helmut Lohr whose works are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.