Most of the poems, one to each page, incorporate the number, '0'. -- Source of annotation: Marvin or Ruth Sackner.

Most of the poems, one to each page, incorporate the number, '0'. -- Source of annotation: Marvin or Ruth Sackner.

Winkler's work consist of forming line constructions and geometrical shapes based upon connecting the letters of a word with straight lines to a circle of the letters of the alphabet. These shapes might be considered a semiotic representation of the word in a non-verbal language. -- Source of annotation: Marvin or Ruth Sackner.

Winkler's work consists of forming line constructions and geometrical shapes based upon connecting the letters of a word with straight lines to a circle of the letters of the alphabet. These shapes might be considered a semiotic representation of the word in a non-verbal language. -- Source of annotation: Marvin or Ruth Sackner.

The image of the tipped-in print is a landscape of sculptures trees and bushes that Finlay designates with human names, e.g., Gardner, Cousin William?, Mama, etc.in the loose print. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Giovanni Fontana. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Giovanni Fontana. This exhibition began in Brescia, Italy. The Gnazzo poem reproduced on one of the cards was depicted in the exhibition catalogue, "Spazi di-versi; segni e parole di poeti." -- Source of annotation: Marvin or Ruth Sackner.

The words printed on the card correspond to the actual objects in the case. They are as follows: flash (light bulb); seer (figure in yoga position); AHA (blank booklet); seek (key); sigh (beads spelling sigh); find (compass). -- Source of annotation: Marvin or Ruth Sackner.

The words printed on the card correspond to the actual objects in the case. They are as follows: flash (light bulb); seer (figure in yoga position); AHA (blank booklet); seek (key); sigh (beads spelling sigh); find (compass). -- Source of annotation: Marvin or Ruth Sackner.

This drawing by qaan: lore from the Sinillogical Translations Volume 4 written by curry & Laba was redrawn by curry. It appeared in Devil's Artisan No.16. -- Source of annotation: Marvin or Ruth Sackner.

The image of this picture poem is a stylized, destroyer ship in side view silhouette. The smoke stacks and turrets are labeled with the letters A, B, C, and D. The letters pertain to Greek architectural columns for their temples, viz., Doric, Ionic, Corinthian, and Composite. The poem signifies Finlay's love of the neo-classical period, the architecture in the late 18th and early 19th century prevalent in America and Europe that was characterized by wide-spread use of Greek orders and decorative motifs. -- Source of annotation: Marvin or Ruth Sackner.

This card compares Greek temples to a stylized line drawing of a battleship with several components named for Greek columns. -- Source of annotation: Marvin or Ruth Sackner.

Also designated house press extra XI. -- Source of annotation: Marvin or Ruth Sackner.

The printed text on the insides of the envelope containing the work is formatted like a programming language. -- Source of annotation: Marvin or Ruth Sackner.

The printed text on the insides of the envelope containing the work is formatted like a programming language. -- Source of annotation: Marvin or Ruth Sackner.

A note states, "A gift from Robert Filliou who in 1962 carried tiny works of art inside his hat baptized Galerie Legitime." The diagram folded along its lines forms a hat. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." For this exhibition, one copy was folded into a hat and stored in a papercard folder with a label. -- Source of annotation: Marvin or Ruth Sackner.