This is d.a. levy's first published play and is called the "In Group." The book is stored with in a da levy box. -- Source of annotation: Marvin or Ruth Sackner.

Bob Grumman contributed an introductory essay "Instigator Grumman's Introductions." -- Source of annotation: Marvin or Ruth Sackner.

Boris Nieslony contributed the introductory essay to this book. -- Source of annotation: Marvin or Ruth Sackner.

This is a reproduction of page 85 of Mallock's "A Human Document." -- Source of annotation: Marvin or Ruth Sackner.

This book was written by Hansen as a first-hand account of the Happenings of the 1960's and documents these now historic performances with photographs by Peter Moore. -- Source of annotation: Marvin or Ruth Sackner.

Deals with the "mechanics" and results of collaboration between poets and writers through essays contributed by the participants. -- Source of annotation: Marvin or Ruth Sackner.

Moss writes "I chose to do one of these 'step psalms', Psalm 134, in the actual form of steps. The short psalm reads: A song of Ascent / Behold, Bless God...I originally designed the letterforms I used in this work for a Ketubah. It was one in which I wanted to use the step motif...I suppose any spiritual journey is a kind of gradual, lifelong, step-like movement - ideally upward and forward but, alas, all too often with many downward and backward regressions." -- Source of annotation: Marvin or Ruth Sackner.

Chopin mentions the death of his wife, Jean in 1985 "when everything stopped." Also, he adds a visit to Miami in 1985 (gave a performance at the Sackners that is not cited in the book. -- Source of annotation: Marvin or Ruth Sackner.

This essay traces the history of concrete and visual poetry through time and geography, including poesia visiva, fluxus, lettrisme, futurism, pattern poetry, constructivism and vorticism. It was written as an introduction to an exhibition catalogue of the four artists/poets. -- Source of annotation: Marvin or Ruth Sackner.

The artist writes in an Afterward, "The title looks back on my recent experience of creating an installation at and for the Freud Museum and at the same time, it locates something else which is entirely distinct conceptually. What I think is positioned here is an extended and episodic view of my personal sense of inhabiting an historically-specific museum of culture with permeable boundaries...Probably artists function by simultaneously enacting the reciprocal roles of curator and subject, therapist and client; I've worked by collecting objects, orchestrating relationships, and inventing fluid taxonomies, while not excluding myself from them." -- Source of annotation: Marvin or Ruth Sackner.