The poem is difficult to read because it is written in three dimensions but appears to state "flat feet." It is also listed as th wrecking balzark No.60 and One Cent Series No.134. -- Source of annotation: Marvin or Ruth Sackner.

The letters of this poem are set apart and smudged except for the SH of SHIFT to imply motion. The SH is printed together possibly to draw a scatologic inference. This work is also designated hangnail #3 and th wrecking ballzark #20. -- Source of annotation: Marvin or Ruth Sackner.

The drawing consists of a pattern created by the repetition of alternating light and dark lines with heavily inked spots. -- Source of annotation: Marvin or Ruth Sackner.

Author also known as Charles Roberts. Cover is collaged optical image. The text is nonsense writing. -- Source of annotation: Marvin or Ruth Sackner.

Included in Indicatif II portfolio. The print in different typefaces and type dimensions has a pentagonal shape. It is meant to be spun from a spoke placed in its center so as to create a blurred image of the words. The duplicate copy has a center fold. This print is depicted in Furnival's "Lost for Words" (2011) page 20. -- Source of annotation: Marvin or Ruth Sackner.

This is a collection of prints by Selbar (aka Hoesselbarth) dealing with the Holocaust and German rightist politics. Die Blendung means "The Blinding" in English. Kai Selbar provided an English translation for the German comments on each print that is included in this portfolio. He notes that the first three prints are based upon a common principle. When the same word is written several times in a row so that the letters run together, the new combinations produce a new and related item. The result is that a second level of content or meaning is introduced to the original word. For example, in the title print "Blendung" (blinding), the linguistid elements are StimmenfANG STimmenfang = Stimmenfang (campaign), Angst (fear). The later conveys the poilitical campaign by the far right. -- Source of annotation: Marvin or Ruth Sackner.

This print was exhibited in 'vviissiioonnss' - presumably in Clearwate, FL. The print was folded into four parts because of its large size in order to fit into a flat file drawer. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Dr. Carl Vogel. -- Source of annotation: Marvin or Ruth Sackner.

This print is rubberstamped "Ruhm" on verso. -- Source of annotation: Marvin or Ruth Sackner.

This page also depicts two blue parallelograms and a partial one in the top left corner. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA publication No.5. A loose sheet introduces definitions of ether and ethereal, e.g. an elastic and subtle substance believed to permeate all space... This phrase is printed without spacing on transparent acetate to overlay each of five poems for a Moire effect. The repetitive text of one broadside reads Lovetherealove... (matted); lack of spacing causes the words, love and ethereal to combine. A tautology present here reads: Every breath even now changes to ether divine. -- Source of annotation: Marvin or Ruth Sackner.

Pat Morrissey was the Director of the Bear Lane Gallery in Oxford England. -- Source of annotation: Marvin or Ruth Sackner.

This small study drawing is of two cubes with blank sides sides with a smaller cube inserted in the corners. -- Source of annotation: Marvin or Ruth Sackner.

Pat Morrissey was the Director of the Bear Lane Gallery in Oxford England. -- Source of annotation: Marvin or Ruth Sackner.

Pat Morrissey was the Director of the Bear Lane Gallery in Oxford England. -- Source of annotation: Marvin or Ruth Sackner.