Exhibited in Visualog 2, San Luis Obispu, California. Exhbition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

The image is the maquette (included color highlights that are not in the book illustration) of an illustration for the book, "Pro Eto" by Mayakovsky and Rodchenko. The book and the photograph printed from the original black and white negative are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The artist writes, "It is the final drawing (7th) precipitating and thus 'illustrating' the prose piece 'Jamaica Mistake,' the 1994 accounting of the actual events of the seven days of Creation as previously misrepresented and whitewashed in the book of Genesis in the Hebrew Bible." The collaged German text in the lower left corner, from "Almansor" by Heinrich Heine reads "Wo man Bucher verbrennt, verbrennt man auch am Ende Menschen." Colloquially translated by Baron in her correspondence: " Where one burns books, one will eventually incinerate people." The drawing of an open faced book in left upper corner is written in Hebrew micrography. This print was exhibited in an exhibition of Barron's drawings at Printworks Gallery in Chicago from May 21 to July 3, 2010. -- Source of annotation: Marvin or Ruth Sackner.

Depicts a shovel labeled Ventose on its blade with a landscape in the background. The Finlay bibliographies differ as to its tirage 250 or 75 but it is more likely 250. -- Source of annotation: Marvin or Ruth Sackner.

Collage element is newspaper with stock market quotations. The rubberstamped text consists of adjectives of the word "mucus," presumbably signifying de Charmoy's perception of the stock market. -- Source of annotation: Marvin or Ruth Sackner.

The language poem by Andrews is illustrated by Cobbing's photocopied distortions of the conventionally printed Andrew's poem. -- Source of annotation: Marvin or Ruth Sackner.

These prints that have a dense text deal with the concerns of a nuclear wall. -- Source of annotation: Marvin or Ruth Sackner.

The title of this book in English is "Why Adolf Hitler has not become an Artist." Each of the contributing artists/poets answers this question with one or more drawings or poems. For example, Olbrich writes a sentence,"? -- It's a true story." Garnier provides three ink drawings of caricatures of Hitler that focus on his prominent facial features, his moustache and hair swept to one side. They are captioned, espressionismus, Hil Heitler, and entartete Kunst. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by the Brazilian Sergio Bessa (b.1951) who serves as the Director of the Bronx Museum in NYC. A biography of Bessa appears on David Daniels' Gates of Paradise web site. For this exhibition, Kay Rosen contributed four pages of language poetry and Vic Muniz three pages entitled "Study for Neon." -- Source of annotation: Marvin or Ruth Sackner.

This book is an example of the Kabbalistic period of Hirschman's work in which the poet combined Hebrew letters within his poetry. Yod is the letter Y and also means hand in Hebrew. The book was designed by Paul Vaughn and Pip Benveniste as a facsimile of Hirschman's manuscript. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive also holds a copy of the book and tape cassette that constituted the trade edition of this work. -- Source of annotation: Marvin or Ruth Sackner.

This reprinting of levy's concrete poetry was edited by Ingrid Swanberg who acknowledged..."heartfelt thanks to Marvin Sackner for its longstanding belief in this project..." The book is divided into three sections: 1) "Zen Concrete" comprises the entire 23 poem sequence, partly published in Blewointment Press 1967, 2) "& etc." is a wide selection from major poetic works, Cleveland Undercovers and Subterranean Monastery Death Poem, and 3) "afterwords" assembles articles by his friends. -- Source of annotation: Marvin or Ruth Sackner.