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The recto image is a portrait of Princess Diana whose face is covered with an circular orange sticker. The verso contains three stamps, one U.S. Postal, the other two by Buster Cleveland. -- Source of annotation: Marvin or Ruth Sackner.

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The recto image depicts a staged an art gallery scene. Chuck Close can be identified in a wheelchair among the four male figures and a large painting that is being hung is the front cover of William Burroughs book, "Junkie." The verso has three stamps, one U.S. Postal and two by Buster Cleveland, and a picture of shoes floating in space. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts a statue of Michael Jackson in front of a red car and large oranges. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts an altered image of Clinton in the foreground as the main image. The background depicts Munch's The Scream, package of Lucky Strike cigarettes, a fragement of The New York Times bannerhead, a woman with a beachball, the word "FAKE" and a large eye. -- Source of annotation: Marvin or Ruth Sackner.

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The recto depicts a blue colored man and woman, with cow heads collaged onto their bodies, standing side by side. The verso has four stamps, one U.S. Postal and three by Buster Cleveland. -- Source of annotation: Marvin or Ruth Sackner.

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The recto image is a surrealistic scene with horror figures such as Frankenstein in a field of sunflowers. The verso has three stamps, one U.S. Postal and two by Buster Cleveland, and a reproduction of a Malevich cubo-futurist male figure. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts a computerized image of a man with butterfly wings. The varient, unnumbered copy is the unaltered image. -- Source of annotation: Marvin or Ruth Sackner.

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The verso has two artist stamps and one postal stamp. All three are cancelled with a U.S. postal stamp. The recto is a portrait of Cavellini pointing out a young woman's nipple. -- Source of annotation: Marvin or Ruth Sackner.

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This special is neither signed nor numbered. The verso has two artist stamps and one postal stamp. All three are cancelled with a U.S. postal stamp. A fourth cancellation is from Paris in 1957. The recto is a head portrait of Andy Warhol, partially consumed with flames, emerging from a desert background. -- Source of annotation: Marvin or Ruth Sackner.

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The recto image is a profile of a green head. The verso contains three stamps, one U.S. Postal, the other two by Buster Cleveland. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips provides a brilliant review of a Hogarth exhibition. According to the the Bullfinch Guide to Art History on a web site "The Artchive," Hogarth, William (1697-1764) was an English painter and engraver. He was one of the leading British artists of the first half of the 18th century. He was trained as an engraver and by 1720 had established his own business printing billheads, book illustrations and funeral tickets. In his spare time he learned to paint, firstly at St. Martin's Lane Academy and then under Sir James Thornhill, whose daughter he married in 1729. He made a name for himself with small family groups (e.g. The Wollaston Family, 1730, H.C. Wollaston's Trustees) and conversation pieces (e.g. The Beggar's Opera, one of several versions, c1729, London, Tate Gallery). Around this time he also set himself up as a portrait painter. Shortly afterwards, in c1731, he executed his first series of modern morality paintings, a totally new concept intended for wider...

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Faye Hirsch contributes an essay "In Memoriam" describing how Jane Hammond mourns U.S. soldiers killed in Iraq one leaf at a time. Hirsch also wrote about the conceptual work of Lawrence Weiner in an essay titled "Where Words Go." It describes how Weiner's "essentially nomadic oeuvre has paused for a time in a voluble retrospective that explores many aspects of his language-based career." -- Source of annotation: Marvin or Ruth Sackner.

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This copy is printed on light tan paper. -- Source of annotation: Marvin or Ruth Sackner.

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This copy is printed on brown paper. -- Source of annotation: Marvin or Ruth Sackner.

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Ricciardi appropriated images by earlier artists and received images from contemporary artists that he affixed the label, "Art Line Do Not Cross." -- Source of annotation: Marvin or Ruth Sackner.

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Excellent reference scource for avant garde small magazines. -- Source of annotation: Marvin or Ruth Sackner.

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In this card, that depicts a newspaper ad, Finlay who was criticized by this magazine for Fascist ideas in turn lashes out at Catherine Millet, its editor, by declaring that she exposes Fascist ideology. -- Source of annotation: Marvin or Ruth Sackner.