The duplicate copy is not accompanied by an envelope. -- Source of annotation: Marvin or Ruth Sackner.

This work, which was commissioned by the Sackner Archive, was subsequently made into a limited edition print with the same title. The main poem in the center of the work, constructed as a paper relief from clippings of newspapers and magazines with varied typefaces and dimensions, begins "I am writing a letter on the back side of a cloud." Other briefer poems are also incorporated into the work using fragments of different languages. The major visual image is a paper relief man-feathered-animal like figure with a poem as its tail. -- Source of annotation: Marvin or Ruth Sackner.

The print was reproduced from a unique collage held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This print was reproduced from a unique collage commissioned by the Sackner Archive; a caption at the bottom of the print makes mention of this. -- Source of annotation: Marvin or Ruth Sackner.

Print was reproduced from a unique collage commissioned by the Sackner Archive. Barron writes specific instructions to the printers on both margins of the proof. This is the second proof run by the printers. -- Source of annotation: Marvin or Ruth Sackner.

Prints were reproduced from a unique collage held by the Sackner Archive. This proof, according to the artist, is the penultimate proof run "before the real thing." Includes specific instructions for changes to the printer. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent several pictures to the exhibition and participated in the seminar. Critical essays for the catalogue were written by Bill Gass and Johanna Drucker. In addition, the Sackners lent Tom Phillips' Dante Diary pages and manuscripts to the Olin Library for an exhibition in Special Collections curated by Kevin Ray. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent several pictures to the exhibition and participated in the seminar. Critical essays for the catalogue were written by Bill Gass and Johanna Drucker. In addition, the Sackners lent Tom Phillips' Dante Diary pages and manuscripts to the Olin Library for an exhibition in Special Collections curated by Kevin Ray. -- Source of annotation: Marvin or Ruth Sackner.

The paper tape is hand-printed with the phrase "From Dust to Dust." A small paper with an inscription is tied to a human rib bone found by Barron in Turkey. The painted and folded pamphlet is collaged with the saying "The Truth is in the Details" and has the artist's name painted in Hebrew along with two skeletons. A torn "fragile" label is also included in the flip-top box.*Web 1998: [Email]dbarron501@aol.com The "bone" is a human rib-bone, oh pulmonary specialist--and one of adam's, most likely. "love, adarn" should be "love, adam". -- Source of annotation: Marvin or Ruth Sackner.

In this drawing, Barron emphasizes the importance of directing attention to observing the act of breathing in diagnostic medicine over the utilization of the invasive diagnostic tool, the Swan-Ganz catheter. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition, subtitled "Text and/as Image and/as Design and/as Meaning," was an interdisciplinary exhibition of visual art, artists' books, graphic design, and visual poetry by artists who were examining the ways that texts and images produced meaning in contemporary society, specifically in the United States in the 1990s. In a detailed essay, the curator, Johanna Drucker writes, "In the late 20th century artists in all areas work with an awareness of the legacy of conceptual art's attention to language and idea, with pop art and postmodernism's interest in appropriating language and image from the realm of popular and consumer culture, and with the ongoing engagement of artists with a commitment to the traditions of innovative expression." The Sackner Archive lent twenty five works to this exhibition and are acknowledged in the curator's note. -- 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 Barron 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. -- Source of annotation: Marvin or Ruth Sackner.