On this proof copy of a card depicting a photograph of Finlay's sandblasted glass sculpture with a nautical scene in the background, Finlay wrote instructions to "add stand-shadow" to the bottom of the final copy. Finlay also wrote the name of Ed Wright on the verso and indicated that sand blasted should be one word. -- Source of annotation: Marvin or Ruth Sackner.

This is a photograph of a sandblasted text, glass sculpture overlying a nautical scene. The photograph was made by J.W. Lucas. -- Source of annotation: Marvin or Ruth Sackner.

Thsi is the final copy of a photograph of Finlay's sandblasted glass sculpture with a nautical scene in the background. It includes all the corrections made on the proof copy. -- Source of annotation: Marvin or Ruth Sackner.

This review of Personal Choice: Selections from Four Alumni Collections states that "the Sackner section, installed on the second floor of the ICA, is the most intellectually challenging part of the show." -- Source of annotation: Marvin or Ruth Sackner.

The layout of the image resembles the collages done by Edlich (1944-1989). -- Source of annotation: Marvin or Ruth Sackner.

This catalogue, with a printing technique similar to P.O.T.H., provides a price list for works of the artist, John Picking. One of the paintings on the list was lent by Finlay. A page of this catalogue has a concrete poem by Finlay. It also contains a unbound reprint of a semiotic poem by Finlay that appeared in P.O.T.H. This publication is not mentioned in the Finlay bibliographies. -- Source of annotation: Marvin or Ruth Sackner.

This depicts the front cover of a contemporary magazine which was also the inflammatory daily journal edited by Marat during the French revolution, "Ami du peuple." -- Source of annotation: Marvin or Ruth Sackner.