Consists of installation instructions for the sound sculpture of the same title. -- Source of annotation: Marvin or Ruth Sackner.

Contains International Art Post Editions Vol.1 No.1 1988, Vol.1 No.2 1988, Vol.2 No.1 1989, Vol.2 No.2 1989, Vol.2 No.3 1989, Vol.3 No.1 1990, Vol.4 No.1. 1991, Vol.5 No.3, 1992, Vol.6 No.1 1993, Vol.7 No.1 1994, Vol.12 No.12. Also contains Artistamp News Vol.1-6 (1-8) and issue number 11. The stamp sheets are held within plastic sleeve pages. Stamp sheets have been added from 1991-1999. Anna Banana signed and numbered some of her stamp sheets. -- Source of annotation: Marvin or Ruth Sackner.

The mat frames out the rest of the larger photographic image (1994) of an assemblage of Hubaut's objects to provide the final image for the calling card, also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This issue deals with Hubaut's installation piece in Toulouse. The newsletter includes a reproduction of the poster, diagram of the work, biography of Hubaut and a cover portrait of Hubaut in a pink wig and glasses. It also cites other artists who made pink artworks for the Toulouse exhibitions in the past. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue presents the monochromatic art works of Hubaut who writes that he constructs his "sites" from given or borrowed objects donated by a public, often isolated from the art millieu. Further, producing visually aesthetic and seductive monochrome sites reveals the disorder in the world and the hierarchical tensions and ideological significance of the colors. Hubaut has made ideographic drawings on the inside front cover and title page of this copy. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue presents the monochromatic art works of Hubaut who writes that he constructs his "sites" from given or borrowed objects donated by a public, often isolated from the art millieu. Further, producing visually aesthetic and seductive monochrome sites reveals the disorder in the world and the hierarchical tensions and ideological significance of the colors. -- Source of annotation: Marvin or Ruth Sackner.

The image on the back cover was drawn by Joel Hubaut - the Sackners were given the drawing by Hubaut during his stay in Miami for the exhibition, "Tour de France/Florida. -- Source of annotation: Marvin or Ruth Sackner.

This announcement of movies included work dedicated to Normande Transculturel by Joel Hubaut. -- Source of annotation: Marvin or Ruth Sackner.

This altered photograph of Hubaut appeared in an article by Hubaut in Journal des Fous, No.4, 1991, an issue that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The verso of the postcard contains a painted drawing of wires and boxes. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a critical introduction of Hubaut's work by Restany followed by an interview of Hubaut which was the subject of a conference held March 28, 1994 at l'l.U.F.M. di Calvados. Restany begins his remarks, "...Joel Hubaut, for he is among the protagonists of the third generation of the postwar period, someone who, precisely, has also identified his work with life. Life, for Joel Hubaut is above all a linguistic phenomenon... Language is like life, it has highs and lows..." -- Source of annotation: Marvin or Ruth Sackner.

This book includes a description of Hubaut's city performances and his personal glossary. -- Source of annotation: Marvin or Ruth Sackner.