The festival was organized by Fernando Aguiar "to present, for the first time in Portugal, recent words by a group of the most significant international avant-garde poets..to provide a widened vision of...poetry with experimental features." Essays on Visual, Concrete and Performance Poetry and Mail Art were contributed by De Melo e Castro, Aguiar, Bory, Heidsieck, Arias-Misson, Ferrando, Hatherly, Higgins, Kac, Olbrich, de Kroon, Miccini, Pimenta & Zink. 177 small mags and documents related to the theme are listed in the final section of this catalogue. The pages of this book have become unbound from the spine. -- Source of annotation: Marvin or Ruth Sackner.

This document presents a superficial view of the exhibition and is more concerned with a global assessment of concrete poetry. This work is stored in the Houedard box.This dcoument consists of a three page forward by Houedard and a two page "backword" by Mishkin. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this exhibition involving Fluxus artists and visual poets was a riff on Leonardi Da Vinci's work. -- Source of annotation: Marvin or Ruth Sackner.

The introductory essay to this exhibition, "Situacion de la Poesia en la Era Technologica" was written by Jorge Lopez Anaya. The catalogue featured examples of concrete and sound poetry worldwide including a collage by Franz Mon entitled "Sehgang" held by the Sackner Archive and depicted with this reference. -- Source of annotation: Marvin or Ruth Sackner.

The works depicted in this exhibition catalogue are part of the Theatre Box series of the mid 1970's to the current pyramid works of 1996. The Sackner Archive purchased a "Pyramid ecstasy exercizes" plexiglas sculpture that is similar to those illustrated in the catalogue. Marc Dachy provided an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds a plexiglas box in the "Pyramid Ecstasy Exercizes" series of 1996 similar to the one pictured on the catalogue cover. Marc Dachy contributed a biographical essay tracing the poetic works of Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

Joan Brossa's print "Poema Visuale" is depicted in this catalogue; the Sackner Archive holds this print. The stapled pages constitute a check list of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Enrico Mascelloni who wrote the introduction to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This book describes an exhibition and a symposium that included sound poetry, which was held in Venice in June 1972. The critic, Rossana Apicella, mentions, "Let us hope, si licet, that visual poetry will not meet with rapid success, that it will remain immediate, violent, mad and popular, erudite and authentically experimental; there is a risk, otherwise, that according to the logic of human destiny it will get up to a dangerous pedestal." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition, which was curated by Julio Plaza, featured an extensively illustrated exhibition catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The introductory essay was written by Rossana Apicella. -- Source of annotation: Marvin or Ruth Sackner.

Produced on the occasion of an exhibition at Galleria Derbylius in Milan. The collage is a cut-out celluloid angel onto which Arias-Misson has written a poem. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Peter Frank. The Sackner Archive lent 12 pages of the "First Revised Edition of A Humument" to the exhibition. The catalogue includes essays by Arias-Misson, Frank, Miccini, and Sarenco as well as a chronology dealing with visual poetry. -- Source of annotation: Marvin or Ruth Sackner.