The preface was written in her own handwriting by Tracey Emin and consisted of a brief autobiography. -- Source of annotation: Marvin or Ruth Sackner.

Jake Chapman contributed the preface. For this issue, Ken Cockburn printed a book about the Scottish poet, Robert Burns and his favorable feelings toward the French Revolution. In an introduction to two poems, Cockburn mentioned that Burns died on 3rd Thermidor. He further suggested that the French Revolutionary Calendar attempted to wean peasantry away from the use of Saints' days by designating each day with a rural name. Carrie Reichardt made a yellow, latex mold from a woman (Alison O'Dell) that reproduced part of jeans and umbilicus. Most of the other contributions have visual or conceptual artistic themes. -- Source of annotation: Marvin or Ruth Sackner.

The preface was written by Billy Chidish. David Breckon contributed a book entitled, "Transients" in which he provided photographs and captions for occupants of different rooms in a hotel at the same point in time. In this respect, he has utilized (knowingly or unknowingly) the format of George Perec's book, Life, A User's Manual. However, Perec employed solely verbal descriptions of the occupants and their dwelling spaces of a Parisian apartment house. -- Source of annotation: Marvin or Ruth Sackner.

Simon Ford writes a description of John Latham's "Still and Chew" event in 1966 that produced the first British work of Conceptual Art. The aim was to extract and capture the 'essence' of Clement Greenberg's influential collection of essays entitled "Art and Culture" and at the same time demonstrate Latham's theories concerning art, event, and time. Students of Latham at St. Martins Art School chewed pages from the book which was borrowed from the library, spat them out into a container that held sulfuric acid. This was allowed to ferment into alcohol, distilled and the distillate placed into a vial. The vial was returned to the library that declined to accept it. Latham was fired from his teaching position. The vial was packaged along with documentation into a brief case and subsequently was acquired by MOMA. -- Source of annotation: Marvin or Ruth Sackner.

Neil Crawford contributed a foreward. -- Source of annotation: Marvin or Ruth Sackner.

In this final issue, readers were invited to send comments about the periodical which were published in the book documenting the issue. Sackner's comments appear on page 13. Liam Gullick wrote the Conclusion for the final issue of this periodical. -- Source of annotation: Marvin or Ruth Sackner.

Lara placed an image on the left side of a page of a dentist working on a child. The contributing artists added unique material to the right side of the page and sometimes altered Lara's image. -- Source of annotation: Marvin or Ruth Sackner.

This pagesin this assembling were taken from six periodicals amd books published in East Germany. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue lists and describes all issues of Entwerter/Oder, the Assembling periodical edited by Warnke. It begins with the first issue that was published in 1982. The black and white photograph in the book by Thomas Gunther is a portrait of Warnke reading from one of his texts; it was made by Thomas Gunther. -- Source of annotation: Marvin or Ruth Sackner.

The letterpress printing quality of the poems and the use of different colored and sizes of the cards by Johnny Brewton is reminiscent of Wallace Berman's Semina magazine. Geof Huth contributed a pamphlet that wil be released in 50 additional copies as pdqb #64. The booklet by T. Coyote Press entitled "WMD" is a powerful statement on the mistakes and ill-gotten gains made by the Bush-Cheney administration regarding the Iraq war in 2003. -- Source of annotation: Marvin or Ruth Sackner.

There are four additional contributors to the three mentioned whose signatures are illegible. It is impossible to know what part each artist contributed to this work. -- Source of annotation: Marvin or Ruth Sackner.