This is a collection of concrete poems by photographing Michael Smith dressed in a full black body suit in various poses that resemble Greco-Roman letters, Asian characters, hieroglyphs and Rorschach inkblots. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compilation of reprints of O'Sullivan's publications. In "tonetreks," she has composed concrete, shaped and conventional poems to depict Monet's paintings, a Giacometti sculpture, and a Rothko painting. -- Source of annotation: Marvin or Ruth Sackner.

Image consists of "?" in different size typefaces. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compendium of Hirsal and Grogerova's typewriter poetry. The inscription was written to Eugen Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compendium of Hirsal and Grogerova's typewriter poetry. -- Source of annotation: Marvin or Ruth Sackner.

The typeface is Helvetica for these poems. -- Source of annotation: Marvin or Ruth Sackner.

The card painted by Carrega is present in one copy but not in the duplicate. Eight pages of text consist of an overprinting of poets names and titles of their works and two pages are a key to this text. A fold-out page before the text reads in large letters "when the saints are marching in." -- Source of annotation: Marvin or Ruth Sackner.

This is the first state of the poem with two books advertised on the rear panel. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition honoed Jiri Kolaron the occasion of his 70th birthday. Poster reproduces work from the catalogue published by Galerie Pragxis, held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book deal with the Scarab beetles who live and eat in dung piles. Despite their unusual environment, they become beautiful creatures. The copies have covers of yellow, green, blue and orange papers, respectively. -- Source of annotation: Marvin or Ruth Sackner.

There is one word printed on each page whose letters are mostly formed from a stencil. Every word has "it" contained within it, e.g., kit, Jesuite, writ, etc. -- Source of annotation: Marvin or Ruth Sackner.

Linda Depew did the linoleum block print on the cover. The pages mostly depict a 2 x 2 square or triangular grid with the stencilled letters L, O, V, and E as well as in some instances a blank square placed in various combinations. -- Source of annotation: Marvin or Ruth Sackner.

Most of the letters of the words and numbers have been formed from stencils. According to Depew, the left-sided blank page should be counted as a page since the bleed-through from the overlead right-side page can also be reas. -- Source of annotation: Marvin or Ruth Sackner.

The letters of the words and the constructivist images have been formed from stencils. The cover depicts a bust of Beethoven. -- Source of annotation: Marvin or Ruth Sackner.

The capital letter, 'I,' placed on each page, has been progressively expanded in its width by morphing from a single 'I' to two overlapping 'I's' to a large fat 'I' using a stencil forms. The covers of the copies are printed on blue, orange and yellow papers. -- Source of annotation: Marvin or Ruth Sackner.

From the covers of two booklets accompanying this record, the letters punched in one copy were B O M PE and in the other copy D T L. Other letters were utilized in the additional copies. The facing left sided page is counted as a page in addition to the right sided page. -- Source of annotation: Marvin or Ruth Sackner.

The facing left sided page is counted as a page in addition to the right sided page. There is no mimeographed text as in the limited edition. The letters on the cover, N E U F, are more distinctive than those in the limited edition. This booklet is stored in the box with other unique books. -- Source of annotation: Marvin or Ruth Sackner.

The typographical designs of the contemporary Czech artists featured in this exhibition were outstanding. -- Source of annotation: Marvin or Ruth Sackner.