Also designated pomez a penny #25. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts a Norman Rockwell-like image of a daughter sitting on a father's lap and inquiring about something she has read in a book. The title caption related to Finlay's battles with the Strathclyde tax collectors. -- Source of annotation: Marvin or Ruth Sackner.

The pamphlet provides instructions as to how to set up and play the game. -- Source of annotation: Marvin or Ruth Sackner.

Includes neologisms, spentagon, impotant, and fiendship. -- Source of annotation: Marvin or Ruth Sackner.

The image on this card is a French rabbit hunt with people on horses acompanied with dogs and the name de Man inscribed on the body of the rabbit. de Man was the site of Finlay's ultimately rejected commission for the city of Paris. -- Source of annotation: Marvin or Ruth Sackner.

The politically-charged message was printed as business cards. -- Source of annotation: Marvin or Ruth Sackner.

The politically-charged message was printed as a business card. -- Source of annotation: Marvin or Ruth Sackner.

The school notebook format for this book was designed by Eleanor Antin. This is the first edition of the author's first book. -- Source of annotation: Marvin or Ruth Sackner.

This complex collage, an illustration for Jules Verne's "Aound the World in Eighty Days," depicts a parade and a mob scene with American voting slogans and company names. The main image was cut from an engraving done around 1900. An exhibition catalogue of Kolar, Mesens, Schwitters & Hoffmeister at Grosvenor Gallery, st that Hoffmeister "...was the first artist to use typography as a total compositional medium regardless of the meaning of the actual words, concentrating on the purely visual image." Wescher (Collage 1968) wrote that he was the grand master of collage. This collage is depicted in Adolf Hoffmeister This collage is not depicted in the Adolf Hoffmeister book 1902-1973 edited by Karel Srp on page 283. -- Source of annotation: Marvin or Ruth Sackner.

The election of 2002 is summed up In nine steps including DEmure, DEnial, DEfeat, DEfault, DEscend, DEfunct, DEgrade, DEferential, DEmocrats! This poem accompanies an essay by Frank Rich titled "We're Not in Florida Anymore." -- Source of annotation: Marvin or Ruth Sackner.

Each of the 16 print rerproductions of the collages are stored within a folded unbound page. The German translation of the words in the collages is printed on the inside right cover of the unbound page. The photocollages reproduced in this portfolio are among the best visual poems of this era of Soviet history. The original of the montages are currently housed in the collection of the State Literary Museum, Moscow. -- Source of annotation: Marvin or Ruth Sackner.

This work is reproduced in Annoncenteil Arbeiten auf/mit Papier, Luchterhand, 1971. The poem is in the shape of a tree with the word Heil repeated in different typefaces and dimensions. The trunk of this tree is the printed title of the piece. Klonsky in his book "Speaking Pictures" titles this poem, "The Tree of the Sient Majority." It is designated No.497 in Gerz's Catalogue Raisonne Volume III. -- Source of annotation: Marvin or Ruth Sackner.

This work is a collection of Silves' publications. It comprises the following: 1) introductory card, 2) Mail- Art Copy-Book Two 1990, 3) Testos Visualis exhibition announcement pamphlet, 4) folded broadside not dated, 5) performance announcement card "A Violencia Nossa de Cada Dia" 1999, 6) 50 Anos - portfolio of photocopied prints 1993, 7) newspaper article on Silves (2003); 8) a newspaper supplement pamphlet about Silves (2000), 9) 16 photocopied prints not dated, 12) 3 page photocopied critical text on poema processo 1967 - 2002, and 13) photocopied page of exhibition review of Silves works dated 2002INternet: Falves Silva (1943-) is one of the artists featured in OEI #66 Process/poem. -- Source of annotation: Marvin or Ruth Sackner.