June - July 1975 issue of Journal, edited by Peter Clothier. Includes introduction to the issue by Peter Clothier; "Boxed Thinking," by John Baldessari; "Language and Structure," by Richard Kostelanetz; "Untitled," Guy de Cointet; "Language of Ligh,t" by Greg S. Card; "200 Black Pens," by Bart Thrall; "Two Poems," by John Schroeder, "Poem," by Margaret Cesa; "The Voy Age," by Emmett Williams; "Why Language," by George Miller; "The Information Man," by Ed Ruscha; from "The King's Meditations," by Eleanor Antin; "Leslie Kester," by John Cates Curtis, "Mercury (detail)," by Scott Grieger; "Two Poems," by Clayton Eshleman; "Doug Debber," by Melinda Wortz; "Air Condition," by Allan Kaprow; "Two Poems," by Michael Brod; and letters / notes. Additionally incorporates cataglogue for the show "Collage and Assemblage" held at LAICA, March 29 - May 23, 1975.

Having decided to devote at least one of my two guest editions of the JOURNAL to relationships between ART AND LANGUAGE, I outlined the following general areas in which the two seemed to me most closely related:
i) criticism concerned with the relationship between art and language on a theoretical level; or criticism concerned with the use of language in art;
ii) creative written work by artists, including poems, notes, sketches, scenes, scenarios, stories: i.e., work in which language was used by the artist as an alternative medium;
iii) "word-works", or works in which language has become the medium of the art-work;
iv) statements or essays by artists who use words in their work, commenting on their own use of language;
v) art-related work by poets or writers-i.e., work in which formal or technical considerations can be identified with comparable problems confronted by the artist; and
vi) art criticism by poets and writers: articles, essays or poems in which a work of art (or the work of an artist) is the primary subject matter.
Examples of writing in each of these areas will be found in the following pages. The amount of work received is in itself sufficient indication of the intense interest in the subject. Today, when the written word, despite its extraordinary and-to a poet-profoundly disturbing quantitive proliferation, ironically seems to count for less and less, many poets turn to the visual arts for a sense of solidity, of physical presence. And, by perhaps not-so-strange coincidence, many artists— disturbed by a parallel proliferation of objects-turn to the word as a source of less visually encumbered means of communication. It is the common ground that I have wanted to open for exploration in these pages.
It remains for me only to thank all contributors, regardless of whether their contributions have been used. I could have wished for more space, so that more of the excellent work I received could have had the attention it deserved. In any event, I thank all those who responded to my solicitation of materials for their generous interest and support. -- Peter Clothier, Editor