The records of Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York, measure 24.9 linear feet and date from 1970 to 1990. Documentation on this organization includes artist, distributor, and client files; inventory records; legal and administrative records; general correspondence; ledgers, invoices, and other financial records; files arranged by subject; and architectural drawings of the interior office space. The administrative correspondence scattered across the various series shows Printed Matter's philosophy, operations, and relationships to artists. Many early notes and minutes are in Sol LeWitt's handwriting. Among the names to be found in the files are former staff members Edith deAk, Mike Glier, Nancy Linn, Ingrid Sischy, and Nancy Princenthal; founders Sol LeWitt and Lucy Lippard; and contracted artists, such as Douglas Davis, Heidi Fasnacht, Jenny Holzer, Douglas Huebler, Louise Lawler, Richard Nonas, Martha Rosler, Ed Ruscha, Art Spiegelman, Michelle Stuart, Athena Tacha, and Lawrence Weiner.

The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.

An interview of Sarah Edwards Charlesworth conducted 2011 November 2-9, by Judith Olch Richards, for the Archives of American Art at Charlesworth's home, in New York, New York.

The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

The records of the Thomas Lewallen Gallery measure 1.0 linear feet and date from 1970 to 1980. The records catalog the history of the gallery through artist and exhibition files; correspondence, receipts, ledgers, and other business records; clippings, exhibition announcements, and other printed material; and photographs, slides, and negatives of exhibitions and artwork.

The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.

The records of Los Angeles art gallery Richard Kuhlenschmidt Gallery measure 7.6 linear feet and date from 1972 to 2018 with the bulk of the material dating from 1980 to 1992. The collection comprises administrative records, correspondence with colleagues, artists, galleries, and museums, artist files, exhibition files, and printed materials for the Kuhlenschmidt Gallery and other galleries.

The records of Holly Solomon Gallery, a New York City gallery specializing in contemporary American art, measure 200.6 linear feet and 0.002 GB and date from circa 1948-2003. The gallery's activities are documented through dealer files, subject files, artists' files, inventories, sales and loan records, administrative and financial records, printed and digital materials, photographic materials of artwork and exhibitions, and sound, video, and film recordings. Also found are records of the alternative space, 98 Greene Street Loft, as well as Holly Solomon's personal papers.

The records of Castelli Graphics measure 45.7 linear feet and date from 1965 to 2001. Administrative files, correspondence, exhibition and project files, artists' files, financial and legal records, inventory and stock records, printed materials, and photographic materials document the activities of the New York art gallery and publishing firm founded by Antoinette Castelli.

The papers of contemporary art collectors Dorothy and Herbert Vogel measure 47.5 linear feet and date from the 1960s to 2009. Found is scattered general correspondence, artists' files, subject files, business records, and printed material relating to the Vogel Collection. Artists' and subject files create the bulk of the collection, the majority of which is printed material but includes some correspondence from artists.