1. 1. William S. Rubin, “Jackson Pollock and the Modern Tradition, Part 3: Cubism and the Later Evolution of the All-Over Style,” Artforum 5 (April 1967): 18–31.
   

2. 2. Ann Eden Gibson, Abstract Expressionism: Other Politics (New Haven and London: Yale University Press, 1997).
   

3. Jeffrey Wechsler, essay for Abstract Expressionism: Other Dimensions; An Introduction to Small Scale Painterly Abstraction in America, 1940–1965, the catalog of the exhibition Wechsler organized at the Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey (New Brunswick, N.J.: Rutgers University, 1989).

4. Deborah A. Goldberg, article in American National Biography, ed. John A. Garraty and Mark C. Carnes (New York and Oxford: Oxford University Press, 1999), s.v. vol. 20, “Sobel, Janet,” 351–53.

5. Gibson, Abstract Expressionism.

6. Wechsler, essay for Abstract Expressionism, 104.

7. Rubin, “Jackson Pollock and the Modern Tradition,” 29.

8. “Services Held for Mrs. Sobel,” Plainfield (NJ) Courier-News, November 12, 1968, 25.

9. In return for his initial generosity, I later provided Gary Snyder with copies of several documents that I had searched for and located. The first of these was Janet and Max Sobel’s marriage certificate; Snyder promised me that I would be identified as the source of these documents in whatever writings sponsored by him mentioned them and their findings.

10. Gail Levin, essay for Inside Out: Selected Works by Janet Sobel, the catalog of Janet Sobel’s solo exhibition at Gary Snyder Fine Art, New York, February 1–March 22, 2003.

11. Gail Levin, “Janet Sobel: Primitivist, Surrealist, and Abstract Expressionist,” Woman’s Art Journal 26, no. 1 (Spring/Summer 2005): 8–14, pls. 5–8.

12. Ibid., 8.

13. Ibid.

14. Ibid.

15. Ibid.

16. Ibid.

17. Ibid.

18. Ibid., 13.