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Hans Maria Wingler, ed. The Bauhaus: Weimar, Dessau, Berlin, Chicago. Softcover edition. Cambridge, Mass.: MIT Press, 1977
“To promote The Bauhaus on its release in 1969, Cooper created a poster montage of more than 200 photographed page spreads from the book tiled arbitrarirly across its surface. The word BAUHAUS appears at the top, vertically offset in nearly primary colors, suggesting a dynamic, prismatic, plural Bauhaus, updated in a psychedelic 1960s vernacular (...) This colorful treatment would inspire Wendy Richmond's cover design for the smaller, softcover edition of The Bauhaus of 1978.”
Robert Wiesenberger. “Latter-day Bauhaus?: Muriel Cooper and the digital image”. In: Nanni Baltzer, Martino Stierli, (eds.). Before publication: montage in art, architecture, and book design. Zürich: Park Books, 2016 (p. 102-103)
“When the original hardback and slip-cased edition was remade as a paperback, the spine transformed from a
somber black and white all-caps Helvetica treatment to an explosion of offset-printed color as each printing plate (cyan, magenta, yellow) was shifted and printed one on top of each other. The overprinted spine is the product of thinking design through its production which is the hallmark of Muriel Cooper’s work.”
David Reinfurt. This stands as a sketch for the future: Muriel Cooper and the Visible Language Workshop. 2007
http://www.dextersinister.org/MEDIA/PDF/Thisstandsasasketchforthefuture.pdf