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File consists of textual records relating to a variety of Favro's work and interests between the 1960s and early 2000s. There are approximately 8 pages of correspondence from between 1973 and 2001, including a letter requesting permission to include Favro's work in a children's book titled "A First Book of Canadian Art." Also included are 2 pamphlets from the 2020 Gallery in London, ON, a 1967 letter and Bulletin from the Nortown Motorcycle Club, an installation sketch for "Synthetic Lake," handwritten notes and drafts, a newspaper article clipping titled "Unreasonable demands of artists criticized," a notice for a Community Computing meeting, an page of information regarding an Arts Bursary from the Canada Council, a list of contacts and equipment requests for the Ontario Arts Council regarding "Video Ring," notes from a 1971 Canadian Artists’ Representation (C.A.R.) meeting, typewritten notes on “Projekt ’74,” an announcement for “Slides Eye View – London,” and an empty envelope from Queen’s University Art Centre.

File consists of 13 pages of textual records, comprised of a 1977 letter sent by Carmen Lamanna to Dennit Tourbin, the editor of Carot regarding a recent article, “L’affaire Lamanna.” Also includes a manuscript of the response to the article which Lamanna requests be published in the next issue of Carot.

File consists of textual records and graphic material concerning Favro’s work and projects from predominantly the late 1960s to early 1970s. It includes correspondence from Carmen Lamanna, the Agnes Etherington Art Centre at Queen’s University concerning a possible exhibition, Laurent Lamy concerning the 1973 Paris Biennale, and Alvin Balkind at the AGO concerning a reference request for a Canada Council grant. Also included is a page discussing the increasing size of Favro’s art dealer’s signature, a fundraising poster for the Nihilist Spasm Band’s appearance at the Paris Biennale, and a 1971 description of the Nihilist Spasm Band’s influences, printed on Carmen Lamanna letterhead. It also includes a 1972 letter from Louise Tremblay to Carmen Lamanna, a 1968 cheque receipt from Standard Life Assurance Company, a letter from Cecile Valin at the National Gallery from 1969, a handwritten page listing expenses in London, England, a B&W photograph of a television, 2 copies of a 1980 advertisement for Favro’s “Seproject,” a list of classes at the Ontario College of Art, taught by Favro between 1973-74, as well as a letter and timetable. It also includes a number of pages of handwritten notes and sketches by Favro, including those for “Theoretical Machines,” and 2 sketches of a bicycle wheel component.

File consists of 29 pages of sketches, installation drawings and instructions for “Synthetic Lake 1972/73” and “Van Gogh’s Room (1973/74).”

File consists of approximately 95 loose pages of textual records and graphic material, and 1 stapled catalogue booklet. Materials mainly concern Favro’s works and projects from the 1990s. Also includes colour and B&W print-outs of Favro's works, mainly installation pieces, possibly photocopied from a published catalogue. Also included are notes, sketches, and installation instructions pertaining to "Railway Tracks (1995-1996)," a printed email from Don Wherry to A. Pratten about the lineup for the 1996 Sound Symposium, a draft from 1971 of Favro's writings on "Mechanology," a copy of a published Spanish-language catalogue titled "Casa de las Americas" from 1988, a photocopy of a French-language biographical sketch from 1973, a photocopy of a magazine article about Favro in English and French from 1995, printed information on the Forest City Gallery, including its mission statement, and a colour printout of "Snow on Steps (1994)."