Bayer applied the scheme for the first time at the Paris exhibition of the German Werkbund (Artistic and Industrial Union) in 1930.
 Bayer, Herbert. "Aspects of Design of Exhibitions and Museums" in Curator: The Museum Journal
(4), July 1961, № 3, p. 270.
 It should be explained that, even though Bayer left the Bauhaus in 1928 and moved to the United States 10 years later, the influence of the school and of his colleagues at the school (especially El Lissitzky and Laszlo Mohoy-Nagy) were decisive for his practice.
 Gropius, Walter and Wensinger, Arthur, eds. The Theater of the Bauhaus
. Middletown, Connecticut: Wesleyan University Press, 1987, p. 22.
 Whitford, Frank, ed. The Bauhaus: Masters & Students by Themselves
. London: Conran Octopus, 1992, p. 267.
 Moholy-Nagy, Laszlo. "The New Vision and Abstract of an Artist" in The Documents of Modern Art
. New York: Wittenborn, Schultz, Inc., 1947, p. 18.
 Cohen, Arthur A. Herbert Bayer: The Complete Work
. Cambridge, Massachusetts; London: The MIT Press, 1984, p. 142.
 Wittkower, Rudolf. Architectural Principles in the Age of Humanism
. Chichester: Academy Editions, 1998, p. 25.
 "Diese ganzen Bilder sind noch viel zu nah [underlined] zu uns. Sehen / + Fühlen."
 Information provided by Melissa Venator, curator at the Harvard Art Museums (Busch-Reisinger Museum), where these sketches are kept.
 La, Kristie. "'Enlightenment, Advertising, Education, Etc.': Herbert Bayer and the Museum of Modern Art's Road to Victory
" in: October
150, Fall 2014, p. 63.
 Airways to Peace exhibition with text by Wendell L. Willkie Opens at Museum of Modern Art // URL: https://www.moma.org/documents/moma_press-release_325401.pdf
 Blythe, Sarah G. and Martinez, A, eds. Why Art Museums? The Unfinished Work of Alexander Dorner
. Providence, Rhode Island; RISD Museum / Cambridge, Massachusetts: The MIT Press, 2018, p. 50.
 Crary, Jonathan. "Modernizing Vision" in Foster, Hal, ed. Vision and Visuality, Discussions in Contemporary Culture
. Seattle: Bay Press, 1988, p. 33.
 Moholy-Nagy, Laszlo. Vision in Motion
. Chicago: Paul Theobald & Co, 1947, p. 113
., p. 153.
 Arnold, Matthew: Poems. A New Edition
. London: Longman, 1853, p. 5.
 Overy, Paul. "Visions of the Future and Immediate Past: the Werkbund Exhibition, Paris 1930" in Journal of Design History
, 2004, №17, p. 337–57.
 Bayer, 1961, op. cit
., p. 267.
 Gombrich, Ernst H. The Image & The Eye. Further Studies in the Psychology of Pictorial Representation
. London: Phaidon Press Limited, 1999, pp. 205–206.
 Lugon, Olivier. "Dynamic Paths of Thought: Exhibition Design, Photography and Circulation in the Work of Herbert Bayer" in: Albéra, François and Tortajada, Maria, eds. Cinema Beyond Film: Media Epistemology in the Modern Era.
Amsterdam: Amsterdam University Press, 2010, p. 120.
 Kepes, Gyorgy. The New Landscape in Art and Science
. Chicago: Paul Theobald and Co, 1956.
 Bayer, 1961, op.cit.
, p. 270.
. The importance of the 180-degree wide-angle lens for purposes of cartography in wartime was also described by Moholy-Nagy (Moholy-Nagy, 1947, op.cit.
, p. 117).
 Cohen, 1984, op.cit.
, p. 345.
 Gombrich, 1999, op.cit.
, pp. 198, 210.
 Bayer, 1961, op.cit.
, p. 260.
 Lugon, 2010, op.cit.
, p. 135.