The series includes files documenting Gersovitz's membership in various artists' associations, files of correspondence with commercial galleries, museums and international exhibitions arranged geographically, files of correspondence with individual galleries and museums arranged alphabetically, and extensive exhibitions catalogues (and notices) arranged chronologically.
The files on artists' associations reflect Gersovitz's arrangement and include the Canadian Society of Graphic Art, le Conseil de la Gravure du Québec, the Royal Canadian Academy of Arts, le Société des Artistes Professionnels du Québec, the Society of Canadian Painter-Etchers and Engravers, and Xylon (the Canadian section of la Société internationale des graveurs sur bois).
The geographical files were created by Gersovitz and include ones on Bulgaria, documenting her exhibiting at the International Biennial of Humour and Satire in the Arts, Gabrovo, her trip to Bulgaria and friendships she made at the House of Humour and Satire; on Chile, documenting her exhibiting with the Bienal Internacional de Arte Valparaiso; and Peru, documenting her exhibiting with the Salon Nacional de Grabado ICPNA, Lima, and at the Galeria de Arte 9, in Lima. There is also a general International file, which includes some further material relating to the Bienal Internacional de Arte Valparaiso, as well as to the Biennal of Prints, Santiago; the Bienal Internacional de Obra Gráfica y Arte Seriado de Segovia; the Premio Internazionale Biella per l'incisione; the Internationale Grafik Biennale, Frechen; le Salon International du Dessin de presse & d'humour, Saint-Just-Le-Martal; and the Royal Society of Painter-Etchers and Engravers. The International file also includes correspondence relating to private collectors and commercial galleries abroad and to the University of Haifa in Israel. There is a file on the U.S.A., including correspondence with the International Play Group, New York, Martha Jackson Gallery, New York, Aatvark Gallery, Philadelphia, and the Miniature Painters, Sculptors and Gravers Society.
There are files for Quebec (Montreal Museum of Fine Arts; Musée d'art contemporain; Pratt and Whitney's Les Femmeuses exhibitions; various competitions and art auctions, including the Hadassah), Ontario (National Gallery; Art Gallery of Ontario; Colour and Form Society; Kitchener-Waterloo Art Gallery; London Regional Art Gallery; Art Gallery of Hamilton; Glenhyrst Arts Council of Brantford; Women's Work, Toronto; Womanspirit Art Research and Learning Centre, London; Dominion Foundries and Steel; Hadassah, etc.) the Maritimes (Confederation Centre of the Arts; Mount Saint Vincent University; Zwicker's Gallery and Dresden Galleries, Halifax) and Manitoba/Saskatchewan/Alberta/B.C. (Burnaby Art Gallery; Peter and Catharine Whyte Foundation; Galerie Royale, Calgary; West End Gallery, Edmonton; Sonia Szbados, Regina; Fleet Galleries, Winnipeg).
The individual galleries and museums files are arranged alphabetically and were largely created at the NA from unfiled material; their contents overlap the geographical files. In general the files contain correspondence regarding shows, consignments and sales. A file created by Gersovitz documents her friendships with Alice Peck of the Alice Peck Gallery, Burlington, and Kate Hoffman of Gallery 1667, Halifax, as well as their business dealings. There is extensive material on the Stewart Hall Art Gallery. Montreal galleries include the Elca London, Aquatinte, Barbara Silverberg, Galerie de la Ville, Daniel, Lauze, Martal, and Marlborough (Agnes Lefort). There are also files on Gallery Pascal, Merton Gallery and the Upstairs Gallery, Toronto; Beckett Gallery, Hamilton; Fleet Galleries, Winnipeg; Gaslight Gallery, Kitchener; Reid Galleries, Cambridge; and West End Gallery, Edmonton; among others. Additional material received in 2006 includes material relating to the Bibliothèque nationale du Québec, London Regional Art Gallery, Musée des beaux-arts de Montréal, Sonneck Gallery, Université de Sherbrooke, Pointe Claire and the Winnipeg Art Gallery.
The chronologically arranged exhibition catalogues (and notices) include ones for Gersovitz's solo shows and for group shows, including the Canadian Society of Graphic Art, Manitoba Society of Artists, Alberta Society of Artists, Canadian Society of Painter-Etchers and Engravers, Nova Scotia Society of Artists, Royal Society of Painter-Etchers and Engravers, and others. The international exhibitions represented include Ibizagrafic; Norske Internasjonale Grafikk Biennale; International Grafik, Frechen; Bienale Grafike, Ljubljana; Biennale International d'Art, Menton; Premio Internazionale Biella per l'incisione; Bienal americana de artes gráficas; Premi Internacional de Dibuix Joan Miro; Biennale of Graphic Design, Brno; International Miniature Print Exhibition, Seoul; International Biennial Print Exhibit Taipei; Bienal Internacional de Arte Valparaiso; and the International Bienial of Humour and Satire in the Arts, Grabrovo. The files were created from loose material. The photographs are snapshots of installations by Gersovitz including an art show in Prince Edward Island and an album documenting her exhibit Living Dangerously at the Dominion Gallery in Montreal.
