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"Special artists, A-Z" is presumed to include named families or firms, even if not specified at each place in the schedule. Unless families/groups/organizations are specifically handled in their own number,  treat them as "special artist" in the A-Z with individuals.

While there are variations in how an individual artist may be cuttered, there is some basic consistency in the classification for individual artists. Sometimes they get a whole number like NK942, sometimes they have to be crammed into a cutter such as N7255.S563. There is U.S. and western European bias. As the new countries developed in Europe, there was room only for extended cutters. This means that Slovenian artists don't have the space that British or American artists have. For some countries, there may not even be a breakdown for artists. The consistency generally comes in the range of numbers for a particular place, often a general number followed by some chronological or stylistic numbers, and then followed by cuttering for individual artists. The subdivision table related to how much space is allotted, and that varies.

No matter how much space you have to divide under an artist, there is a pattern. Table N6: autobiography, letters, writings of the artist, reproductions, individual works, biography and criticism. I would follow, as much as possible, that same progression for a Slovenian artist. For example, I get my first exhibition catalog for Apolonija Šušteršič and I give her N7255.S563 S872 2001 (this info was taken from Bard College catalog). When I get the next catalog of her work, I'd give it the same cutter with the relevant date (that is, I'm treating it like an A4). Along comes a collection of her writings, I'd cutter it slightly lower than S872, maybe S8716. Then I get a biography by someone named Smith so I'd cutter it higher. Then I get a biography by someone named Johnson so I cutter it between S872 and wherever I cuttered the Smith book. That is, try to maintain the basic "N6" order through cuttering.These do get squished. Not only is there the Anglo-American bias but the cutter table also veers to expected western European surnames.

2. What is the difference between about artist groups, movements, firms?  (Sherman referred to this, but Iris Wolley wrote most of this description)

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