[2] She was fluent in Greek and Latin, and before studying fine art at SVA, according to Adrian Piper, she had refused Harvard University's offer of a graduate fellowship to do a doctorate in the classics department.

[2][5] Her early text-based work appeared frequently in 0 to 9, a publication edited by her sister Bernadette Mayer and Vito Acconci between 1967 and 1969 which is considered “a groundbreaking mimeographed magazine... which brought together the era’s leading figures of experimental poetry and conceptual art," including artists Sol LeWitt, Adrian Piper, and Dan Graham.

[9] The work Galla Placidia was also the cover of Alan Sondheim's book Individuals: Post-Movement Art in America (1976), which includes writing and poetry by various contemporary artists.

They separated in the late 1960s, and she lived for forty years in a Tribeca loft, where she hosted many elaborate dinner parties and cultivated an impressive indoor garden, primarily from avocado pits.

[19] The show was curated by art historian Maika Pollack, the gallery's founder, with Marie Warsh and Max Warsh—Mayer's niece and nephew.

[23] An accompanying exhibition catalog titled, “Rosemary Mayer Beware All Definitions Selected Works 1966-1973” was published by the Lamar Dodd School of Art.

[25] Edited by Marie and Max Warsh, this book is the first comprehensive presentation of her “temporary monuments,” large-scale public installations she intended to celebrate and memorialize individuals and communities through their connections to place, time, and nature.