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The papers, which date chiefly from after 1957, document the life and work of Polish-American author Jerzy Kosinski and include writings, correspondence, printed material, photographs, audiovisual materials, personal papers, and ephemera. The papers were collected by Kosinski's widow, Katherina von Fraunhofer-Kosinski (Kiki Kosinski). Correspondence includes fan mail and professional correspondence with writers, publishers and film producers. Writings include numerous revised drafts and proofs of Being There, The Hermit on 69th Street and other works. The significant quantity of photographs include informal snapshots, formal portraits and Kosinski's artistic projects. Audiovisual material includes audio and video recordings of interviews with Kosinski and broadcasts about Kosinski. Other papers include correspondence, photographs and other papers related to Mary Weir (Kosinski's wife from 1962 to 1966) and the Weir family.

The Katherine Heinemann Papers contains correspondence, interview notes and sound recordings, photographs, notes, and clippings.

The Katherine S. Dreier portion of the collection contains correspondence between Dreier and artists and friends (including Constantin Alajalov, David Burli︠u︡k, Marcel Duchamp, Wassily Kandinsky, Man Ray, and Ted Shawn); and art-related organizations (including the Arts Club of Chicago, the Brooklyn Museum, the George Walter Vincent Smith Art Museum, and the Museum of Modern Art).
There is some correspondence regarding art purchases and the packaging and shipping of art, such as that with George F. Of, Inc.; W. F. Collins & Co.; and W. S. Budworth & Son. There is a large amount of correspondence between Dreier and various departments at Yale (especially the Yale Art Gallery) regarding the transfer of the Société Anonyme's art collection to Yale. The collection contains manuscripts and notes for Dreier's articles, lectures, and books; her early diaries; and a brief autobiographical account; as well as some writings by others. There are subject files regarding organizations with which Dreier was affiliated, including the Cooperative Mural Workshops, the Long Ridge Women's Club, and the Society of Independent Artists.
The collection contains exhibition catalogs that were annotated by Dreier; exhibition catalogs of one-artist shows of Dreier's artwork; and material regarding Dreier's personal finances. There are many photographs of Dreier's artwork, of Dreier and her friends and family (including scenes in China from a trip that Dreier took, 1921-22), of artists and their artwork, and of exhibitions. There is also some original artwork by various people, including sketches, drawings, prints, and watercolors. The Dreier Family papers contain correspondence, poetry and skits, and writings (including a diary by Dreier's sister, Dorothea).
The Société Anonyme portion of the collection includes correspondence with members, potential members, and businesses; a logbook regarding exhibitions; financial material, including a checkbook; by-laws and amendments, and drafts of the certificate of incorporation; membership lists and cards; lists of officers and committees; meeting minutes; ephemera regarding exhibitions, lectures, and musical events sponsored by the Société; scrapbooks; and files of background material about artists represented in the published catalog of the Société Anonyme's art collection at Yale.

The collection consists of correspondence, writings, notebooks, sketchbooks, audiovisual materials, printed materials, and other papers by or relating to poet Kevin Opstedal. It documents his work as a poet, as well as his research interest in the poets of Bolinas, California.

Writings, correspondence, printed material, and other papers relating to Mary Ellen Bute.

The Larry Goodell Papers, which span from 1954 to 2016, contain correspondence, writings, business records, posters, audiovisual materials, electronic media, printed material, and other papers by or related to Larry Goodell and Duende Press. The papers contain writings of Larry Goodell as well as correspondence, poetry, and other writings from many poets with whom Goodell had personal relationships or business connections through Duende Press. The records of Duende Press document business dealings between 1968 and 2008, primarily in the form of writings submitted to the press from a variety of poets. Photographs and audiovisual materials,spanning 1968 to 2013, make up the smallest portion of the collection and primarily document poetry readings and performances by Goodell and other regional poets from the Southwestern United States.

The Laura Bailey Collection of Gender and Transgender Materials consists of a broad range of visual materials, including photographs, postcards, and many types of printed ephemera; manuscript materials, and audiovisual materials. The collection is organized largely as it was received from Bailey, with many materials in binders according to category of gender or transgender culture or performance as assigned by Bailey. Also included is a catalog for the collection compiled by Bailey and the hand-written index cards she used to catalog it.

The papers of Lee Friedlander include photographs, correspondence, work files, book projects, printed materials, awards, objects, audiovisual materials, and computer disks documenting his career as a photographer, including his work process, exhibitions, publications, business activities, and honors. Photographs include color slide portraits of musicians; black and white slides; exhibition prints of western landscapes; and work prints corresponding to exhibition prints held by the Beinecke Library, Yale University, and the Yale University Art Gallery. The collection also includes personal papers documenting his relationships with family and friends, in particular his wife Maria Friedlander.

Papers consist of writings, research material, and audiovisual material documenting Leslie Marmon Silko's literary activity and output since the early 1970s. Writings in the collection include drafts and proofs for most of Silko's major works, the three novels Ceremony (1977), Almanac of the Dead (1991), and Gardens in the Dunes (2000), the poetry and short story collections, Laguna Woman (1974), Storyteller (1981), Sacred Water (1994), and Rain (1996), and the essays Yellow Woman and the Beauty of the Spirit (1997). In addition to other shorter and untitled works, there are clippings, photographs, personal papers, and correspondence. Audiovisual material in the collection consists chiefly of 35mm film for projects identified as Telarana and Arrowboy.