Chris Piuma's The Constellated Sonnets (self-published 1995). The work, he explains, is "a series of 150 poems in which all the words in each line but one are erased from Shakespeare's sonnets. The punctuation, as you'll see, is left behind," and "I randomly selected the words. (Rolling a d10; if a 6 came up, using the sixth word, and if there was no sixth word in that line, rerolling," on his blog. Here's his Sonnet 18 ("Shall I Compare Thee to a Summer's Day"):

And, we can read the entire project in .pdf form, here.

Gregory Betts' The Others Raisd in Me: 150 Readings of Sonnet 150 (Pedlar Press, 2009), 150 versions and permutations of Shakespeare's Sonnet #150. "The work examines ideas of selfhood from the 17th century into the present, flirting with a cyborgian future," here. Susan Holbrook describes the project as "push and pull, the simultaneity of inflation and infolding, spill and vacuum, all performing between the covers of a book which is itself both smaller and bigger than your standard poetry collection" here. More here. Betts' "plunderverse" project, here. More discussion & examples here, here, here, and here; more about Betts here.
See also this version by Trainwreck Press, here, and--of course--other Shakespearean experiments here.

Stephen Ratcliffe's [where late the sweet] BIRDS SANG (O Books, 1989), an erasure of Shakespeare's Sonnets. (See also Jen Bervin's Nets, and K. Silem Mohammad's "Sonnograms" -- more here, here -- of course.) According to the publisher, the book contains "A rift of poems which pluck a few words from Shakespeare's sonnets and on that absent space create their own space and shape."

As Andy Frazee explains here, in Ratcliffe's modification, "All traces of Shakespearean voice or Elizabethan English have been eroded away.... Without knowing this is a treatment...of the Sonnets, we would probably not associate these texts in any way with their Shakespearean source...."

And, excellent articles on Shakespeare erasures by Vincent Broqua in Jacket2 here and in Transatlantica here.

p. 22 from Jen Bervin's Nets (2004)


and from Bervin's The Desert (2008). This blue thread is pretty wonderful--I like just about everything about it. But I'm somehow more interested in a digital image of an original handsewn page than in a limited-edition machine-sewn artist book. Hmm. The latter was once available here.