Produced on the occasion of the touring exhibition, Who Chicago: An Exhibition of Contemporary Imagists. Featuring Roger Brown, James Falconer, Art Green, Philip Hanson, Gladys Nillson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, H.C. Westermann, Karl Wirsum, Joseph Yoakum, Ray Yoshida.

The Chicago Imagists emerged in 1966, when six recent graduates of the School of the Art Institute of Chicago held a groundbreaking exhibit in Chicago’s South Side. Calling themselves the Hairy Who, the artists thumbed their noses at the art establishment, producing works that were outrageous, aggressive, humorous and scatological. Reflecting bright color, patterning and precise craftsmanship, the group’s exhibitions incorporated such features as comic book catalogues, discount-store price tags, linoleum-covered walls and displays of thrift-shop finds.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Salon Roberta Köln, Sülzburgstraße 124, 27 August, 2024–1 July, 2025.

Designed by Andrea Salerno.

Produced on the occasion of the exhibition André Cadere: Peinture sans fin at the Staatliche Kunsthalle Baden-Baden, 27 October, 2007–20 January, 2008.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

Designed by Yvonne Quirmbach.

*Please note this publication is secondhand and has some traces of previous ownership.

Edited by Heike Kerstin Ander, and Dirk Snauwaert. Texts by André Cadere, and Bernard Marcelis; with an introduction by Dirk Snauwaert, and Peter Weibel. Accompanying second volume of Geschichte Einer Arbeit.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

*Please note this publication is secondhand and has some traces of previous ownership.

Edited by Heike Kerstin Ander, and Dirk Snauwaert. Texts by André Cadere, and Bernard Marcelis; with an introduction by Dirk Snauwaert, and Peter Weibel. Accompanying second volume of Geschichte Einer Arbeit.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

*Please note this publication is secondhand and has some traces of previous ownership.

Edited by Heike Kerstin Ander, and Dirk Snauwaert.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

*Please note this publication is secondhand and has some traces of previous ownership.