Catalogue produced for Documenta 5, 30 June and 8 October 1972 in Kassel, Germany. The artistic director Harald Szeemann channeled many of the curatorial concepts for the exhibition into the design of the catalogue itself.

Including artists such as; Art & Language, Bernd & Hilla Becher, Hanne Darboven, Hans Haacke, Edward Kienholz, David Lamelas, Agnes Martin, Paul Thek, Franz Erhard Walther, La Monte Young, & Marian Zazeela, Richard Tuttle, Paul Sharits, Gustav Metzger, Mario Merz, Joan Jonas, Eva Hesse, Dan Graham, Joseph Cornell, Tony Conrad, Stan Brakhage, KP Brehmer, James Lee Byars, Daniel Buren, stanley brouwn, Lothar Baumgarten amongst others.

Cover designed by Ed Ruscha.

Produced on the occasion of Kai Althoff’s exhibition Stigmata aus Großmannssucht at Galerie Ascan Crone, Hamburg, 2000. With a text by Michaela Eichwald.

Designed by Yvonne Quirmbach.

Produced on the occasion of Trisha Donnelly being awarded the 2017 Wolfgang-Hahn-Preis. Foreword from Mayen Beckmann & Yilmaz Dziewior. Texts from Suzanne Cotter & Barbara Engelbach.

Produced on the occasion of Tip of the iceberg: selected works 1985–2001 at the University Art Museum, University of Queensland, 16 February–28 March, 2001 and The Ian Potter Museum of Art, The University of Melbourne, 3 July–9 September, 2001.

Working together since the early 1980s, Janet Burchill and Jennifer McCamley have developed an expansive framework of formal and thematic concerns drawing broadly on the histories of art and design, film, literature and cultural theory. Influenced by feminism, and applying an appreciation and critique of modernism, they make visually stunning artworks across an ever-expanding repertoire of mediums—from painting and sculpture, photography and printmaking, to neon light and textile works.

Exhibition pamphlet produced on the occasion of the exhibition Cy Twombly Sculpture at Gagosian Gallery, London, 30 September – 21 December, 2019.

Produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June–27 July, 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.