“Richard Porter’s Queer Anthology of Healing is a subtle, devastating mix of cuteness and embarrassment, beauty and confession, magic tricks and pain. The artworks and writings in this collection suggest that healing can be achieved through revelation, invocation, observation and disclosure. It’s a much-needed gift right now.”—Chris Kraus

With Clay AD, Harry Agius, Barney Ashton-Bullock, Dodie Bellamy, Jack Bigglestone, Nick Blackburn, Helen Cammock, Charity Coleman, Swithun Cooper, Paul Gabrielli, Evan Garza, Erica Gillingham, Daniel Givens, Pete Hammond, Benedict Hawkins, Georgie Henley, Lubaina Himid, Fanny Howe, Jasmine Johnson, G.B. Jones, Kevin Killian, Wayne Koestenbaum, Nic Lachance, Olivia Laing, Benedict Leader, Paul Lee, Mary Manning, Ben Miller, D. Mortimer, Monique Mouton, Annie Murrells, Chuck Nanney, David Nash, Isobel Neviazsky, Paul P., Richard Porter, Peter Scalpello, Hyacinth Schuss, Ryan Skelton, Verity Spott, Edward Thomasson, Timothy Thornton, Declan Wiffen, Ian Wooldridge

Produced on the occasion of the exhibition Isa Genzken: Arbeiten auf Papier 1987 at Galerie Jahn und Fusban, München, 6 December, 1990–5 January, 1991.

Produced on the occasion of the exhibition Ilya Kabakov: 16 Installaties / 16 Installations, 17 April–20 September, 1998 at MuHKA, Antwerp.

Ilya and Emilia Kabakov are American artists of Russian descent who work together on environments that merge elements of everyday life with elements of the conceptual. Although their work is deeply rooted in the social and cultural context of the Soviet Union in which the Kabakovs grew up, it nevertheless has universal significance.

This comprehensive overview of Ilya Kabakov’s installation work of the 1990s contains over 100 images across more than 400 pages, and includes Kabakov’s own commentary on his works.

Ilya and Emilia Kabakov are American artists of Russian descent who work together on environments that merge elements of everyday life with elements of the conceptual. Although their work is deeply rooted in the social and cultural context of the Soviet Union in which the Kabakovs grew up, it nevertheless has universal significance.

Produced on occasion of the exhibition From Nirvana to Catastrophe: Matsuzawa Yutaka and his ‘Commune in Imaginary Space’ at Ota Fine Arts, Tokyo, 3 March–22 April, 2017.

Yutaka Matsuzawa (1922–2006) was considered the father of Japanese conceptual art. In his pursuit of ways to express the invisible invisibly, Matsuzawa developed a unique understanding of conceptual art that both elevated and transcended the typical notions of conceptual art in the western, euro-centric art worlds.

The exhibition focused on the period 1969–1973, the most active years of Matsuzawa’s activities, and reflected on the exhibition Nirvana (1970), which was a pioneering international exhibition on Conceptualism in Japan.

Uneven Bodies (Reader) is a comprehensive collection of writing produced as an outcome of a symposium of the same name held in Aotearoa New Zealand in early 2020 that addresses the politics of collections today and the complex terrain of power in which this conversation sits. The collection places specific emphasis on Indigenous positions, linking this into the so-called international paradigm. Topics covered include collecting contemporary both inside and outside the institution, repatriation, deaccession, and Indigenous methodology in collection work. With keynote contributions from Prof Linda Tuhiwai Smith, Gabi Ngcobo, Dr. Clémentine Deliss, and Wanda Nanibush and nine other positions, the readers offers a template for how we can imagine collecting in the future; full of mutated spaces we don’t yet know how to move in, full of powerful languages we still need to learn how to speak, together. Designed by HIT.