This fourteen-track LP features poems of American poets Susan Howe (b. 1937) and Nathaniel Mackey (b. 1947) as produced by visual artist Shannon Ebner. Juxtaposing historic and recent material from 1991 until 2018, the work brought together here examines the two writer’s lifelong preoccupation with subjects adrift in narratives of dispossession both real and imagined. Liner notes contain excerpts of original interviews as well as reproductions of the poets’ published materials. According to Ebner, “STRAY: A GRAPHIC TONE is the full-length version of what I started in 2016 when I began seeking exchanges with these two poets. I was drawn to their works for their experiments with poetic form – for their politics of poetic form, to be exact – for their poems’ stray figures and stray errant marks.” It was recorded at various locales between 1991 and 2018. The album was edited and produced by Shannon Ebner and mastered and engineered by Joseph Stewart. Designed by Julia Born and Shannon Ebner.

Produced on the occasion of Eduardo Paolozzi’s 1974 exhibition at Kestner-Gesellschaft, Hannover, 6 December, 1974–19 January, 1975, in association with the Nationalgalerie, Berlin.

Außerirdische Zwitterwesen / Alien Hybrid Creatures is a book by Michael Krebber, published on the occasion of a seminar to which the artist had been invited at the Institute for Art History at the University of Cologne in 2003. Beside an introductory text by Michael Krebber and numerous reproductions the publication contains a list of book recommendations on the theme of Dandyism compiled by Oswald Wiener.

Designed by Yvonne Quirmbach.

This catalogue documents Hanne Darboven’s complex and radical paperwork Ein Jahrhundert: Johann Wolfgang von Goethe gewidmet, 1971–1982.

Produced on the occasion of the exhibition; Pati Hill: Photocopier, A Survey of Prints and Books (1974–83), 4 November, 2017–4 March, 2018.

This publication considers the first phase of the cross-disciplinary art of Pati Hill (1921-2014). Although her exploration of the copier, which she called “a found instrument—a saxophone without directions,” did not begin until the early 1970s, Hill is regarded as a pioneer due to her singular approach and commitment to the medium.

Employing the copier to record items as common as a gum wrapper or as unexpected as a dead swan, she also applied the process to transform appropriated photographs for her experiments with narrative. This catalogue features twelve different projects, including Hill’s attempt to photocopy the palace and grounds of Versailles.

Pamhplet produced on the occasion of Nairy Baghramian’s solo show Déformation Professionnelle, 26 November, 2016–19 February, 2017.

Déformation Professionnelle was a new production that built on 18 sets of works in the artist’s oeuvre from 1999 to 2016. Baghramian alludes to existing work and associated elements, from discarded ideas to working material. In this exhibition she was, in her own words, “surveying the survey”. By refusing to show what exists and nevertheless reconsider it in the ‘new’, the exhibition connected to fundamental questions about progress and economy and asks when something ceases to exist, and how something new comes into being.