Robert Snowden, the author of Vacant Possession, takes as his starting point the occasion of the closing show of the same name by the artist John Knight at Cabinet Gallery, Old Street in 2016. The text becomes an enquiry into the unrealised projects in the archive of the artist, and a reflection on the nature of the unmade, of memory and material evidence.

This catalogue has been printed in relation to the exhibition Quiet Quality, which took took place in two sites, Cabinet Gallery, London, 10 October–17 November, 2012 and the Frieze Art Fair, London, 11–14 October, 2012. The format of the book is consistent with the open ended series which the artist initiated in 1986.

Produced in conjunction with the Bethlehem leg of On Kawara’s traveling exhibition Pure Consciousness which began in Sydney in 1998. For the exhibition, seven “Date Paintings” from the Today series (1966–2013) are displayed in a kindergarten classroom. The exhibition has traveled around the world to Sydney, Tongyeong, Reykjavik, Istanbul, Goa, Inari, Thimphu, Abidjan, Ulaanbaatar, Toliara and other locations.

Announcement card produced on the occasion of an exhibition recent werk held at Seriaal bv, Amsterdam, 26 March– 27 April, 1977.

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

Produced on the occasion of the exhibition A.R. Penck / Y.: schilderijen, gouaches, 25 November–23 December, 1978

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

Produced on the occasion of the exhibition Jef Geys: Painting Clouds at Micheline Szwajcer, Brussels, 11 December, 2015–23 January, 2016

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.