Produced on the occasion of Raumbilder Five German sculptors in Madrid at Centro De Arte Reina Sofia in 1987. This is a single volume on the work of Reinhard Mucha from a 5 volume set.

Mucha’s meticulously constructed sculptures—he often works with industrial materials such as aluminum, float glass, felt, gloss paint, steel, or blockboard—look variously like showcases and display cabinets or like baroque theatrical installations. He moreover integrates biographical material such as a copy of his diploma from the Düsseldorf Academy of Fine Arts or a photograph that shows him as a student. Yet his purpose with such inclusions is not the personal anecdote; rather, they raise questions concerning the category of the collective—for example, to what extent social structures and the hierarchies woven into them inform our personalities.

Biegen is an artist book in which the author researches the centuries-old cultural technique of „Bäume-biegen“ (Tree bending), which was used as a material education in shipbuilding and agriculture for the  production of tools and complex components. Researching European forests, archives and libraries produced a collection of sketches, photographs, notes, historical illustrations and drawings presented here in the form of a journal.

With an essay by Helmut Draxler. In cooperation with the Merz Akademie.

Produced on the occasion of Straying from the Line at the Schinkel Pavillon from 13 April–28 July, 2019

Straying from the Line was dedicated to a fundamentally expanded perspective on the multiplicity of feminist tendencies in the art of the last 100 years. Instead of presenting a straight narrative of feminist art as a generation- and/or identity-specific style, the exhibition charted a network of multiple references, drawing connections between aesthetically and politically, geographically and historically heterogeneous perspectives.

Vito Acconci, Lynda Benglis, Dara Birnbaum, Jenna Bliss, Pauline Boudry & Renate Lorenz, Teresa Burga, Tom Burr, Claude Cahun, Ellen Cantor, Tony Cokes, Anna Daučíková, Cosey Fanni Tutti, Nicole Eisenman, Ellen Gallagher, Jef Geys, Guerilla Girls, Barbara Hammer, Eva Hesse, Irma Hünerfauth, Mike Kuchar, Maria Lassnig, Leigh Ledare, Alice Lex-Nerlinger, Klara Lidén, Lee Lozano, Sarah Lucas, Ulrike Müller, Gabriele Münter, Anna Oppermann, Charlotte Posenenske, Tim Rollins & K.O.S., Aura Rosenberg, Betye Saar, Heji Shin, Marianna Simnett, Jack Smith, Nancy Spero, Diamond Stingily, Sturtevant, Martine Syms, Rosemarie Trockel, Anna Uddenberg, Raphaela Vogel, Constantina Zavitzanos & Park McArthur.

Produced on the occasion of the exhibition Vormgevers at the Stedelijk Museum, Amsterdam from 5 April–23 June, 1968. A survey exhibition of industrial design from the time including Piet Zwart, Ettore Sottsass, Joe Colombo, Dieter Rams, AD Copier. Designed by Wim Crouwel and Alice Bailly.

Produced on the occasion of 2 exhibitions at Jablonka Galerie, Mills & Monument to a Foot both in 1996. Since 1984, when he was struck by the sculptural quality of a vole trap, he has been known for complex variations on the animal trap as sculpture, as well as a variety of conceptual projects that probe ideas about art and its reception.

In 1949 Munari designed for the first time a series of “libri illeggibili” (illegible books), which abandoned textual communication in behalf of aesthetic function only. Paper is no longer the support of only text, but it also communicates a message through the format, the colour, the cuts and their successions. The elements that usually set up a book (like the colophon and the title-page) are removed, and the reading seems the execution of a melody, with always different tones during the sequence of the pages.