A brochure by Jean Claude Lefèvre, from “A presentation of the work of Cadere”, numbers 10, 22 and 40 of his book “André Cadere, histoire d’une travail” Herbert–Gewad ed. Gent 1982. 4, (25 June, 1982) June 25, 1983

Produced on the occasion of the exhibition Joseph Kosuth 1965 & 1967. Protoinvestigations 1965 & The First Investigations 1967 at Galerie Renée Ziegler, Zürich, 1992.

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

Produced on the occasion of the exhibition No, Not That One It’s Not A Chair at Galerie 1900 2000, Paris, 1 January, 2000.

Curated by Elein Fleiss and featuring John M. Armleder, Richard Artschwager, Alan Belcher, Guillaume Bill, Marie Bourget, Philippe Cazal, Bill Culbert, Nancy Dwyer, Rainer Ganahl, Dominique Gonzalez-Foerster, Thomas Grünfeld, Edward Kienholz, Bertrand Lavier, Louise Lawler, Ken Lum, Cady Noland, Jean-Luc Vilmouth.

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

Studies and preparatory drawings for a large scale chalk work for Auckland Airport, carpark A. The drawings were made from the eleventh floor of the Auckland Airport Novotel, with a view over the almost empty International arrivals and departures carpark, during the last weeks of November 2021. Hand numbered edition of 20.

Produced on the occasion of John Nixon at Superweakness, Den Haag, 7–28 November 2021.

John Nixon was a seminal figure in contemporary Australian abstraction. From 1968, his work was dedicated to the on-going experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade; which were key reference points in his work. Experimental Painting Workshop (EPW), which the artist named in 1990, but which covers works dating back to 1968, formed the basis of Nixon’s rigorous and long-standing intellectual investigation into the making of art, which over time expanded to encompass not only painting, but collage, photography, video, dance and experimental music performance.

Promotional card for Bertrand Lavier’s edition Mirror Multiple, produced by John Gibson Gallery, 1987.

Since the late 1960s, Lavier has reflected upon the relationship between painting and sculpture, representation and abstraction. In order to shape his ideas, Lavier developed a series of ‘demonstrations’: methods and strategies that enable him to question our intellectual baggage and to disrupt our most entrenched visual habits. His best-known intervention is to cover everyday objects with what he refers to as typical ‘Van Gogh-brushwork’. With this act, banal objects become artworks but, even more importantly, the object becomes a painted image of itself.

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