Produced on the occasion of Nat Faulkner’s exhibition Strong water at Camden Art Centre, 16 January–22 March, 2026.

1:1 presents an extensive series of hand-produced contact prints by the artist, derived from a single large format image taken by Faulkner of a peppered moth (Biston betularia) – a widely studied example of ‘industrial melanism’. During the Industrial Revolution soot from factories darkened the bark of trees and through a process of natural selection the lighter form of this moth, once well-camouflaged, became more visible to predators and its numbers diminished. Meanwhile, a darker (melanic) variant became more common, due to being better camouflaged against the soot darkened trees. This phenomena, the artist has observed, holds resonances with the processes of photography itself – in the production of positive and negative images.

With texts from Gloria Hasnay and Sean Steadman. Designed by George Haughton.

Produced in conjunction with Le Consortium, Dijon, on the occasion Chris Burden’s exhibition, 29 October, 1994–8 January, 1995.

Chris Burden was an American artist working in performance art, sculpture, and installation art. Burden became known in the 1970s for his performance art works, including Shoot (1971), where he arranged for a friend to shoot him in the arm with a small-caliber rifle

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

An anthology of writings including Tina Lhotsky, Reese Williams, Anne Turyn, Constance Dejong, Peter Nadin, Roberta Allen, Glenn O’Brien, Gary Indiana, Kathy Acker, Richard Prince, Sylvia Reed, Robin Winters, Tricia Collins/Richard Milazzo, Cookie Mueller, Lynne Tillman, Paul McMahon, Spalding Gray, and Wharton Tiers. Edited by Richard Prince.

*Please note this publication is secondhand and may have some traces of previous ownership. (Damaged spine and binding)

Hans Peter Feldmann was a German Conceptual artist best known for his use of artist books, found objects, and appropriated images to reevaluate and recontextualize subject matter. Feldmann often adopted ubiquitous or banal subjects as a starting point—including, for example, shoes or photographs taken from hotel windows—and elevates them through photo essays into profound or thought-provoking experiences.

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

Produced on the occasion of the exhibition Yayoi Kusama New York/​Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

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

Produced on the occasion of the exhibition Yayoi Kusama: Zwischen Welten wandeln at the Kunsthalle Wien, 8 February–28 April, 2002.

Yayoi Kusama’s (b. 1929) work has transcended two of the most important art movements of the second half of the twentieth century: Pop art and Minimalism. Her highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.

*Please note this publication is secondhand and may have some traces of previous ownership