Correctomundo–Selected Writings 2001–2026 by the writer Bruce Hainley is a co-publication by the gallery Clementin Seedorf and the design studio CTMS.

Initiated by the artist Yvo Cho, the book brings together fifteen of Hainley’s luminous essays on artists including André Cadere, Julie Becker, Trisha Donnelly, Vincent Fecteau, Gary Indiana, Monica Majoli, David Hammons, and Andy Warhol, among others. To mark the release of the book, an exhibition opened at Clementin Seedorf in Cologne, featuring works and ephemera by artists on whom Hainley has written, alongside works by Devin T. Mays and Christine Pichini.

The first edition comprises 400 copies in a suede hardcover binding. It was designed by CTMS (Christopher Tröster & Max Schropp). Copy-editing by Jennifer Krasinski. Proofreading by B. A. Briggs.

Bruce Hainley is the author of Under the Sign of [sic]: Sturtevant’s Volte-Face, Foul Mouth, and Really, No Biggie, among other publications. He co-authored Art—A Sex Book with John Waters and edited Gary Indiana’s Vile Days: The Village Voice Art Columns 1985–1988, as well as Commie Pinko Guy, published to accompany the first European survey of Larry Johnson’s work. Hainley has also curated numerous exhibitions at national and international institutions, most recently at Clementin Seedorf, Cologne; Misako & Rosen, Tokyo; and, with Shahryar Nashat, The Renaissance Society, Chicago.
Bruce Hainley lives and works in Houston, Texas.

In 1963, the writer Marcel Broodthaers decided to embark on a career in the visual arts. Yet he never severed his ties to poetry and language, whose systems of meaning make up an integral aspect of his work. Retaining a certain distance to the art world, he posed fundamental questions about art -its mediums, its conceptions of what constitutes an artwork, its representation in museums. To this day, his oeuvre takes a critical stand on art’s commercialization strategies. Exhibition-making itself was a key element of Broodthaers’s artistic approach. Documenting all of the artist’s solo exhibitions that took place during his lifetime, the catalogue is the first ever to highlight that praxis. The extensive chronology and the accompanying detailed pictorial documentation of the most important works of every year together offer a systematic overview of his oeuvre. In addition to scholarly essays and many texts by Marcel Broodthaers himself, the publication also features an extensive series of photographic views of the major retrospective at the Fridericianum.

Edited by Susanne Pfeffer, with contributions from Michael Compton, Anny De Decker, Sebastian Egenhofer, Sabine Folie, Maria Gilissen Broodthaers, Gloria Moure, Susanne Pfeffer & Cord Riechelmann.

Produced on the occasion of Liam Gillick’s exhibition 1 Rue Gabriel Tarde, Sarlat-La-Canéda, Dordogne at Micheline Szwajcer Gallery, Antwerp, 21 March–18 April, 2015.

Liam Gillick is known for contributions in sculpture, video, architecture and text. His work focuses on contemporary management of labor, time, and aesthetics extended through a distinctive conception of exhibition as a medium in its own right. His work is divided between abstraction based on social and political structures of the present and texts, films and graphics that often appear to contradict and comment upon the apparent clarity of his structures.

Published to accompany the exhibition LEAPS JUMPS AND BUMPS, this flip book focuses on one of Sturtevant’s more recent works, Finite Infinite (2010), a large scale projection that features a dog running in an endless loop across an expanse of grass. Finite Infinite, like many of Sturtevant’s video works, references the endlessly repeating imagery that has become so prevalent in the world we live in today. Looping and repetition, key themes throughout Sturtevant’s practice, are also elegantly drawn out in the insightful text by Daniel Birnbaum included in this book.

With a text by Jacques Henric, translated by Masashi Ogura.

Pierre Klossowski was a French writer, translator and artist. A prolific late in life artist who was internationally acclaimed for his writings and translations on Sadeian erotic expression, Klossowski is a pivotal yet underrepresented figure in the history of 20th-century art, often overshadowed by his earlier literary work and his younger brother, Balthus. Primarily working with pencil and charcoal, the laborious drawings he produced reference a variety of subjects, including Greek mythology, Sadean decadence, medieval fantasy and sexualized scenarios involving a recurring female figure, Roberte. These imagined scenes depict a perplexing and intriguing array of mature, familiar and fantastical situations involving cartoonish human figures set in fictitious landscapes that uniquely relate back to the dystopic realities he creates.

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

Produced on the occasion of the exhibition Peter Hujar, Eyes Open in the Dark at the Bundeskunsthalle, Bonn, 27 February–23 August 2026.

Peter Hujar was a central figure in the downtown scene of 1970s and early 80s New York, but at his death in 1987 from AIDS-related pneumonia his photography was largely unknown to a broader art world. Hujar’s principal concern was with portraiture, whether photographing his friends and denizens of the downtown scene – whom he encountered on the street, shot in his apartment studio, and sought out at performance venues – or turning his attention to animals, architecture and landscapes.