Ian Wilson has been exploring spoken language as an art form since 1968. He has described his own work as “oral communication” and later as “discussion”. At Wilson’s own request, his work is neither filmed nor recorded, thereby preserving the transient nature of the spoken word. On April 28, 2013 a discussion, based on the topic of The Absolute in Art, took place at the Haubrok Foundation, Berlin.

Ian Wilson has been exploring spoken language as an art form since 1968. He has described his own work as “oral communication” and later as “discussion”. At Wilson’s own request, his work is neither filmed nor recorded, thereby preserving the transient nature of the spoken word. A discussion, based on the topic of The Absolute in Art, took place in May 2017 atKW Institute for Contemporary Art, Berlin and reassembled the artist, the director and current staff members of the institution.

Produced on the occasion of On Kawara’s exhibition Consciousness . Meditation . Watcher On The Hills at Kunstverein Braunschweig, 6 March–25 April, 2004.

With a text by Karola Grässlin and German translation of Just in Time: On Kawara by Lucy R. Lippard, 1977. Designed by Yvonne Quirmbach.

Publication accompanying the first part of a diptych exhibition at S.M.A.K., Ghent, spread over two years, comprising new and existing work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier and Tobias Zielony.

A promotional poster published by Art Metropole for Ian Hamilton Finlay’s Bicentennial Proposal: The French War: The War of the Letter curated by Peter Day and was exhibited at Art Metropole between 23 September–21 October, 1989.

The sheet music depicted is composed by Peter Davidson entitled Two Flutes for St. Just. and subtitled Music for the opening of Ian Hamilton Finlay’s Bicentenary Celebrations.

Produced on the occasion of the exhibition You’re a nice guy to let me hold you like this at Greengrassi, London, 4 September–24 October, 2015.