Produced on the occasion of the exhibition Evil Queen by Derek Jarman at Whitworth Art Gallery, Manchester, 1994.

Artist and filmmaker Derek Jarman’s last set of 17 paintings are a powerful testimony to the way he dealt with his HIV status, his sexuality, with homophobia in the press and their manipulation of the AIDS epidemic, and to his confrontation with his own mortality.

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

ABR Stuttgart emerged in 1983 from the archive of founders René Straub, Ulrich Bernhardt, Gerrit Hoogerbeets and Harrry Walter.

Décor de la Vie, was produced in 1986 by the Württembergischer Kunstverein for the first solo exhibition in a public institution of ABR Stuttgart. The book contains an overview of previous activities and also includes work that can be assigned to Gerrit Hoogerbeets or René Straub. In the exhibition, these pieces were presented, wrapped in bubble film, leaning against the wall as if they had been decommissioned.

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

Dutch translation of Rosa Luxemburg’s The Mass Strike, the Political Party and the Trade Unions originally printed in 1906. With cover artwork by Gerd Arntz.

Promotional card for John Armleder’s edition Guitar Multiple (FS 164), produced by John Gibson Gallery, 1987.

Co-founder of the Ecart Group (1969) and closely affiliated with the Fluxus movement, visual artist John Armleder has since the end of the 1960’s created a polymorphic body of work which encompasses performance, drawings, sculptures and paintings.

Produced on the occasion of the exhibition Jannis Kounellis at the Institute of Contemporary Arts, Nagoya, 6 June–31 July, 1987.

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

Adrian Piper: Performing Objects I Have Been, 1972–2018 is a collection of documents from, or potentially relevant to Adrian Piper’s performance Some Reflective Surfaces (1975–76) edited by art historian and curator Rhea Anastas. In this early live piece, Piper dances under spotlights to Aretha Franklin’s ‘Respect’, additionally staging video feedback and filmed images of herself dancing, and two sound recordings—‘Respect’ itself, and a voice-over narrative. Some Reflective Surfaces was produced in New York in the Fine Arts Building, New York University in 1975 and then at the Whitney Museum of American Art in 1976. The performance has not been staged since. The documents of Some Reflective Surfaces include writings by, and audio transcripts of Piper. The publication is illustrated with photographs of Piper’s performances and other works.

Edited by Rhea Anastas with contributions by RoseLee Goldberg and Adrian Piper. Designed by Will Holder.