Produced on the occasion of Group Material: Market at Kunstverein München, 6 May–18 June, 1995. From the early 1980s, Group Material worked on complex social and cultural issues: in 1988, for example, they developed a four-part project on today’s understanding of democracy, followed by a so-called AIDS timeline. For Kunstverein München they developed a new project about consumption. The space was modelled after a shopping mall and contained products of the commodity world, which were collected by Group Material and commented on in the exhibition.

Produced on the occasion of the exhibition Was machen Sie um zwei? Ich schlafe. at GAK Gesellschaft für Aktuelle Kunst, Bremen, 19 September–20 December, 2020, curated by gerlach en koop. For the duration of the exhibition, a room has been emptied out at the Fernberger House, Mochizuki, Nagano, Japan. Includes a conversation between the artist and gerlach en koop.

Edited by Daniel Buchholz and Christopher Müller. Produced on the occasion of Jack Goldstein’s first exhibition at Galerie Buchholz in 2000, with aphorisms by the artist, a new essay by John Miller and an interview by Morgan Fisher. The book also includes a commented list of Jack Goldstein’s films and records.

Jack Goldstein was one of the most important artists of the 80’s in New York. He returned to California in the 90’s and slowly disappeared from the art world until renewed interest in his work began to happen in 2000. He was in the first graduating class from CalArts and went on to experiment with performance, film, recording, sculpture, and painting. His art of the late seventies, eighties, and early nineties influenced many artists who came after him. He died on 14 March, 2003.

Eileen Myles offers an intimate glimpse into creativity’s immediacy. With erudition and wit, Myles recounts their early years as an awakening writer; existential struggles with landlords; storied moments with neighbours, friends, and lovers; and the textures and identities of cities and the country that reveal the nature of writing as presence in time.

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.

David Wojnarowicz’s In the Shadow of Forward Motion was originally published in 1989 as a limited-run zine/catalog to accompany an exhibition by the artist at P.P.O.W gallery.

Despite its meager print run of just 50 copies, the publication has garnered a legendary status. In it we find Wojnarowicz’s writing and visual art—two mediums for which the artist is renowned—sitting side by side for the first time, playing off each other in equal measure. Wojnarowicz uses the fractured experience of his day-to-day life (including dreams, which he recorded fastidiously) to expose these technologies as weapons of class, cultural, and racial oppression.

The artist’s experience living with HIV is a constant subject of the work, used to shed light on the political and social structures perpetuating discrimination against not only himself, but against women and people of colour, who faced additional barriers in their efforts to receive treatment for the illness.