Produced on the occasion of the exhibition Marie Laurencin: A Retrospective, held on the 120th anniversary of her birth, at the Tokyo Metropolitan Teien Art Museum, 2003. Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d’Or.

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

A chapbook by Tiffany Sia (b. Hong Kong) and Yuri Pattison (b. Dublin) on time-telling and hegemony. Featuring writing by Sia and images selected by Pattison, Weird Times is a brief history on the development of time-keeping technologies. The clock is disassembled as a political tool, a metronome of coercion and an accelerant of war power. Out of these mechanisms, resistant counter-tempos emerge.

Booklet produced on the occasion of the exhibition at Musee National D’art Moderne Paris in 1966

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

Produced on the occasion of the exhibition Francis Picabia, at The Museum of Modern Art, Seibu Takanawa, 21 July – 5 September, 1984 and the Seibu Museum of Art, Tokyo 9 September – 21 October 1984.

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

Produced on the occasion of the solo exhibition of Richard Tuttle at Sezon Museum of Art, Tokyo, September 7 – October 10, 1995. Features texts by Richard Tuttle, Gerhard Mack and Shigemi Oka.

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

Brian Eno was the first institutional solo exhibition by Scottish artist Lucy McKenzie at the Neuer Aachener Kunstverein, February 23 – April 27, 2003.

The installation of trompe l’oeil murals and screen-printed posters as well as drawings, sound and light took the symbolic figure Brian Eno as its starting point. As an extraordinary musician, educator, visual artist and “communications advisor” to British New Labor, Eno is emblematic of common debates about avant-garde and quality. Lucy McKenzie used this discourse as a background for her own interpretations of such questions, especially questions that concern functionalism.