Produced on the occasion of the exhibition Walter Dexel at Kestner-Gesellschaft Hannover, 25 January–3 March, 1974. With texts by Walter Vitt, Peter Winter, Eugen Gomringer and Walter Dexel.

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

Produced on the occasion of the exhibition Wolf Vostell at Kestner-Gesellschaft Hannover, 12 May–19 June 1977. With texts by Wieland Schmied, Eugen Thiemann and Carl Albrecht Haenlein.

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

Exhibition film programme produced on the occasion of the exhibition Michel Auder: Dreams That Money Cant Buy, curated by Adam Szymczyk at Karma International, 17 September–31 October, 2021.

The layout is derived from the design of the monograph Stories, Myths, Ironies and Other Songs: Conceived, Directed, Edited and Produced by M. Auder, published by Kunsthalle Basel and Sternberg Press in 2014, both designed by Julia Born.

This book lists and describes, in chronological order, the forty-three books that Giorgio Maffei published in the course of twenty years, an important corpus of works that examine the theme of the publishing and photographic documentation of twentieth century art.

Produced on the occasion of Vincent Fecteau’s exhibition at the Wattis Institute in San Francisco in the fall of 2019. Along with a group of new sculptures by Fecteau, the exhibition also featured two works by Lutz Bacher. The catalogue includes texts by Anthony Huberman, who curated the exhibition, Don Potts, Renny Pritikin and Fanny Singer.

Rosemary Mayer began her career in the late 1960s, experimenting with conceptual art. In 1971, she began to focus on the use of fabric as a primary medium for sculpture, to more actively pursue opportunities to exhibit her work, and to participate in a feminist consciousness-raising group. This was a pivotal period in Mayer’s life and career, and she documented it in remarkable detail in her 1971 journal.

With deep self-awareness and honesty, Mayer reveals herself, at age 28, in the process of committing more fully to life as an artist. In her journal, she records her ambitions and insecurities about her work, as well as her opinions about the art around her. She also chronicles how being an artist was interwoven into all aspects of her daily life, from concerns about money, to hanging out with friends, to being in love. The result is a striking document of the entanglement of art and life and an intimate view into the New York art scene of the 1970s, which, for Mayer, included Vito Acconci, Donna Dennis, Bernadette Mayer, Adrian Piper, and Hannah Weiner, among many others.