Produced on the occasion of Alina Szapocznikow’s exhibition at Galerie Cogeime, Brussels, 12 November–3 December, 1968.

Alina Szapocznikow was a polish sculptor who as a Holocaust survivor began working in the post-war period in a rather classical, figurative manner, her later experimentation and reconception of sculpture left behind a legacy of provocative objects—at once sexualized, visceral, humorous, and political—that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. Her tinted polyester-resin casts of her lips and breasts transformed into quotidian objects like lamps or ashtrays, her spongy polyurethane forms often embedded with casts of bellies or live grass, and her construction of resin sculptures that incorporate found photographs remain as remarkably biting, visionary, and original today as when they were first made.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

Produced on the occasion of the exhibition Peter Hutchinson, Works 1964 – 1974 at the Stedelijk Museum, Amsterdam, 25 October–1 December, 1974.

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

Card 7 of 10 from the series Serie 67 Daniel Spoerri 1961–1982. Featuring the work Salut les copains, with an object from Ray Johnson, 1964/65

*Please note these items are secondhand and have some traces of previous ownership.

Featuring the work Wenn alle Künste untergehn, die edle Kochkunst bleibt bestehn, 1969

*Please note these items are secondhand and have some traces of previous ownership.

“Things matter, Dinge zählen is published on the occasion of my exhibition Weltraum at Albertinum museum in Dresden. In 1998 when I first visited Dresden I bought a collection catalog of the Neue Meister in Gemäldegalerie Dresden for five marks in the bargain bin outside the museum bookshop. I was fascinated by it and the grid structured, black and white display of paintings in alphabetical order. It inspired me in 2003 to design my catalogue for the Tate Britain exhibition in exactly the same but chronological style. If one thing matters, everything matters is now 22 years old and I happen to now have a solo exhibition in the same Neue Meister museum which is now called Albertinum. So for the catalogue of this show I fused and rephotographed the books from 1987 and 2003 and placed new works from the 2025 on top of the pages.” Wolfgang Tillmans, Instagram