Since the late 1960s, Luis Camnitzer has created works in a variety of media—including installation, printmaking, drawing, and photography—that expose our collective indifference to the violence governments inflict on individuals.

A pioneer of conceptual art, Camnitzer critiques current political realities with a perspective informed by his first-hand experience of dictatorships in Latin America.

Last Words was originally composed in the wake of New Jersey’s historic decision to abolish the death penalty and as the US Supreme Court considered the constitutionality of lethal injections. The short, continuous text is a montage of select final statements by Death Row prisoners, collected from the Texas Department of Criminal Justice’s public records online and chosen because they include the word ‘love’.

Set in the Pentland Hills, near Edinburgh, Little Sparta is Ian Hamilton Finlay’s greatest work of art. Finlay moved to the farm of Stonypath in 1966 and, in partnership with his wife Sue Finlay, began to create what would become an internationally acclaimed garden across seven acres of a wild and exposed moorland site.

Collaborating with stone carvers, letterers and at times other artists and poets, the numerous sculptures and artworks created by Finlay, which are all integral to the garden, explore themes as diverse as the sea and its fishing fleets, our relationship to nature, classical antiquity, the French Revolution and the Second World War.

More information on Little Sparta can be found here.

Edited by Julie Ault, Heinz Peter Knes, Danh Vo, Christopher Müller & Daniel Buchholz.

This catalogue documents the collection of the artist Martin Wong. In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and multifaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life.

The visionary paintings of Martin Wong, one of the unsung geniuses of New York’s East Village art scene of the 1980s, are collected here and examined in depth for the first time. Entirely self-taught, Wong created intricate compositions that combine gritty social documents, cosmic witticisms, and highly charged symbolic languages-customised manual alphabets for the deaf, street graffiti, Nuyorican poetry, hand-lettered signs, meticulously rendered brick facades, rearrangements of Zodiac signs-sometimes within a single painting.

The urban landscape of Loisaida, the Hispanic section of the Lower East Side where Wong lived, is the source of his imagery. Whatever the theme-the survival of a neighbourhood besieged by drugs and crime, homoerotic fantasies of men in uniform, the multiplicity of meaning in language, the kitsch and ornamentation of Chinatown USA-Wong’s work is visually startling and movingly autobiographical.

More information on Martin Wong can be found here.

Produced on the occasion of On Kawara’s exhibition at Dallas Museum of Art, 18 May–24 August, 2008.

Since the mid-1960s, On Kawara (b. 1933) has objectively recorded his existence through everyday numbers, words, and found images. This book presents works selected by the artist from throughout his illustrious career, including paintings made at the time of the 1969 moon landings, other large-scale paintings, a 100 Years Calendar, and a vast array of his own books that chronicle his extensive travels, acquaintances, and personal readings.

Paul Thek in Process: Commentaries on/of an Exhibition includes all research material which was made public in different formats in the exhibition series Paul Thek in Process. The exhibition was born out of the desire to memorialise Paul Thek’s spatial work that the artist realised in Europe in the 1970s and to make it possible to experience it in a larger historic context. Thanks to the historic distance, the latter is possible today. As exhibition, documentation and inscenation at the same time, the project not only traced the tracks of a lost artistic practice, but also questioned the importance of ephemeral material in exhibition contexts, the boundaries of the artwork, the exhibition and institution history, the reception and today’s practice of re-inscenation. The publication is conceived as a work list, a biography and a history of objects, an image documentation of the exhibitions and, last but not least, as a self-critical curatorial review on this past project.