This comprehensive volume chronicles four decades of exhibitions held at the esteemed Antwerp-based art gallery, Galerie Micheline Szwajcer.

Throughout its illustrious history, the gallery has remained faithful to its artistic ethos while embracing innovation. This is evident in its dedication to featuring emerging talents, particularly those within the post-conceptual realm. Representing and working with artists such as On Kawara, Lawrence Weiner, Christopher Wool, Luciano Fabro, Ann Veronica Janssens, Dan Graham, Giovanni Anselmo, Lili Dujourie, Liam Gillick, and many more.

Produced on the occasion of the exhibition Sherrie Levine: After Reinhardt at David Zwirner Gallery, New York, 28 February–20 April, 2019.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.

Produced on the occasion of Melvin Edwards’ retrospective exhibition at Palais de Tokyo, Paris, from 22 October, 2025–15 February, 2026.

Conceived by artist and founder of BlackMass Publishing, Yusuf Hassan, this publication takes the form of an intimate exploration and meditation on Melvin Edwards’ work. Hassan envisions this zine as a conversation between their respective mediums: sculpture and printed matter. He describes the poetic approach to Melvin Edwards’ work that guided his creative process as follows: “Over the summer, as I developed this publication, I immersed myself in his philosophy. I took quiet trips to see his sculptures in New York—especially those that live outside the walls of institutions. The ones that live among people. The ones that weather. That gather dust, rust, fingerprints, and time.”

Produced on the occasion of the exhibition Sherrie Levine, Mayhem at the Whitney Museum of American Art, New York, 10 November, 2011–29 January, 2012.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.

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

Produced on the occasion of the exhibition Sherrie Levine at Galerie Nachst St Stephan, Vienna in May, 1988.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.

*Please note this publication is secondhand and may have some traces of previous ownership. (Some damage to cover and spine)

Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me.

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.