Produced on the occasion of the exhibition Investigations 1988 at the Institute of Contemporary Art, Philadelphia.

It isn’t just in her photographic work that Lawler explores art’s economic regime down to its smallest, seemingly banal details. She also continues to produce ephemera including matchbooks, gift certificates, postcards, posters, and souvenirs such as drinking glasses or paperweights. Invoking her signature, subtle humour, she underscores how the art apparatus relies on a loose network of advertising materials and other articles that help determine how an artwork is recognized and valued.

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

Produced on the occasion of On Kawara’s exhibition at Galerie Max Hetzler, Cologne, 7 March–11 April, 1987.

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

Produced on the occasion of the exhibition Marcel Broodthaers: L’Invitation au Voyage at the Vrije Universiteit, Amsterdam, 10 September–27 October, 1990. Curated by Hendriekje Bosma. Initiated and coordinated by Jan Mot

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

Invitation card produced on the occasion of the exhibition Bas Jan Ader (1942–1975) at Art & Project, Amsterdam, 29 January–23 February, 1985.

Bas Jan Ader was a Dutch conceptual and performance artist known for works exploring failure, loneliness, and the sublime, famously disappearing at sea in 1975 while attempting a transatlantic voyage as the final part of his trilogy, In Search of the Miraculous. His art, often using photography and film, featured self-performances of falling or emotional distress, linking life and art as metaphorical journeys, culminating in his mysterious final act of becoming part of his art.

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

Produced on the occasion of Ian Wilson’s Discussion at Van Abbemuseum, Eindhoven, 1 March, 2009.

Ian Wilson presented spoken language as his artistic medium, liberating art from its material form and opening it up to the unpredictability of verbal exchange. Through his Discussions, he engaged individuals in private and public conversations about verbal communication. Wilson views speech as dematerialized sculpture, believing that words enable one to “have the essential features of the object at your disposal.”

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

Initiated by Maurizio Nannucci and published by Ecart, Geneva, this envelope compiles editions produced by the artists James Lee Byars, Ben Vautier, Ken Friedman, Parmiggiani, Daniel Buren, Emmett Williams, Endre Tót, Jochem Gerz, Antonio Dias, Jannis Kounellis, Timm Ulrichs, Boetti, George Brecht, Giulio Paolini, Giuseppe Chiari, Robert Filliou, John Armleder, Carlos Gania, Patrick Lucchini, Robin Crozier, George Brecht, Robert Filliou.

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