Produced on the occasion of the exhibition Ferdi: Hortisculpture at the Stedelijk Museum, Amsterdam, 11 April–19 May, 1968. With photographs from; Violette Cornelius, Ed van der Elsken, Leonard Freed, Shinkichi Tajiri, Bram Wisman, Eli van Zachten, Frans Zwartjes

SM Cat. No 439.

Designed by Wim Crouwel.

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

Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the New Generation show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, Primary Structures at the Jewish Museum in New York.

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

Produced on the occasion of Robert Rauschenberg’s 1968 exhibition at the Stedelijk Museum, Amsterdam.

SM Cat. No 433.

Designed by Wim Crouwel.

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

Produced on the occasion of the exhibition Vormgevers at the Stedelijk Museum, Amsterdam from 5 April–23 June, 1968. A survey exhibition of industrial design from the time including Piet Zwart, Ettore Sottsass, Joe Colombo, Dieter Rams, AD Copier. Designed by Wim Crouwel and Alice Bailly.

Produced on the occasion of the exhibition 3 kunstenaars uit Praag, grafiek en collages, Jiří Kolář, Jiří John, Alena Kučerová at the Museum Boijmans van Beuningen, Rotterdam, 6 September–20 October, 1968.

Publication 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.