Produced on the occasion of Lili Dijourie’s 1987 exhibition at Frac des Pays de la Loire. With a text by Saskia Bos.

Produced on the occasion of the exhibition The IMAGE in Singular at Amer Gallery, Vienna, 27 October–28 November, 1987. Including the artists; Fareed Armaly, Alan Belcher, Larry Johnson, David Robbins, Gerwald Rockenschaub, Wolfgang Schrom, Josef Strau and Heimo Zobernig.

Exhibition pamphlet with essay by Peggy Gale and list of artists’ books, multiples and recordings from Art Metropole’s Permanent Collection: 22 works by Michael Snow, 108 works by Lawrence Weiner, and 36 works by Maurizio Nannucci. Introduction by AA Bronson.

Produced on the occasion of the exhibition John Baldessari “Composition for Violin and Voices (Males),” Magasin, Centre National d’Art Contemporain de Grenoble, France, 3 May– 28 June, 1987.

Produced on the occasion of Raumbilder Five German sculptors in Madrid at Centro De Arte Reina Sofia in 1987. This is a single volume on the work of Reinhard Mucha from a 5 volume set.

Mucha’s meticulously constructed sculptures—he often works with industrial materials such as aluminum, float glass, felt, gloss paint, steel, or blockboard—look variously like showcases and display cabinets or like baroque theatrical installations. He moreover integrates biographical material such as a copy of his diploma from the Düsseldorf Academy of Fine Arts or a photograph that shows him as a student. Yet his purpose with such inclusions is not the personal anecdote; rather, they raise questions concerning the category of the collective—for example, to what extent social structures and the hierarchies woven into them inform our personalities.

Publication produced for Atsuko Tanaka’s exhibition Peintures at Galerie Stadler, Paris, 30 January– 7 March, 1987.

Atsuko Tanaka was a Japanese avant-garde artist best known for her Neo-Dada Electric Dress (1956), a garment made from hundreds of lightbulbs painted in primary colors. This iconic work, which she wore to exhibitions, functions as a conflation of Japanese traditional clothing with modern urbanization, bringing an unexpected and challenging interpretation to both. “I wanted to shatter stable beauty with my work,” Tanaka once said. A member of the Gutai movement, much of her work used domestic objects like lightbulbs, textiles, doorknobs, and doorbells. With these objects, the artist was able to create work about the body without a body present. She maintained a broad practice that included performance “happenings,” sculpture, and installation, while her later work focusing on two-dimensional painting, with colorful organic abstract shapes connecting circles and lines.