Produced on the occasion of Sherrie Levine’s exhibitions at the Kunsthalle Zürich, the Westfälisches Landesmuseum Münster, the Rooseum Center for contemporary arts in Malmö and the Hôtel des arts in Paris. With a text by David Deitcher and Sherrie Levine in conversation with Jeanne Siegel.

Produced on the occasion of Michael Asher’s exhibition proposal for Le Nouveau Musée, Villeurbanne, a collaboration between the artist and various public housing organisations in Lyon, France.

Produced on the occasion of Raoul de Keyser’s 1991 exhibition at the Kunsthalle Bern. With texts from Ulrich Loock, Dirk de Vos and Paul Robbrecht.

Raoul De Keyser was a Belgian painter who from 1964 onwards built a highly personal body of work that was exceptionally difficult to categorize; he successfully reconciled a number of apparent contradictions such as figuration versus abstraction and the physicality of paint versus the ephemerality of the image.

A book inspired by Bloom’s installation at the Carnegie Museum of Art, the Kunstverein München, and the Endlichkeit der Freiheit exhibition in post-wall Berlin. The title, Never Odd or Even, is a palindrome, which parallels the artist’s investigation into the workings of symmetry and order that occurs in nature (as with butterflies and twins) and in culture (the architecture of Chinese palaces, formal gardens, Palladio, and the Nazi structures of Albert Speer). Exploring both the beauty and the horror of the ordering principles of symmetry, Never Odd or Even contains some of Bloom’s most memorable discoveries (such as a photo of identical twins showing Johnny Carson their butterfly collection). A must for Nabokov fans, whose lepidopterist spirit is conjured throughout. Presented in the form of leaves which the reader must cut apart with a knife.

Produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June–27 July, 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.

A set of color postcards, meant to have been sold in the city at souvenir stores and available for viewing and purchase at the reception desk, completed the exhibition as a whole. The photographs of the heaters-displayed on postcards as if they were historic monuments or scenic views-correlated with the schematic wall drawings, grounding them in the functional reality of furnaces composed of oil burners, water heaters, pressure tanks, gages, pipes, and so on.

From the 1950s through ’70s, Greek proto-Arte Povera artist Vlassis Caniaris introduced specific sites of political and personal histories into gallery and museum settings with tableau arrangements created from everyday working class objects. Material, form, texture and display comprise a sophisticated vocabulary of presentation organized to draw attention to immigrant plight and the social conditions of displacement, as well as to distinct modes of viewing and viewer-object seperation as determined by exhibition environments.