Chris Reinecke’s boundary-crossing work from the late 1960s questions female role behaviour, raises critical social awareness, and aims for radical political change. The concepts and actions realised between 1966 and 1971 need to be re-evaluated today, both within the art context and against the backdrop of current political and social developments.

Reinecke withdrew from the art world in 1970 and founded a self-help collective for tenant solidarity, organising demonstrations and squatting buildings for the homeless. Later she withdrew in turn from politics and, out of the public eye, took up her artistic work again.

Produced on the occasion of the exhibition Yayoi Kusama New York/​Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

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

Produced on the occasion of the exhibition Francis Picabia, which travelled to Isetan Museum of Art, Tokyo, 12 August–7 September, 1999; Iwaki City Art Museum, Fukushima, 17 October–14 November 1999; Kintetsu Art Museum, Osaka, 26 January–9 February, 2000.

Francis Picabia was a French avant-garde painter, writer, filmmaker, magazine publisher, poet, and typographist. He was one of the early major figures of the Dada movement in the United States and in France and was later briefly associated with Surrealism, but would soon turn his back on the art establishment.

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

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

Július Koller (1939–2007) was one of the most important Eastern European artists working since the 1960s. From the mid-1960s he designed Antihappenings and Antipictures, creating a playfully ironic oeuvre that combined a Dadaist spirit with radical-skeptical stance. Koller painted object-images in white latex and pictures of question marks that became the universal symbol of his critical view of everyday life and reality. Koller saw tennis and table tennis as participatory art forms and here too he combined sport with political statement by demanding that the rules of the game and fair play be adhered to—as the basis of all social action. After the Prague Spring was put down, Koller began his U.F.O.naut series that challenged reality with “cultural situations” and utopias of a new, cosmohumanistic culture and future.

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

Produced on the occasion of the exhibition Yayoi Kusama New York/​Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

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