Produced on the occasion of Rosemarie Trockel’s solo exhibition Märzôschnee ûnd Wiebôrweh sand am Môargô niana më at Kunsthaus Bregenz, Bregenz, 24 January–6 April, 2015. Edited by Yilmaz Dziewior with texts from Johanna Burton, Yilmaz Dziewior, Sam Pulitzer, and Beate Söntgen.

ZIP: 01–01–14…12–31–14 is an annual. It records, in photographs, one year of a work Yuji Agematsu has been making since the mid 1990s. To accomplish this work, Agematsu takes daily walks and drops what he finds into the cellophane wrapper from a cigarette pack. The book is accompanied by a facsimile of the notes Agematsu keeps to map when and where these objects were encountered. Produced in conjunction with exhibitions at Yale Union, Portland; Artspeak, Vancouver & Real Fine Arts, New York.

Photographed by Aaron Flint Jamison and Scott Ponik. Designed and edited by Julie Peeters and Scott Ponik with Robert Snowden.

Barbara Bloom explores the nature of gifts in relation to aspects such as wrapping, covering and uncovering, pleasure, secrets, and generosity. Through an exploration of art historical and cultural practices, she reveals the complicated relationship we have with the concept of the gift, considering how these traded objects take on meaning and serve as symbols of our affections, but also anticipate a sense of loss. The gift is a means of apology, making advances, gaining trust, and providing assurances. Through gift-giving, we show a version of intimacy, love, and desire that is deliberate and controlled, but also often more meaningful than intended. With texts by Susan Tallman.

Comes with a bookplate signed by the artist.

Produced on the occasion of the exhibition Anne-Mie Van Kerckhoven, Serving Compressed Energy with Vacuum at Kunstverein München, München 25 April–14 June, 2015. All 179 works from the exhibition are indexed chronologically from 1975 to 2015.

You can find more on the exhibition here.

Produced on the occasion of Seth Siegelaub: Beyond Conceptual Art at the Stedelijk Museum, Amsterdam, 12 December, 2015–16 April, 2016. An overview of the life and work of the art pioneer, collector and publisher, Seth Siegelaub, one of the key figures of early conceptual art.

Produced on occasion of Jacob Kassay’s exhibition at R.M. Schindler’s Fitzpatrick-Leland House in Los Angeles, 26–27 September, 2015.

This artist’s book has been developed as an index—with relative digitally drawn blueprints, structural diagrams and basic dimensional specifications—for the entire series of wooden stretchers that are part of “Remnants,” previously exhibited at The Kitchen and 303 Gallery in New York (2013).

“Recuperating leftover pieces of canvas that remain from those he cuts and stretches, Jacob Kassay found himself […] with a collection of scraps that still had value. More specifically, these scraps were of value to Kassay because they indexed his system of production. Once again, he seized upon a system that fetishizes his hand but discounts any aesthetic decision. These canvas forms, which Kassay calls ‘remnants,ʼ were made negatively through the creation of silver paintings and other works.”—Peter Eeley