This volume collects writings by Haacke that explain and document his practice. The texts, some of which have never before been published, run from straightforward descriptions to wide-ranging reflections and full-throated polemics. They include correspondence with MoMA and the Guggenheim and a letter refusing to represent the United States at the 1969 São Paulo Biennial; the title piece, “Working Conditions,” which discusses corporate influence on the art world; Haacke’s thinking about “real-time social systems”; and texts written for museum catalogs on various artworks, including GERMANIA, in the German Pavilion of the 1993 Venice Biennial; DER BEVÖLKERUNG (To the Population) of 2000 at the Berlin Reichstag; Mixed Messages, an exhibition of objects from the Victoria and Albert Museum (2001); and Gift Horse, unveiled on the fourth plinth in Trafalgar Square in 2015.

*Please note this publication is missing it’s original dust jacket.

Produced on the occasion of the exhibition An Autumn Lexicon at the Serpentine Gallery London, 29 September–20 November, 2016.

Produced on the occasion of the exhibition An Autumn Lexicon at the Serpentine Gallery London, 29 September–20 November, 2016.

Produced on the occasion of Manfred Pernice’s exhibition Tutti IV at the Haus der Kunst, München, 18 October 2013—21 September, 2014.

Produced on the occasion of the exhibition Adminstrate, at Artspeak, Vancouver, February 19–March 19, 2016. Curated by Anthony Huberman and Kim Nguyen and including the work of Jason Hirata, Garry Neill Kennedy and Laura Owens.

Documents the work The Letter E, 1980–2017, through reproductions of office correspondence created following the artist’s removal of the lower half of the letter ‘e’.

Designed by Erik Hood. Printed in an edition of 50 and signed by the artist.

You can find more on the work here.

A project by Will Brown. Text by Jean Conner. Photographs by Jason Fulford.

Artist and filmmaker Bruce Conner’s (1933–2008) mobility was severely limited for the last five years of his life, when he rarely left the San Francisco home he shared with his wife, Jean. To aid in his physical navigation of its spaces, he worked with assistants to install a succession of solid brass handles in each and every room—surrounding the stove, down the boat-like stairwell, inside the recesses of the bedroom closet. At last count, the handles, a labyrinth of critical support, numbered 163. Still in situ after his death in 2008, the handles are arguably Conner’s last great work—at once physical and metaphysical, fragmentary and elusive, elegant and anonymous.

Will Brown is a collaborative project founded by Lindsey White, Jordan Stein and David Kasprzak.