Born in Hartsville, South Carolina, Curtis Cuffie moved to New York as a teenager, first residing with his brothers in Brooklyn. In his adult life, Cuffie spent time unhoused in the streets of Manhattan where he found both inspiration and materials for his work as an artist. Cuffie’s sculptures interpret material street culture in the 1990s and early 2000s, using discarded and found objects assembled and transformed into collaged figures that speak to both the abject reality of urban surplus as well as the magical alchemy of artistic creation. Built by Cuffie outdoors, primarily on the sidewalks around Astor Place and along the Bowery, his sculptures were subject to the whims of weather, police interference, and the sanitation department, as well as Cuffie’s own continued interventions into his work. Edited by Scott Portnoy and Robert Snowden with Ciarán Finlayson and designed by Julie Peeters.

Riffing off the title, this volume includes an interview with Carolyn Lazard—an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation—by Catherine Damman, plus a feature on New York-based contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, and contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler. Edited with Kathrin Bentele, Anna Gritz, and Ghislaine Leung. Including the work of Lutz Bacher, stanley brouwn, Jay Chung & Q Takeki Maeda, Hanne Darboven, Jef Geys, Tishan Hsu, Pope L., Louise Lawler, Carolyn Lazard, Ghislaine Leung, Lee Lozano, Henrik Olesen, Sarah Rapson, Margaret Raspé, Ketty La Rocca, Sturtevant, Martin Wong and Octavia E. Butler.

DIY Seaweed Farming: a ‘how to do it at home’ guide is the result of an experimental research project, where Honey Jones-Hughes and Antonio de la Hera attempted to create a sea-like environment in their kitchen with the intention of nurturing seaweed to for human consumption. In essence we were trying to create a micro seaweed farm in our home, hoping to create the perfect environment for what is being hailed as a miracle crop capable to of solving climate, plastic and even fuel issues. As a project it was interesting for us to explore what it meant to try to replicate the sea in a confined environment, to live together with seaweed in captivity, and the daily labour of caring for something that was in many ways like a houseplant.

This book brings together a series of 30 photographs by André Cadere (Warsaw, 1934–Paris, 1978). The photographs, which have never before been published in their entirety, capture the artist’s wanderings through New York City during his first trip in November, 1975. He took with him several round bars of wood, including one of his size, which appears in all the photographs. These images imply the idea of walking and displacement that is always associated with Cadere, who is often considered as a sort of itinerant artist or a parasitic figure who inserted himself into places to which he had not been invited. They also capture the very spirit of New York, a city that is always changing, but that nevertheless always manages to retain its uniqueness.

My sweet little lamb (Everything we see could also be otherwise) is a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, unfolded in Zagreb and London in 2016–2017. This publication, conceived as a “post-episode” of the project, presents extensive visual documentation of the exhibitions alongside newly commissioned texts by theorists and writers Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, and Marina Vishmidt. Drawing on the legacy of the Eastern European neo-avantgarde and the work of Stilinović in particular, these contributions grapple with urgent questions about the value of art and exhibition making. Including the work of Mária Bartuszová, Stano Filko, Tina Gverović, Katalin Ladik, Sanja Iveković, Běla Kolářová, Július Koller, Edward Krasiński, Dóra Maurer, Goran Trbuljak, KwieKulik, Ivan Kožarić, Vlado Martek, Mangelos, Heimrad Bäcker, Stephen Willats.

Between December 2022 and March 2023, Vivian Suter shared hundreds of photos, all taken with her mobile phone, with the designer and editor of this book. A selection of these snapshots, condensed, juxtaposed, complementing each other, now forms a kind of photographic journal. It offers insights into Suter’s work on her art and everyday life, which are inextricably interwoven: Photos of canvases and paint pots in the thicket of her jungle-like garden and in the studio, of her dogs, of the house with its characteristic aquamarine green and purplish-red walls, of family pictures, of the play of light and shadow in nature and architecture. Among the many photos, one occasionally finds images of watercolours on (coloured) paper, which the artist made especially for the book. Designed by Sabo Day.