Produced on the occasion of Transaction Fatigue, an exhibition by Harsh Patel for Windowpane, 14 March–2 May, 2026.

Harsh Patel (b. Nairobi, Kenya) is a designer and educator based in Los Angeles. His activities pivot around the pluralist histories of multiculturalism and working class creativity. He publishes as the imprints 3DX and Axial Age 2.

Edition box designed by Inez de Rijke. Windowpane is a gallery of postcards, studying themes of light, display or concealment, and channels of communication. More information can be found here.

Clipping 2: Sum, Parts brings together transcripts, commissioned texts, studies, and personal reflections that explore how transformation is central to building archives that remain alive through time. Clipping, in sonic terms, signals distortion—moments when excess pushes beyond clarity and opens new spaces of possibility.

With contributions by Monique Todd, Andrea Zarza Canova, Cleo Tsw, Zahra Malkani, meLê yamomo, Melisa Cenik, Golnoosh Heshmati, Voice as Landscape (Alec Mateo Lorenzo, García-Andrade Llamas), Atiyyah Khan, Ibelisse Guardia Ferragutti, Femke Dekker, and Alice Twemlow.

Edited by Federica Notari & Cleo Tsw. Designed by Catharine Hu & Cleo Tsw.

Produced on the occasion of Nat Faulkner’s exhibition Strong water at Camden Art Centre, 16 January–22 March, 2026.

1:1 presents an extensive series of hand-produced contact prints by the artist, derived from a single large format image taken by Faulkner of a peppered moth (Biston betularia) – a widely studied example of ‘industrial melanism’. During the Industrial Revolution soot from factories darkened the bark of trees and through a process of natural selection the lighter form of this moth, once well-camouflaged, became more visible to predators and its numbers diminished. Meanwhile, a darker (melanic) variant became more common, due to being better camouflaged against the soot darkened trees. This phenomena, the artist has observed, holds resonances with the processes of photography itself – in the production of positive and negative images.

With texts from Gloria Hasnay and Sean Steadman. Designed by George Haughton.

This first monograph on Italian artist Emilio Prini explores his radical approach to art across five decades of work through texts, archival research, and artist interventions. Structured chronologically from 1966 to 2016, it examines his work via a systematic iconographic and bibliographic analysis of Prini’s archives along with the institutions he exhibited at. As he considered the medium secondary to the concept, no distinction is made between installations, sculptures, invitations, posters, or documents; and by presenting the works first individually and then situated in different contexts, the book provides a unique insight into his particular methodology.

Edited by Luca Lo Pinto. Contributions by Alexander Alberro, Stefano Chiodi, Lara Favaretto, Adam Harrison, John Knight, Hans Ulrich Obrist, Luca Lo Pinto, Timotea Prini, Anri Sala, Andrea Viliani. Designed by Experimental Jetset.