A collection of 50 monoprints by Dutch graphic designer Karel Martens, printed on the pages of a booklet with numbered cloakroom tickets that Martens had kept in his studio for many years, with the intention of one day printing a layer on top of them. The monoprints are all reproduced front and back, at their original scale.

A comprehensive exhibition catalogue that accompanies the eponymous survey of Lutz Bacher’s work at Astrup Fearnley Museet, Oslo and Wiels, Brussels. In addition to extensive illustrations of the artworks from both exhibitions, the book contains new essays by Kate Nesin, Juliane Rebentisch and Emily LaBarge as well as a foreword by the exhibition curators Solveig Østebø, Helena Kritis and Dirk Snauwaert.

Designed by Julie Peeters.

The first volume of Isa Genzken’s catalogue raisonné documents works produced between 1961 and 1996, providing documentation of her oeuvre in chronological order and across all media (sculpture, painting, installation, works on paper, and film). Edited by Daniel Buchholz with Michael Sanchez, Katharina Forero de Mund and Christopher Müller. The book includes an introductory essay by Manfred Hermes, as well as a biographical timeline, exhibition history and bibliography.

Produced on the occasion of Mire Lee’s exhibition The Heart of My Machine is Golden Lead at Secession, Vienna, 26 June–26 August, 2026.

Mire Lee’s large-scale installations are often composed of leaking mechanisms and quasi-organic structures that appear to drip and decay. Deliberately broken motorised elements seem to strain under their own operation, resisting the seamless efficiency associated with contemporary technological aesthetics. With texts from Haris Giannouras, Gemma Barricarte and Mire Lee. Designed by Sabo Day & Rosen Eveleigh.

The catalogue of the 15th Baltic Triennial at CAC in Vilnius is conceived as a visual book in two parts: one is dedicated to the Prologue, which took place a year prior to the main exhibition; the other documents the Triennial itself. In addition to contributions by Adrianna Glaviano, the book features two poems by Emerson – a figure who emerges from the archive of Greek photographer and writer George Tourkovasilis, and whose poems served as entry points to both the Prologue and the main exhibition.

Edited by Tom Engels and Maya Tounta and designed by Julie Peeters, the book draws formal inspiration from the publications of James Lee Byars.

Born in 1974 in Tbilisi, Tolia Astakhishvili works and lives between Berlin and Tbilisi. Her art practice includes sculpture, drawing, painting, sound, video and writing. Her architectural environments, which integrate these various media, are designed in conversation with the exhibition site. They evoke spaces in transformation, like a suspended construction site whose origins and completion remain undefined. Everyday objects, drawings, photographs, mural inscriptions and videos suggest a diffuse human presence. Together, they weave a fictional narrative marked by a psychological dimension, sometimes tinged with surrealism.

Edited by Tolia Astakhishvili, Fatima Hellberg, Manuela Ammer. Contributions by Kirsty Bell, Fatima Hellberg, Liesl Ujvary.