Produced on the occasion of Kazuna Taguchi’s exhibition In Anticipation at Brunette Coleman, London, 7 March–18 April, 2026.

Taguchi’s meticulously composed monochrome photographs convey body fragments, gestures, and gazes that resonate with the surrealist tradition concerning the questioning of the photographic representation of the female body. This can be moments of the phantomic or Yūgen*-like, images that capture a figure in a state between appearance and disappearance.

*According to the Japanese poet Kamo no Chōmei (1155–1216), yūgen is a feeling that is not openly expressed in words, but symbolically indicated by images.

This catalogue accompanies C C, Michael E. Smith’s exhibition in the underground spaces of Palazzo Bentivoglio, Bologna (30 January–26 April, 2026), curated by Simone Menegoi and Tommaso Pasquali.

Conceived for the undercroft of the palazzo, the project treats architecture, light, and objects as a single, unstable field. Rather than using the space as a neutral container, Smith works with its darkness, irregularity, and infrastructural presence, producing a sequence of thresholds, pauses, and zones of partial visibility.

Bill is an annual magazine that prioritises visual reading of its photographic stories without the distraction of text. The 192 offset pages are printed in CMYK, silver, and black and white on a dozen different paper stocks, along with some Japanese bound signatures. Contributors to this sixth instalment include conceptual artist Rosemarie Trockel, Croatian artist Hana Miletić, RareBooksParis, architect and designer Thorben Gröbel, Japanese artist Yuji Agematsu, French artist Claude Closky, California-based artist Sam Contis, Dutch photography studio Blommers/Schumm, photographer Michael Schmidt, Swiss artist Beat Streuli, and photographer Adrianna Glaviano.

Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me.

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.

Monograph for K. Budrys presents a body of illustrations by Kęstas Budrys, a little-documented artist whose work appeared in Naglis, the first Lithuanian gay magazine, published from 1993 to 1997. Budrys’ drawings range from photorealistic, dot-based renderings of homoerotic imagery to irreverent cartoon figures and comic strips, moving between eroticism, awkwardness, humour, and sentiment.

Edited and designed by Augustinas Milkus, with essays by Mehmet Süzgün and Miglė Lukoševičiūtė, it is the first monograph dedicated to Kęstas Budrys.

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.