Produced on the occasion of the exhibition Philosopher of her own Ruin at the Bonner Kunstverein, 23 February–27 July, 2025. Curated by Alan Longino and featuring the work of Dusti Bongé, Rosemarie Castoro, Anna Bella Geiger, Susan Hiller, Ishiuchi Miyako, Lisa Robertson, Bertram Schmiterlöw, Sydney Schrader, Linda Semadeni and Tokiwa Toyoko.

“This exhibition and its attendant research follow the path of an entity, once a person, who passed from a moment of hypervisibility into invisibility at a critical juncture in their life. It was in this later moment of life, when their body had undergone a previously unknown transformation, that a new freedom came to them. This new freedom then allowed an entirely novel path of self-realization to occur.”—Alan Longino

Edited by Fatima Hellberg, Andrew Christopher Green and Martha Joseph. Designed by Pedro Cid Proença.

Two publications produced on the occasion of the exhibition A Reflection on the Sublime at Hiroshima City Museum of Contemporary Art, 30 March–9 June, 2024, conceived by the artist Kazuna Taguchi and structured by the artist Soshiro Matsubara. Including artists Joanne Kyger, E’wao Kagoshima, Anthony Caro, Ryusei Kishida, Klemet, Kunitaro Suda, Kazuna Taguchi, Atsuko Tanaka, Trisha Donnelly, Seiichi Furuya, Patricia L. Boyd, Tomio Miki, Nancy Lupo, Alan Longino and Emilia Wang.

With texts from Alan Longino, Emilia Wang and Jane Falk. Photography by Kazuna Taguchi.

Yutaka Matsuzawa (1922–2006) was considered the father of Japanese conceptual art. In his pursuit of ways to express the invisible invisibly, Matsuzawa developed a unique understanding of conceptual art that both elevated and transcended the typical notions of conceptual art in the western, euro-centric art worlds.

A new edition of Yutaka Matsuzawa’s groundbreaking book, Quantum Art Manifesto was published on the occasion of the exhibition Yutaka Matsuzawa at Yale Union, curated by Alan Longino and Reiko Tomii. Including the original Japanese text, the original English translation (with minor edits), a foreword by Haruo Matsuzawa, and an essay by Reiko Tomii.

Offset printed by Gary Robbins at Container Corps with tipped-in color fields and Matsuzawa’s Psi stamp. Exposed spine Smyth-sewn binding. Dust jacket letterpressed by Aaron Flint Jamison. This new edition of the publication is now also out of print. Images of the exhibition can be seen here. And a text by Alan Longino on Yutaka Matsuzawa can be found here.