After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s.

Edited by Hannes Loichinger and Magnus Schaefer. Texts by Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade, Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, and Alexis Vaillant.

This edition annotated by Alexis Vaillant includes a substantial selection of the writings that Philippe Thomas published in the course of his career and attributed to collectors of his work or to fictional or real characters, in keeping with the play on identities that was one of the fundamental elements of his artistic practice. The texts and the accompanying notes explore the way reality and fiction become blurred in the ready-mades by this French artist. In 1990, Thomas borrowed the title of a book by Vladimir Nabokov for his exhibition at the CAPC musée d’art contemporain de Bordeaux, Feux pâles, in which he fictionalised the authority of the museum and his own identity as an artist by turning his signature on the contract with the museum into the artwork. This is volume seven in the Llibres de recerca series and includes contributions by Marc Blondeau and Jean-Marc Avrilla.