Produced on the occasion of Jean-Marc Bustamante’s exhibition at the Villa Arson, Nice, 29 March–25 May,1997.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of Giovanni Anselmo’s exhibition Nieuw Werk at Galerie Helen Van Der Meij, Amsterdam, 19 November–16 December,1982.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of Alighiero Boetti’s exhibition ‘September 1986’ at Michael Klein. Inc, Amsterdam 27 November–22 December, 1986

*Please note this publication is secondhand and may have some traces of previous ownership. Address has been altered in documentation.

Arthur Rimbaud in New York, one of David Wojnarowicz’s incursions into photography, is the articulation of a testimony to urban, social and political change in New York.

Wojnarowicz, using the figure of the accursed poet as the only way for an artist to intervene in reality, chronicles his own life and his emotional relationship with New York City in the late 1970s. The artist portrays a number of friends with a life-size mask of the French poet Arthur Rimbaud, thereby taking on his identity and highlighting the parallels in their lives: the violence suffered in their youths, the feeling of being denied freedom, the desire to live far away from the bourgeois environment and the fact of their homosexuality.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of the exhibition The Clock Wife at A Tale of A Tub, Rotterdam, October 25, 2025 – January 25, 2026.

Accumulating over three months, The Clock Wife is an exhibition that focuses on artist estate management by presenting four estates through the eyes of the women overseeing them: Marja Bloem presenting her partner Seth Siegelaub; Sue Cramer and Emma Nixon presenting husband and father John Nixon; Johanna Monk presenting her beloved Vanita Monk; and Juf (Bea Ortega Botas and Leto Ybarra) presenting their peer Fran Herndon. At the core of the exhibition is the conflation of administrative and emotional labour inherent to this line of work. Yet an exhibition built around an acknowledgement of the invisibility of certain forms of labour—and an attempt to centre them in turn—has a paradox at heart: how do you make visible that which is not seen?

More information on the exhibition can be found here.

Designed by Maud Vervenne.

Produced on the occasion of stanley brouwn’s exhibition at Van Abbemuseum, Eindhoven, 22 January–April 4, 2005.

*Please note this publication is secondhand and may have some traces of previous ownership and address sticker has been altered in documentation.