Produced on the occasion of documenta X, 21 June–28 September, 1997, Kassel, Germany.

Lygia Clark, was a Brazilian artist best known for her painting and installation work. She was often associated with the Brazilian Constructivist movements of the mid-20th century and the Tropicalia movement. Along with Brazilian artists Amilcar de Castro, Franz Weissmann, Lygia Pape and poet Ferreira Gullar, Clark co-founded the Neo-Concrete movement. From 1960 on, Clark discovered ways for viewers (who would later be referred to as “participants”) to interact with her art works. Clark’s work dealt with the relationship between inside and outside, and, ultimately, between self and world.

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. (The Peter Hujar Archive)

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

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. (The Peter Hujar Archive)

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

Produced on the occasion of the exhibition Kai Althoff: Kei Kein Respekt (Kai No Respect) at the Institute of Contemporary Art, Boston, May 26 – September 6, 2004

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

Produced on the occasion of the exhibition In search of Eulenkippstadt at Robert Prime Gallery, London, March 6 – 19 April, 1996.

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

Part of a large cycle comprised of different series of polyptychs with the subject matter of marble graves without any reference to dates, places or names, Sophie Calle encourages a reflection on those relationships that, in their presence or absence, define each person’s identity. Even though anonymous, each tomb in the series contains a real body that was once a person and remains alive as a memory and as a site allowing the opportunity to worship that memory by the survivors.

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