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 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.

Produced on the occasion of the exhibition Investigations 1988 at the Institute of Contemporary Art, Philadelphia.

It isn’t just in her photographic work that Lawler explores art’s economic regime down to its smallest, seemingly banal details. She also continues to produce ephemera including matchbooks, gift certificates, postcards, posters, and souvenirs such as drinking glasses or paperweights. Invoking her signature, subtle humour, she underscores how the art apparatus relies on a loose network of advertising materials and other articles that help determine how an artwork is recognized and valued.

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