• Josef Bauer, Körpergalerie,1974
• Dear Trisha Brown: A letter from Robert Wilhite
• Dear Mr Christopher Williams: A letter from Robert Wilhite
• Nina Beier: In tribute to time spent walking with Will (2013)
• Will Holder: Caption card (2014)
• Democracy is Empty, A conversation between Doug Ashford and Mierle Laderman Ukeles, originally published in Documents, no.10, Fall 1997, pp. 23–30
• Lucky Dime, for Seth Siegelaub by Willem Oorebeek
• Thoughts on control by Raivo Puusemp
• Jan Mot and Germaine Kruip in discussion about Ian Wilson
• A letter to Céline Condorelli by Tyler Coburn
• A conversation between Eva Berendes and Doug Ashford
• A conversation between Lucy Skaer and Willem Oorebeek
• Invited by Tirdad Zolghadr, Marina Noronha’s Curatorial Systems Manifesto (as a response to Mierle Laderman Ukeles)
• Céline Condorelli, Three letters to all and no one: strangers, friends, collaborators, allies
• Notes on a lunch meeting (with Willem Oorebeek) by Kate Strain
• Sarah Browne, Remembering Gray, 2013: In collaboration with Alice Lyons
• Beatrice Gibson, A letter to Axel Wieder (and also implicity to Will Holder)
• David Reinfurt and Stuart Bailey: A conversation
• Victoria Dejaco: Lantern slides

Designed by Marc Hollenstein.

Published on the occasion of the exhibition, Paul Thek I AM, AM I?, 6 September–26 October, 2019 at Jan Mot, Brussels.

“Jan Mot presents a solo exhibition of Paul Thek (1933–1988), an American sculptor, painter, and installation artist who was influential in the New York art scene in the 1960s and moved between various European cities in the 1970s, spending quite some time in the Netherlands, where he had a solo exhibition at the Stedelijk Museum in 1969. His work was also part of the exhibition Chambre d’amis in 1986 in Ghent. The show at Jan Mot will be the first solo show in Belgium and will include a lesser known series of etchings and a newspaper drawing. The etchings and drawings punctuate a profoundly disparate practice and suggest a continued engagement with recurrent themes such as the Tower of Babel, Tarbaby, horns, etc. His work, often marked by fragile or ephemeral materials with regard to the personal, mystic, and spiritual, have been a source of widespread influence to other artists.”—Mousse Magazine