Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy. In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall.

Of course there is the practice of art by the artist, but an exhibition is even more so an engagement between people, places, institutions, projections, desires, coincidences, memories, and temporalities. In this monograph, artist Megan Francis Sullivan chooses the format of oral history, engaging various akteurs of the field to produce a web of language reflecting a shape of time.

With discussions with Jean-Claude Freymond-Guth, Melanie Ohnemus, David Lieske, Cornelia Kastelan, John Rasmussen, Marie Angeletti, Kelsey Olson, Megan McCready, Sara De Bondt, Antony Hudek, Alexander Schröder, Valérie Knoll, Helmut Draxler, Aura Rosenberg, John Miller, Robert Müller, Cecilie Norgaard, Moritz Scheper, Maximiliane Baumgartner and an essay by Hannes Loichinger, “The Painting of Hans Haacke.”

Produced on the occasion of the exhibition Example: Dix-Huit Leçons sur la Société Industrielle at the Contemporary Art Gallery, January 13 – March 6, 2005.

It includes a forward by Christina Ritchie, essays; Mechanization takes command: Modernization, Terminable and interminable by John Miller and Some References for Christopher Williams by Claudia Beck.

Designed by Christopher Williams with Yvonne Quirmbach.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Paradis is a continuation of the eponymous exhibition conceived by artist Marie Angeletti in Marseilles in 2021. The exhibition brought together 56 artists of different origins and generations. More than just a transcription of this event, this catalogue brings together some one hundred contributions, combining critical texts, poetry, artists’ writings and new translations, alongside an equally large number of visual contributions and ad hoc works, most of them previously unpublished.

Produced on the occasion of Maria Eichhorn’s exhibition Arbeit/Freizeit, at the Generali Foundation, 1994–1996. An exhibition of the staff of Generali Regional Office East, Berlin, consisting of 49 exhibits 47 objects (gifts, permanent loans and acquisitions) in cylindrical display case, beech wood, acrylic glass, 228 × ø 161 cm 1 round aquarium, 54.5 × ø 65 cm, with live fish (angelfishes and clown loaches) on plinth, beech wood, 70.5 × ø 67.2 cm Plant (Dracaena maginata).

With a preface by Hans Peer and Winfried Böttcher, texts by Sabine Breitwieser, Maria Eichhorn, John Miller, Annett Gröschner and Helmut Höge.

Edited by Daniel Buchholz and Christopher Müller. Produced on the occasion of Jack Goldstein’s first exhibition at Galerie Buchholz in 2000, with aphorisms by the artist, a new essay by John Miller and an interview by Morgan Fisher. The book also includes a commented list of Jack Goldstein’s films and records.

Jack Goldstein was one of the most important artists of the 80’s in New York. He returned to California in the 90’s and slowly disappeared from the art world until renewed interest in his work began to happen in 2000. He was in the first graduating class from CalArts and went on to experiment with performance, film, recording, sculpture, and painting. His art of the late seventies, eighties, and early nineties influenced many artists who came after him. He died on 14 March, 2003.