Martin Wong is recognized for his depictions of social, sexual, and political scenographies from the American 1970s, 1980s and 1990s. Poetically weaving together narratives of queer existence, marginal communities, and urban gentrification, Wong stands out as an important countercultural voice at odds with the art establishment’s reactionary discourse at the time. Heavily influenced by the artist’s immediate surroundings, Wong’s practice merges the visual languages of Chinese iconography, urban poetry, graffiti, carceral aesthetics, and sign language. His work offers a valuable insight into decisive periods of recent American history.

Edited by Krist Gruijthuijsen & Agustín Pérez Rubio. With contributions from Marci Kwon, Sofie Krogh Christensen, Agustín Pérez Rubio, David J. Getsy, Julie Ault, Heinz Peter Knes & Danh Vo.

Works 1965–Today stems from a retrospective held at the Grazer Kunstverein showcasing Josef Bauer’s experiments with language, colour, and their spatial contexts nearly forty years after his last exhibition in Graz. His practice combines sculpture, installation, painting, and performance to disturb our perception of words and colours as mere “carriers” of meaning. By removing their two-dimensional context, letters become objects that communicate directly with our bodies in an unfiltered and urgent language called “tactile poetry.”

Edited by Krist Gruijthuijsen. Designed by Marc Hollenstein.

Edited by Marja Bloem, Krist Gruijthuijsen, Lauren van Haaften-Schick, Sara Martinetti & Jo Melvin.

Better Read Than Dead was the title Seth Siegelaub had chosen for an anthology of his own writing—one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work. “Siegelaubian paperwork” comprises Siegelaub’s writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion.

Hans de Vries concentrated on the study and registration of processes and appearances that occur in and are created by nature. De Vries was a close observer, an onlooker, an eyewitness, whose aim was to discern and document the relationship between man and his natural environment. His practice has been referred to as “micro-emotive art”, a term coined by the Italian artist Piero Gilardi. Hans de Vries Works 1968–1975 is De Vries’s first exhibition since he stopped producing art at end of the 1970s. It is a retrospective of all the publications and book-related works including parallel articles and essays about his practice.

This publication represents one of the many spaces occupied by Doug Ashford’s work. As the first collection of his writings and conversations, it attempts to encompass the changing ideas to which the artist has subscribed over the past 25 years. Doug Ashford is a teacher, artist, and writer. He has taught design, sculpture, and theory at Cooper Union in New York since 1989. From 1982 to 1996, his primary artistic activity was as a member of Group Material, and since then he has gone on to paint, write, and produce other cross-disciplinary projects.

Designed by Marc Hollenstein.

Kunstverein is essentially a curatorial office that offers lectures, presentations, screenings, and independent publishing. Because of its unconventional structure, it allows alternative methods to be considered in terms of presentation, hosting, and exhibition-making. This extensive anthology looks back at the past decade of their activity, from 2009 to 2019, and is filled with ephemera, images of performances and shows, bulletins, and much more. With contributions by Yana Foqué, Krist Gruijthuijsen, Anthony Huberman, and Maxine Kopsa.

Designed by Marc Hollenstein.