Domenico Gnoli is known for his analytical paintings, which exist at the intersection of minimalism, hyperrealism and pop art.

Produced on the occasion of Domenico Gnoli’s exhibition at the Museum Boijmans Van Beuningen, Rotterdam, 14 September–4 November, 1973.

With texts from Guy Joufroy and Alain Dumur.

Produced on the occasion of Vivian Suter’s exhibition at Kunstmuseum des Kantons Thurgau, Kartause Ittingen, 1983.

Produced on the occasion of Situation Schweiz a series of exhibitions at Galerie nächst St. Stephan, Wien, Galerie Krinzinger, Vienna, Forum für aktuelle Kunst, Innsbruck, and the Stiftung Pro Helvetia, 17 March–3 October, 1981.

This comprehensive monograph ventures a look at Vivian Suter’s complete works, bringing together early drawings, painterly wall reliefs from the 1980s, and her latest work from her studio in the tropical rainforest of Guatemala: loose canvases hanging lightly from the ceiling in atmospherically dense installations. The richly illustrated catalog illuminates the interplay between unpredictable natural influences as the paintings are left outside open to the elements and purposeful artistic work in Suter’s practice. Designed by Julia Born.

Produced on the occasion of John Nixon at Superweakness, Den Haag, 7–28 November 2021.

John Nixon was a seminal figure in contemporary Australian abstraction. From 1968, his work was dedicated to the on-going experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade; which were key reference points in his work. Experimental Painting Workshop (EPW), which the artist named in 1990, but which covers works dating back to 1968, formed the basis of Nixon’s rigorous and long-standing intellectual investigation into the making of art, which over time expanded to encompass not only painting, but collage, photography, video, dance and experimental music performance.

Produced on the occasion of the Giorgio Griffa, Fragments 1968-2012 at Casey Kaplan Gallery. New York, October 25–December 22, 2012.

The exhibition presented a selection from over forty years of Griffa’s paintings on un-stretched canvas and linen. Throughout the past four decades, Griffa has undertaken a practice that he describes as “constant and never finished”, adhering to “the memory of material”, and to the belief that the gesture of painting is an infinite one. Within the finite frame of his canvas, each artwork becomes a site of collaboration between painting and the painter as the hand works to reveal a constellation of signs and symbols. This relationship is further mediated by the materiality of the works: the absorption of the acrylic into the fabric from each stroke dictates the brush’s next move. The completion of a canvas functions as a suspension of this relationship. After the acrylic has dried, they are carefully and neatly folded into uniform sections and filed as a register of their collective life as a whole.