The first volume of Isa Genzken’s catalogue raisonné documents works produced between 1961 and 1996, providing documentation of her oeuvre in chronological order and across all media (sculpture, painting, installation, works on paper, and film). Edited by Daniel Buchholz with Michael Sanchez, Katharina Forero de Mund and Christopher Müller. The book includes an introductory essay by Manfred Hermes, as well as a biographical timeline, exhibition history and bibliography.

Produced on the occasion of Isa Genzken’s exhibition at Galerie Fred Jahn, München, 31 January–1 March, 1986.

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

Produced on the occasion of Isa Genzken’s exhibition at Galerie Fred Jahn, München, 31 January–1 March, 1986.

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

Produced on the occasion of the exhibition Isa Genzken: Skulpturen, Zeichnungen, Fotografien at Ausstellungshallen Mathildenhöhe Darmstadt, 11 January–8 February, 1981.

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

Published in conjunction with the first comprehensive retrospective of the artist’s epically diverse body of work, this publication encompasses Genzken’s work in all media over the past 40 years and is the most complete monograph on the artist available in English. The catalogue presents Genzken’s career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.

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

Produced on the occasion of Melvin Edwards’ retrospective exhibition at Palais de Tokyo, Paris, from 22 October, 2025–15 February, 2026.

Conceived by artist and founder of BlackMass Publishing, Yusuf Hassan, this publication takes the form of an intimate exploration and meditation on Melvin Edwards’ work. Hassan envisions this zine as a conversation between their respective mediums: sculpture and printed matter. He describes the poetic approach to Melvin Edwards’ work that guided his creative process as follows: “Over the summer, as I developed this publication, I immersed myself in his philosophy. I took quiet trips to see his sculptures in New York—especially those that live outside the walls of institutions. The ones that live among people. The ones that weather. That gather dust, rust, fingerprints, and time.”