Produced on the occasion of the exhibition AA Bronson 1969–2000 at Secession, Vienna, 5 October–26 November, 2000.

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

Produced on the occasion of Simone Fattal’s exhibition metaphorS, at Secession, Vienna, 21 June–8 September, 2024.

The publication includes a series of collages and drawings by the artist, inspired by Gustav Klimt’s Beethoven Frieze. A reproduction of a new collage is inserted into the book.

Designed by Sabo Day.

Produced on the occasion of Stephan Dillemuth’s exhibtion Öffentliche Verkehrsmittel at Secession, Vienna, 3 May–17 June, 2012.

Produced on the occasion of the exhibition Patricia L. Boyd: Ceiling Analysis at Secession Vienna, 18 November, 2022 – 15 February, 2023.

Borrowing its format from fabric sample books, Ceiling Blues contains photographed fragments of frottages, silkscreen prints, and casts—tests, made in preparation for her exhibition, reproduced in 1:1 scale. “The samples here are not single samples of what can exist in quantity, as with samples from a roll of fabric that has a pattern that repeats. They are single samples from what is singular. They are excerpts of draft versions of a potential work that remains unfound.”—Patricia L. Boyd

Produced on the occasion of Josef Dabernig’s exhibition at Secession, Vienna, 30 September–31 November, 1992. With texts from Josef Dabernig, Christian Kravagna and Adolf Krischanitz.

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

Produced on the occasion of the exhibition R. H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018.

“R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman’s paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in ten predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman’s practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation.”—Miguel Abreu Gallery, New York