Produced on the occasion of Mire Lee’s exhibition The Heart of My Machine is Golden Lead at Secession, Vienna, 26 June–26 August, 2026.

Mire Lee’s large-scale installations are often composed of leaking mechanisms and quasi-organic structures that appear to drip and decay. Deliberately broken motorised elements seem to strain under their own operation, resisting the seamless efficiency associated with contemporary technological aesthetics. With texts from Haris Giannouras, Gemma Barricarte and Mire Lee. Designed by Sabo Day & Rosen Eveleigh.

The films and theoretical works by Trinh T. Minh-Ha blend different forms of writing and narrating; the mutual challenge of the theoretical and the poetical, discursive and “non-discursive” languages tell of Trinh T. Minh-Ha’s resistance against categorizations and limitations, which is carried out right across ethnicities and cultures.

Produced on the occasion of the exhibition Trinh T. Minh-ha, at Secession, Vienna, 7 March– 22 April, 2001.

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

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