Optimundus accompanies Jos de Gruyter & Harald Thys’s major exhibition at M HKA of the same title—the term they use for their particular conception of the parallel world. Narratives and criticism by Michael Van den Abeele, Nav Haq, Jennifer Krasinksi, Dieter Roelstraete, and artist Peter Wächtler are presented along with photos, drawings, and text illustrating the unsteady barriers and tense contact between Optimundus and the real world.

Edited by Mai Abu ElDahab. Following From Berkeley to Berkeley: Objectif Exhibitions, 2008–2010, this publication is the second in a two-part series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, between 2010 and 2011. The interviews are accompanied by a collection of secondary and parallel material produced in collaboration with each artist.

Interviews: Matias Faldbakken by Nikki Columbus, Will Holder by Richard Birkett, Sophie Nys by Dieter Roelstraete, Clifford Irving by Francis McKee, Patricia Esquivias by Jonas Žakaitis, Norma Jeane and Tim Etchells by Anna Colin, Michael Portnoy by Sofía Hernández Chong Cuy, Hassan Khan by Brian Kuan Wood, Barbara Visser by Raimundas Malašauskas; and contributions by Mai Abu ElDahab and Dexter Sinister.

*Please note this publication is secondhand and has some traces of previous ownership (missing dust jacket, some damage).

With contributions by Stuart Bertolotti-Bailey, Rob Giampietro, Anthony Huberman, J. Christopher Jones, Louis Kaplan, Edgar Allan Poe, Seth Price, David Reinfurt, David Senior and Giles Weaver.

Over the past few years, Dexter Sinister has been interested in exploring contemporary publishing in its broadest, most exploded sense. The first part of this book consists of pieces of writings written since the conception of their New York basement workshop and bookstore in the summer of 2006. These writings were previously published online as PDFs in the Library at www.dextersinister.org. They were primarily written by Dexter Sinister or by one of a circle of regular collaborators, often for their house journal Dot Dot Dot, or as supplements to other books or exhibitions.

My sweet little lamb (Everything we see could also be otherwise) is a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, unfolded in Zagreb and London in 2016–2017. This publication, conceived as a “post-episode” of the project, presents extensive visual documentation of the exhibitions alongside newly commissioned texts by theorists and writers Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, and Marina Vishmidt. Drawing on the legacy of the Eastern European neo-avantgarde and the work of Stilinović in particular, these contributions grapple with urgent questions about the value of art and exhibition making. Including the work of Mária Bartuszová, Stano Filko, Tina Gverović, Katalin Ladik, Sanja Iveković, Běla Kolářová, Július Koller, Edward Krasiński, Dóra Maurer, Goran Trbuljak, KwieKulik, Ivan Kožarić, Vlado Martek, Mangelos, Heimrad Bäcker, Stephen Willats.

From February 12 to March 6, 2022, Pure Fiction presented an exhibition and performance program at the Kölnischer Kunstverein in Cologne titled Shifting Theater: Sibyl’s Mouths. The starting point was a collective reading of Mary Shelley’s 1826 novel The Last Man, in which the narrator discovers a collection of scribbled oak leaves scattered in a cave outside Naples.

Contributions by Rosa Aiello, Gerry Bibby, Coleman Collins, Ayanna Dozier, Annie Ernaux, Amelia Groom, Michèle Graf & Selina Grüter, Monilola Olayemi Ilupeju, Ellen Yeon Kim, Bitsy Knox, Dan Kwon, Erika Landström, Enad Marouf, Katrin Mayer, Aislinn McNamara, Kamila & Jasmina Metwaly, Luzie Meyer, Vera Palme, Theresa Patzschke, Georgia Sagri, Mahsa Saloor, Elif Saydam, Mark von Schlegell, Simon Speiser, Elaine Tam, C.S. Tolan, Mikhail Wassmer, Anna Zacharoff.

The New York gallery American Fine Arts, Co.—whose name today is largely synonymous with that of its gallerist, Colin de Land (1955–2003)—represents a gallery practice in which a decided deviation from conventional models overlaps with successful activities within the framework of the art market. Today, American Fine Arts, Co. and de Land figure as uncontested projection screens for the desire for independence from or bohemian resistance against the dictate of the market.

Texts by Andrea Fraser, Manfred Hermes, Karl Holmqvist & Tobias Kaspar, Isla Leaver-Yap, Jackie McAllister, James Meyer & Christian Philipp Müller, Magnus Schäfer, Axel John Wieder, Phillip Zach; conversation between Colin de Land, Josef Strau, and Stephan Dillemuth; introduction by Hannes Loichinger and Magnus Schäfer.