Chris Reinecke’s boundary-crossing work from the late 1960s questions female role behaviour, raises critical social awareness, and aims for radical political change. The concepts and actions realised between 1966 and 1971 need to be re-evaluated today, both within the art context and against the backdrop of current political and social developments.

Reinecke withdrew from the art world in 1970 and founded a self-help collective for tenant solidarity, organising demonstrations and squatting buildings for the homeless. Later she withdrew in turn from politics and, out of the public eye, took up her artistic work again.

In 1963, the writer Marcel Broodthaers decided to embark on a career in the visual arts. Yet he never severed his ties to poetry and language, whose systems of meaning make up an integral aspect of his work. Retaining a certain distance to the art world, he posed fundamental questions about art -its mediums, its conceptions of what constitutes an artwork, its representation in museums. To this day, his oeuvre takes a critical stand on art’s commercialization strategies. Exhibition-making itself was a key element of Broodthaers’s artistic approach. Documenting all of the artist’s solo exhibitions that took place during his lifetime, the catalogue is the first ever to highlight that praxis. The extensive chronology and the accompanying detailed pictorial documentation of the most important works of every year together offer a systematic overview of his oeuvre. In addition to scholarly essays and many texts by Marcel Broodthaers himself, the publication also features an extensive series of photographic views of the major retrospective at the Fridericianum.

Edited by Susanne Pfeffer, with contributions from Michael Compton, Anny De Decker, Sebastian Egenhofer, Sabine Folie, Maria Gilissen Broodthaers, Gloria Moure, Susanne Pfeffer & Cord Riechelmann.

Published to accompany the exhibition LEAPS JUMPS AND BUMPS, this flip book focuses on one of Sturtevant’s more recent works, Finite Infinite (2010), a large scale projection that features a dog running in an endless loop across an expanse of grass. Finite Infinite, like many of Sturtevant’s video works, references the endlessly repeating imagery that has become so prevalent in the world we live in today. Looping and repetition, key themes throughout Sturtevant’s practice, are also elegantly drawn out in the insightful text by Daniel Birnbaum included in this book.

Produced on the occasion of the exhibition Peter Hujar, Eyes Open in the Dark at the Bundeskunsthalle, Bonn, 27 February–23 August 2026.

Peter Hujar was a central figure in the downtown scene of 1970s and early 80s New York, but at his death in 1987 from AIDS-related pneumonia his photography was largely unknown to a broader art world. Hujar’s principal concern was with portraiture, whether photographing his friends and denizens of the downtown scene – whom he encountered on the street, shot in his apartment studio, and sought out at performance venues – or turning his attention to animals, architecture and landscapes.

Portrait Mode presents a new essay by artist, photographer, writer, and filmmaker Moyra Davey. In aphoristic texts paired with her own photographs, Davey interweaves accounts of her experiences as a photographer with reflections on canonical practitioners and theorists of the medium. With a particular focus on framing, light, contingency, and temporality, she considers the work of photographers who have challenged conventions of (self-)portraiture and representation, connecting their approaches to contemporary queer and feminist protagonists of the genre.

Treatise of a Coat gathers for the first time works on paper by Helen Marten. Featuring coloured pencil, watercolour, ink, airbrush, acrylic and graphite, alongside other more unusual media like sand, silicone or olive oil, this book is a sumptuous, visual document of Marten’s drawing and painting practice on paper. Designed as an unruly “artist’s book”, Treatise of a Coat has multiple physical and linguistic folds. The title is a forcing of the homonymic similarities of coat: the literal jacket that is unfurled to expose the naked and unruly shame of human forms; the fur or hair of an animal; the verb-function of to coat, with its intentional building up of visual desire – the acts of lacquering, spreading, enclosing, flooding, directing, or husking that line and colour expedite when creating an image. The constituent materiality of this book is designed with the physicality of making a work on paper in mind.

Edited by Taylor Walsh, Sam Agnew, Helen Marten, Matthew Stuart & Jeffrey Rowledge. Designed by Matthew Stuart.