Produced on the occasion of Morgan Fisher’s exhibitions The Frame and Beyond at the Generali Foundation, Vienna, 2 March 2–29 July, 2012 & Translations at Städtisches Museum Abteiberg, Mönchengladbach, 23 October, 2011–5 February, 2012.

Morgan Fisher studied art history at Harvard from 1960 to 1964 before attending film school in Los Angeles and going into film. He then worked in Hollywood for several years, mostly as an editor, an experience that shaped his experimental practice. In the 1970s, Fisher created several film installations that can be described as works of Expanded Cinema. From the mid-1990s, in a further development, he turned to monochrome painting and installations of monochrome paintings.

With introductions by Sabine Folie and Susanne Titz, essays by Thom Andersen, Rainer Bellenbaum / Sabeth Buchmann, Yve-Alain Bois and short texts by Morgan Fisher

Chapter 24 illustrates 61 paintings from the exhibition of the same name at the Museum Abteiberg in Mönchengladbach, Germany, 3 June–4 November, 2012. This latest chapter employs a variety of images directly related to Museum Abteiberg and Mönchengladbach. Many of the paintings are made from the museum’s image archive, and photographs taken by the artist of works in the permanent collection. These images are presented alongside several small portraits of their custodian, chief curator Hannelore Kersting.

The boxed set of 61 cards depicts each painting accompanied by corresponding notes written by the artist about each image. Additionally, the box includes an essay on Chapter 24 by Mark Godfrey, a facsimile of Yve-Alain Bois’ early essay The Tree and the Square, plus the original 1977 version L’arbre et le carré, and a new German translation. The box format is a direct reference to the famous catalogues published by the Museum in Mönchengladbach under the direction of Johannes Cladders.