A portrait of Gerhard Richter by Werner Bartsch.

Contributions by Nicholas Serota and Dieter Schwarz

A catalog of the major exhibition of remarkable works of Richter at the Fondation Louis Vuitton in Paris, from October 17, 2025 to March 2, 2026

Gerhard Richter describes himself as a “classical painter,” and the exhibition at the Fondation Louis Vuitton in Paris aims to showcase the complete evolution of his career, spanning over six decades. It will highlight both the continuities and disruptions in his work, which includes not only painting but also exquisite drawings, over-painted photographs, and sculptures. Located in Frank Gehry’s iconic building in Bois de Boulogne, the exhibition will be organized chronologically, allowing visitors to appreciate the unique characteristics of each piece. Trained in Dresden, Richter is interested in historical genres of painting and seeks to reinterpret them in the context of contemporary times, revealing beauty and ethical issues through seemingly conventional subjects. He has also explored various painting techniques, creating works that range from quiet and refined to those bursting with energy, reflecting his physical engagement in the creative process.

Gerhard Richter: Foundation Louis Vuitton

t presents the nonconformist and fascinating work of the British artist Rose Wylie. She has won global recognition with her unique artistic practice and wide range of themes. Wylie’s large-format paintings are a mixture of figurative representation, abstraction and stories in pictures. Expressive, direct and filled with subversive humour, they bear witness to the artist’s engagement with pop culture, literature, history, and personal experiences. Wylie’s artistic language is deliberately simple, and recalls the aesthetic of Bad Painting and Post-Pop.

With works from the last thirty years, the book provides an insight into the untamed oeuvre of an artist who overcomes conventional boundaries and occupies a unique place in the contemporary art scene. Individual works are also being painted specially for the exhibition in Bern, and shown to the public for the first time, just as Juergen Teller’s photographs, in their inimitable way, introduce us to the artists’ world in her different way.

Rose Wylie: Flick and Float

Contributions by Charlotte Ickes, Josh T Franco, Julie Ault, Joshua Chambers-Letson, and Teresita Fernández

 examines Felix Gonzalez–Torres’s work in relation to portraiture and accompanies a major exhibition of the same name at the National Portrait Gallery and the Archives of American Art, Smithsonian Institution. As one of the leading artists of the twentieth century, Gonzalez-Torres broadened the horizon of portraiture from a genre associated with static representations of individuals to one with the capacity to change, remain resonant, and encourage collaboration. With no formal beginning or end point, the exhibition and monograph unfold at the intersection of Gonzalez-Torres’s groundbreaking work, the context of two Smithsonian collections, and the historically significant setting of Washington, DC.

 weaves together documentation of the exhibition with new scholarship by the exhibition’s curators, Josh T Franco and Charlotte Ickes; essays by Julie Ault and Joshua Chambers-Letson; and archival texts that shape the conceptual foundation for the exhibition. This in-depth look at the artist’s relationship to portraiture and historiography provides a new way into the practice of one the most significant artists of our time.

Felix Gonzalez-Torres: Always to Return

Detail view of Alice Neel's 1967 painting titled Richard

Contributions by Kelly Richman-Abdou, Jennifer Higgie, Mira Schor, and Annie Sprinkle

This catalog was conceived as a tool to discover and understand the work of Alice Neel, presented for the first time in Italy on the occasion of the retrospective of the same name at Pinacoteca Agnelli. Published in English and Italian, the book follows the exhibition layout: the authors’ contributions are followed by images of the 60 works presented, divided into six sections—

—mirroring the six rooms in the exhibition. Each of these thematic sections is preceded by an introductory text, and the publication concludes with a chronology, compiled by the editors, that links Neel’s life to analyses of 30 of her works in the exhibition. The author contributions includes an introduction by the curators, followed by four essays: Kelly Richman-Abdou examines Neel’s exploration of the theme of motherhood in the early phase of her artistic career, offering an interesting comparison with some of the works the artist may have seen during her visits to the Metropolitan Museum of Art; Jennifer Higgie reflects on Neel’s interest in self-portraiture, a genre that the artist rarely explored during her career; Mira Schor revisits her twenty-year research on the formal aspects that allow Alice Neel to be considered a great abstract artist; Annie Sprinkle, whose portrait is included in the exhibition, recounts her experience of posing for Neel and the development of their friendship.

Alice Neel: I Am the Century

is an artist catalogue published with Christopher Williams on the occasion of his 2025 exhibition at The Perimeter.

The catalogue was designed by Petra Hollenbach and Christopher Williams, and features a selection of the artist's images and a critical essay, 'Model Models,' by art historian Stephanie Schwartz. 

Christopher Williams: Photographs

This six-panel cotton hat features a custom embroidered design by R. Crumb for the Los Angeles gallery location of David Zwirner. 

David Zwirner Los Angeles Hat

A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

Ruth Asawa with hanging wire sculpture, 1951. Photo © Imogen Cunningham Trust

Ruth Asawa's vibrant and experimental lithographs, made at the renowned Tamarind Lithography Workshop 

In autumn 1965, the artist Ruth Asawa (1926–2013) produced a remarkable suite of fifty-four prints at the storied Tamarind Lithography Workshop in Los Angeles. Asawa, well-known for her intricate looped-wire sculptures, was new to lithography, but she eagerly immersed herself in the workshop’s atmosphere of creativity and collaboration. The resulting works, strikingly varied and experimental, are published together for the first time in this special volume. Vibrant portraits of the artist’s parents and children alternate with renderings of colorful blooms from her San Francisco garden, linear explorations of desert flora, and abstract compositions of crackled, veined fields and pools of ink. Unique within Asawa’s renowned and wide-ranging body of work, the suite is a testament to the beauty and expansiveness of her art, which flowed from an endless fascination with materials, forms, and relationships. 

Ruth Asawa: The Tamarind Prints

Portrait of Neo Rauch, 2023. Photo by Uwe Walter.

Texts by Ingrid Mössinger, Ralph Keuning, and David Salle

The definitive monograph on the acclaimed German artist Neo Rauch, one of the most influential figurative painters working today

Neo Rauch is one of the world’s most successful and popular contemporary artists. A leading force of the Leipzig School, the group of artists that emerged from East Germany in the early 1990s after the fall of the Berlin Wall, Rauch quickly established himself internationally through his large canvases featuring a crossover between Surrealism and popular imagery.

Characterized by a bright acidic palette, Rauch’s ambiguous landscapes are populated by spatially connected, alienated figures conjuring a mysterious atmosphere of distorted nostalgia and failed Utopia. This career-spanning monograph was made in close collaboration with the artist, showcasing Rauch’s work alongside essays and texts that illuminate his work and career.

Neo Rauch

A gelatin silver print by Diane Arbus, titled Triplets in their bedroom, N.J. 1963, dated 1963.

Available for preorder. Forthcoming November 2025

A new collection of photographs by Diane Arbus illuminates her singular ability to enter private worlds.

 brings together forty-four photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass—instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in 

 include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

Diane Arbus: Sanctum Sanctorum

Detail of an oil on linen painting, titled Clear Message, dated 2019.

Inside of this book are 38 paintings and a sculpture by Josh Smith. The paintings were made in 2025 and exhibited as part of the show 

 at David Zwirner, Los Angeles from September 13-November 1, 2025. 

Grim reapers roam the city with bicycles. They are up to something.

Josh Smith: Destiny

Portrait of Kerry James Marshall, 2018. Photo by Jason Bell

Texts by Benjamin Buchloh, Aria Dean, Darby English, Mark Godfrey, Madeleine Grynsztejn, Cathérine Hug, Nikita Sena Quarshie, and Rebecca Zorach

Accompanying the largest UK survey to date of work by the legendary Chicago-based figurative painter



This volume is the most extensive publication on Kerry James Marshall to date, celebrating half a century of his work. It reveals the complex ways in which Marshall has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks and beauty salons. It charts his use of portraiture to memorialize individuals such as Nat Turner, Harriet Tubman and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, the book also includes chapters on Marshall's 

 project and his various public commissions, including his stained-glass windows for the cathedral in Washington, DC. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English and others, plus an interview between Kerry James Marshall and Benjamin H. D. Buchloh.


Kerry James Marshall: The Histories

An installation view of the exhibition, Suzan Frecon: recent paintings, oil and water, at David Zwirner in London, dated 2022.

Marcella Durand

 pairs poems by Marcella Durand with reproductions of paintings on paper by Suzan Frecon. The book marks the first collaboration between Frecon and Durand, who are mother and daughter, and a continuing connection to France, as Durand is a dual citizen and translator. A selection of Frecon’s works on paper featured in the publication will be included as part of the 2025 exhibition 

 in the David Zwirner Gallery in Paris. These “brushwork” pieces include small-scale experiments by Frecon with brush strokes and haematite pigments. 

Suzan Frecon: The Light Factory

Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

 is the catalogue for the exhibition devoted to Sigmar Polke at the Fondation Vincent van Gogh Arles. Bice Curiger, curator of the exhibition and a specialist in Polke’s work, is editing the book. It gathers paintings, photographs, and films plus graphic art from 1960 to 2009 to illustrate the multifaceted quality of the artist’s output, which is informed by astute observations and powerful creative choices that reflect the artist’s sense of irony and love of experimentation. One focus of the selection of works is on the political dimension of Polke’s oeuvre; he was an exacting analyst of the world around him and commented critically on politics, art, and history.

The extensive essay section includes the main contribution by Bice Curiger, and texts by Ulf Erdmann Ziegler, Nina Pohl, Kathy Halbreich, Friedrich W. Heubach, Maria Stavrinaki, Petra Lange-Berndt and Dietmar Rübel. Poems by Thomas Kling and statements by artists Anne Imhof, Alvaro Barrington, Michael Krebber, Helen Marten, Trajal Harrell, and Laura Owens provide further insight into Polke’s work.

English/German bilingual edition

Sigmar Polke: Beneath the Cobblestones, the Earth (English/German edition)

A detail of a photograph by Wolfgang Tillmans titled Sicily Morning, dated 2018.

From June 13 to September 22, 2025, the Centre Pompidou is giving carte blanche to the artist Wolfgang Tillmans, who has come up with an original project to round off the programming of the Paris building. Occupying the entire second floor of the Public Information Library (Bpi), Tillmans’s experimental installation transforms the space, establishing a dialogue with the former library and questioning it both as architecture and as a locus for the transmission of knowledge. The exhibition explores over thirty-five years of artistic practice through various photographic genres and constitutes another, very personal representation of his universe, whose order and logic are activated in response to the library space.

The catalog traces this unique project. On the spreads of the section featuring the plates, images of the works alternate with numerous installation shots that show how the artist has made this space his own. A varied selection of essays by a younger generation of authors sheds new light on the various aspects of Tillmans’s work.

Wolfgang Tillmans is an artist based in Berlin and London. A recent retrospective was held at the Museum of Modern Art in New York, the Art Gallery of Ontario in Toronto, and the Museum of Modern Art in San Francisco. Florian Ebner is head of the Department of Photography at the Centre Pompidou. Olga Frydryszak-Rétat is assistant curator at the Department of Photography, Centre Pompidou, specializing in contemporary photography.

Wolfgang Tillmans: Nothing could have prepared us / Everything could have prepared us

Sasha Gordon, 2024. Photo by Jason Schmidt

Text by Kathy Huang. Contributions by Aleesa Pitchamarn Alexander, Genny Lim, Delia Cai, Kevin Kwan, and Fariha Róisín

The first book to highlight Asian diasporic women and nonbinary artists engaged with figurative painting, sculpture, and drawing—featuring the work of Sasha Gordon.



Genny Lim’s poem “Wonder Woman” follows a narrator who observes the everyday lives of Asian women—across generations, countries, and socioeconomic backgrounds—wondering if their experiences reflect her own. The poem centers Asian women as its protagonists and asks what commonalities exist between them.

Often underrepresented in museum collections and important exhibitions, Asian diasporic women and nonbinary artists are now receiving recognition; this book expands on two landmark shows of figurative art curated by Kathy Huang, organized in response to increasing anti-Asian racism and violence during the Covid-19 pandemic.

The forty featured artists, each represented with four or more works and a personal statement, subvert stereotypes and assert their identities in places where they have historically been marginalized. While some featured artists explore identity through self-portraiture, others depict the heroines in their lives, offering works that highlight family, community, and history. Several of the works address colonial and patriarchal structures in the West, legends, and myths. With essays, paintings, sculptures, and drawings created within the last four years, this book is a current, open-ended collection of contemporary Asian diasporic experiences.

Wonder Women: Art of the Asian Diaspora

Edited by Lauren Cornell, Karen Kelly, and Barbara Schroeder. Texts by Lauren Cornell, Christian Ayne Crouch, Christina Sharpe, Laura U. Marks, and Kevin Moore

Douglas's first US survey charts his global influence and innovation across 40 works and reimagines D.W. Griffith's The Birth of a Nation (1915).

Since the 1980s, Canadian artist Stan Douglas (b. 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however imperceptible, on the present. His work operates within the genres of cinema, photography and theater to present a point of view that is always staged. Douglas's rigorous explorations of these charged histories show us how to "think historically in the present" and frame contemporary crises in a longer timeline. This book was published in conjunction with Center for Curatorial Studies, Bard College; Kemper Museum of Contemporary Art.

Stan Douglas: Ghostlight

Empress of Night

Marcel Dzama

1-Up

 at David Zwirner Los  Angeles (June 28–August 8). This richly illustrated, limited-edition zine features close‑up details of new and recent works—including ink, pearlescent-ink, watercolor, and graphite pieces—set among dense, dreamlike nightscapes.

With references to Francisco Goya and surrealist poet Federico García Lorca, among others, the zine explores parallels between historical periods of turmoil and our present moment, and touches on themes of ecological fragility and authoritarianism. With recurring figures like animals, dancing jesters, and celestial motifs, 

 captures Dzama’s nocturnal imagination and allegorical storytelling, offering a poetic and timely reflection of hope amid unrest.

Marcel Dzama: Empress of Night

ekphrasis

 series, available now as a bundle of our 30 in-print titles. The 

 series is dedicated to publishing rare, out-of-print, and newly commissioned texts as accessible paperback volumes. It is part of David Zwirner Books’s ongoing effort to publish new and surprising pieces of writing on visual culture.

The ekphrasis Collection (30 books)



From Joan Mitchell's very first dog, to Marion, Madeleine and Prunelle, all of them cherished companions in her life and work. Joan Mitchell and her dogs: a love story.



Joan Mitchell, an extraordinary figure in 20th-century art, remains one of the most celebrated painters of the Abstract Expressionist movement. Born in 1925, in Chicago, Illinois, she grew to redefine abstraction, blending emotional intensity with lyrical beauty. Her work, characterized by dynamic brushstrokes, vivid colors, and profound emotional depth, established her as a towering presence in a predominantly male art world.

Joan Mitchell had 13 dogs. Georges du Soleil, a black poodle, was one of Joan Mitchell's beloved canine companions. Known for her deep affection for animals, Mitchell treasured Georges as a constant presence in her life during her years in France. Georges, like her other pets, was more than just a companion; he was part of the vibrant, dynamic environment that nourished her creativity and her ability to channel emotion into her art.



“Dogs are objects of love (I suppose people could be? Sometimes)”

 wrote Joan Mitchell.

From her first dog, the adored Georges du Soleil, to Skye Terriers Idée, Isabelle, and Ibertelle (“Bertie”), Brittany Spaniel Patou, German Shepherds Iva, Marion, and Madeleine, and not forgetting Prunelle and Belle-Bête; all of them cherished companions in her life and work, all of them celebrated here. Joan Mitchell and her dogs: a love story.

Joan Mitchell and Her Dogs

By Marguerite Yourcenar. Introduction by John Knight

A selection of texts on art and artists by the Belgian French novelist and essayist Marguerite Yourcenar

 (1951), an imagined autobiography of the Roman emperor, Yourcenar brings the same depth of inquiry and inventive speculation to her lyric prose on art and artists in this newest title in the 

 series. In these five jewel-like essays, Yourcenar meditates on the decay of time, the desire both satiated and refused by art, and the imagery animating the lives, works, and dreams of Michelangelo, Dürer, and Piranesi. And in an intimate meditation on the historical novel, Yourcenar describes her own encounters with how language reveals the past. Together these exquisite essays explore that fundamental awe—perhaps even the terror—at the heart of an encounter with beauty. 

An introduction by John Knight sketches the life of this extraordinary writer and situates Yourcenar’s unique criticism within her attempt to capture the great struggle required to make an enduring work of art. Subtle and learned, Yourcenar’s essays are like stepping stones into the past and the shadowy business of artistic creation. Bringing back into print Yourcenar’s seminal essay “The Dark Brain of Piranesi” in the poet Richard Howard’s elegant English translation, conducted in collaboration with the author, this volume also collects texts from 

 (1983) into a particularly focused volume.

A Dream of Stone

Karl Ove Knausgaard

 considers recurring themes and motifs from Mamma Andersson’s oeuvre and suggests complex and potent feelings related to loss. 



Finding inspiration in work by other Scandinavian painters, including Carl Fredrik Hill and Vilhelm Hammershøi, Andersson explores the tension between interiority and the external world, imbuing her compositions with a haunting stillness and introspection. Departing from earlier oil-on-board paintings, the paintings in this body of work primarily utilize canvas, a support that allows Andersson to create at a larger scale and expand compositional possibilities within the pictorial space. Employing trompe l’oeil, the artist produces a subtly claustrophobic effect in domestic spaces by layering uncanny interior scenes taken from her own home and her imagination, an interplay of surfaces and imagery that probes the nature of representation.

This catalogue, published on the occasion of the artist’s first solo exhibition in Paris, at David Zwirner, and a companion to three previous volumes of recent work, marks a metaphorical farewell to a previous phase in her life. The author Karl Ove Knausgaard, a frequent collaborator of Andersson’s, provides an accompanying text to this book, offering an oneiric perspective on the artist’s evocation of layered dimensions.

Mamma Andersson: Adieu Maria Magdalena

Hilma af Klint

Wassily Kandinsky

Daniel Birnbaum

Julia Voss



An important exploration of the lives and art of Hilma af Klint and Wassily Kandinsky, two pioneers of abstraction at the turn of the twentieth century

The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art.

While there is no indication that these artists, who both died in 1944, ever met, this publication presents a dynamic and visual conversation between them. Through this engrossing account of the affinities and divergences between af Klint’s and Kandinsky’s lives and work—supported by more than 100 striking illustrations—we gain a deeper understanding of the forces that shaped their artistic trajectories. By examining the spiritual, sociopolitical, and personal contexts that influenced their practices, this book invites us to witness a pivotal moment in which the art world was forever changed.

Hilma af Klint and Wassily Kandinsky: Dreams of the Future

An artwork by Raymond Saunders, called Untitled, dated 1990. Copyright Raymond Saunders

Jarrett Earnest

Darby English

Thelma Golden

Ebony L. Haynes

Richard J. Powell

Judith Wilson

Introduction by Ebony L. Haynes. Texts by Jarrett Earnest, Darby English, Richard J. Powell, and Raymond Saunders. Interview with Raymond Saunders by Judith Wilson. Conversation between Thelma Golden and Ebony L. Haynes. 



Discover Raymond Saunders’s dynamic paintings and his extraordinary legacy as an artist and thinker in his first monograph.

Saunders’s work brings together his extensive formal training with his own observations and lived experience. His assemblage-style paintings frequently begin with a monochromatic black ground elaborated with white chalk—a pointed reversal of the traditional figure-ground relationship. He subsequently adds a range of other markings, materials, and talismans, such as wallpaper and advertisements, rulers and paintbrushes. Expressionistic swaths of paint, minimalist motifs, line drawings, and passages of vibrant color tangle with found objects, signs, and doors collected from his physical surroundings at home and abroad, creating unexpected visual rhymes and resonances that reward careful and sustained looking. At once deliberately constructed and improvisatory, didactic and deeply felt, these richly built surfaces conjure a range of themes, allowing for a nuanced multiplicity of meanings. 

Documenting a two-part exhibition presented at David Zwirner and Andrew Kreps Gallery in 2024, this publication illuminates Saunders’s ability to infuse his work with social relevance and commentary. Included is a conversation between curator Ebony Haynes and the Studio Museum of Harlem director Thelma Golden about Golden’s multidecade engagement with Saunders’s artwork and writing. A facsimile of Saunders's self-published pamphlet from 1967, 

—his vital essay on the creative expression of the artist, which continues to spark cultural conversation more than five decades later—is reproduced alongside new annotated commentary by the art historian Darby English. An essay by Jarrett Earnest offers an in-depth interpretation of two of Saunders’s complex chalkboard works. Also included is a previously unpublished interview from 1980 between the artist and Judith Wilson, in which Saunders discusses his multilayered practice. Lastly, a pivotal text from 1993 by the art historian Richard J. Powell offers a panoramic examination of Saunders’s art from 1968 to 1993, with a special focus on his iconic painting 

. This robust group of texts and academic considerations offers a compelling exploration of Saunders’s wide-ranging practice and lasting influence.

Raymond Saunders: Post No Bills

Jeffrey Kastner

Foreword by Winston Eggleston. Text by Jeffrey Kastner



This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work.



Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used for this process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, 

 marks the final presentation of new works completed in this medium.

The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

William Eggleston: The Last Dyes

All Books

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.