An untitled painting by Noah Davis, dated 2015.

A heavy-duty cotton canvas tote, featuring a handwritten excerpt from Noah Davis’s personal journals.

16” wide x 14” tall x 4” gusset / 25" handles
15 oz cotton canvas

DZB x Noah Davis Tote - Canvas

A heavy-duty cotton canvas tote in black, featuring a handwritten excerpt from Noah Davis’s personal journals.

DZB x Noah Davis Tote - Black

A classic six-panel cap in navy cotton twill, featuring embroidered handwriting by Marcel Dzama.

A classic six-panel cap in navy cotton twill, featuring embroidered handwriting by Marcel Dzama reading "David Zwirner Does Books"

DZB x Marcel Dzama Hat 2026

A heavy-duty cotton canvas tote in hunter green, featuring screenprinted handwriting by Marcel Dzama.

A heavy-duty cotton canvas tote in hunter green, featuring screenprinted handwriting by Marcel Dzama reading "David Zwirner Does Books"

DZB x Marcel Dzama Tote 2026

An oversized crewneck in heavyweight cotton fleece, in creme, featuring embroidered handwriting by Marcel Dzama. 
100% cotton, 14oz

An oversized crewneck in heavyweight cotton fleece, in creme, featuring embroidered handwriting by Marcel Dzama.

DZB x Marcel Dzama Sweatshirt 2026

A relaxed, garment-dyed tee in seafoam green, featuring screenprinted handwriting by Marcel Dzama. 
100% cotton, 6.5 oz

A relaxed, garment-dyed tee in seafoam green, featuring screenprinted handwriting by Marcel Dzama.

DZB x Marcel Dzama T-Shirt 2026

Midnight Tears, 2023. © Yoshitomo Nara. Collection of the Guggenheim Museum Bilbao

Filled with quirky, playful exhibition photographs, this Nara catalogue surveys the translation of his signature rebellious aesthetic to statues in bronze and clay

Documenting Yoshitomo Nara's 2025 exhibition at BLUM Los Angeles, 

 traces the artist's turn toward bronze sculpture and the poetic potential of imperfection. Including a newly commissioned essay by art historian Yeewan Koon, this book brings together recent works, preparatory drawings, and playful photographs of children, dogs, and elders—figures that reflect Nara's ongoing curiosity about innocence, experience, and emotional depth. It also features 11 mid-size head sculptures exuding a quirky strangeness and dark charm that defines the artist's work. Although cast in bronze, they were first made in clay as palm-size pieces. In their transformed state, the malleable nature of the clay's original form remains evident, enticing viewers to retrace Nara's touch across its pillowy surface. These heads, presented for the first time, are integral to Nara's exploration in clay, intertwining ideas, and techniques developed since 2011, but also express a poignant return to his roots. Seen together, all the featured works highlight how far Nara has transformed the kawaii aesthetic into an alternate realm of beguiling misfits.

Yoshitomo Nara: My Imperfect Self

ekphrasis

 series, available now as a bundle of our 32 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 (32 books)

Karl Holmqvist

Constantin Brăiloiu

Georg Trakl

Foreword by David Zwirner. Poetry by Karl Holmqvist and Georg Trakl. Songs of the Dead from Gorj, collected by Constantin Brăiloiu

Victor Man is one of the most quietly commanding painters working today. His profound, enigmatic canvases occupy a singular place at the intersection of the spiritual and the material.

Victor Man’s paintings reveal varied, nonlinear references to literature, art, and poetry that transform essential elements of the human experience into visionary manifestations of color and form. The works collected in 

 tonality. These compositions engender a complex, layered encounter, whose figures occupy and move through the transience of human life.

In these paintings, Man positions mortality as an inherent presence within and successor to life—a process intimately linking the human realm with its natural, spiritual, and animal counterparts. His work carries a contemporary immediacy and primeval beauty, and is similarly marked by a nuanced intermingling of mourning and wonder, myth and earthly life. Ultimately, with their delicate, poetic treatment, Man’s paintings mediate between a sense of history and the experience of the world.

This volume is produced on the occasion of the artist’s first exhibition with David Zwirner, in London, 

. David Zwirner’s foreword to the volume highlights his personal interest in Man’s work. This catalogue also features an English translation of a traditional Romanian funerary chant recorded by the composer and ethnomusicologist Constantin Brăiloiu; newly commissioned poetry by the Swedish artist Karl Holmqvist; and poetry by the Austrian poet Georg Trakl.

Cover of a book titled Victor Man: The Absence That We Are, published by David Zwirner Books in 2026

Interior spread from a book titled Victor Man: The Absence That We Are, published by David Zwirner Books in 2026

Victor Man: The Absence That We Are

Jordan Wolfson, 2023, National Gallery of Australia. Photo by Karlee Holland. Courtesy National Gallery of Australia

Edited by Thomas D. Trummer. Texts by Simon Denny, Anne Imhof, Thomas D. Trummer, and Jordan Wolfson

Insights into the practice of an artist who employs the full spectrum of cutting-edge technology for his provocative works 

Jordan Wolfson is a boundary-pusher and provocateur who draws his motifs from sources including the gaming industry, internet clips, comic strips, and facial recognition software. In his artworks, he interrogates the contemporary conditions of art, technology, and mass media. This catalogue explores his practice through a dense sequence of images and texts, offering points of entry into a body of work that is deliberately confrontational—one that immerses the audience in intense, often unsettling situations. 

Cover of the book Jordan Wolfson published by Kunsthaus Bregenz in 2026

Jordan Wolfson

A painting by Michael Armitage, titled Enasoit, dated 2019.

Portrait of Michael Armitage, 2021. Photo by Tom Jamieson

Edited by Hans Ulrich Obrist. Texts by Manthia Diawara, Jean-Marie Gallais, Salman Rushdie, and Ocean Vuong. Conversation between Hans Ulrich Obrist and Michael Armitage

"Michael Armitage responds to his time, to our time, using all the vocabulary, all the arsenal of art. He paints on

canvas, made from tree bark, and makes his fragility an asset, suggesting that his human subjects can also transform their own into strength, and that what can work this magic is beauty." — Salman Rushdie

 is the publication that accompanies the major exhibition of the same name that Pinault Collection dedicates to the British painter Michael Armitage in the exhibition spaces of Palazzo Grassi in Venice (from March 29, 2026 to January 10, 2027).

Armitage, born in Nairobi, Kenya, in 1984, is a leading figure in the new international figurative painting. His research combines references to the European pictorial tradition with elements of East African visual culture, creating images of great narrative force and remarkable visual impact thanks to an extraordinary and highly personal use of color.

The volume offers an in-depth overview of his production, which now covers more than a decade, presenting, through a wide selection of reproductions of the works on display, scenes suspended between reality and imagination that address themes such as cultural identity and collective memory, politics and social transformations, myths, traditions, and popular narratives.

Critical texts and testimonies by Manthia Diawara, Jean-Marie Gallais, Salman Rushdie and Ocean Vuong join a long and recent interview by Hans Ulrich Obrist with the artist and take shape with the extraordinary graphic and cartotechnical project of Irma Boom Office.

Michael Armitage: The Promise of Change

A detail from a painting by Oscar Murillo, titled manifestation, dated 2019.

Oscar Murillo in his studio, 2022. Photo by Jason Schmidt

Edited by Anna Schneider and Daniel Milnes

This elegantly designed publication explores Oscar Murillo’s ambitious reimagining of Monet through a contemporary lens.

What happens when the radical beauty of Claude Monet’s late paintings meets the political tensions of the present? Interdisciplinary artist Oscar Murillo explores that question in a sweeping body of work that reimagines perception, power, and place through the language of mark-making. At its core is 

—a series of large-scale, visually arresting paintings that echo Monet’s 

 while confronting the political dimension of seeing and not seeing by positing darkness as a space of speculation for a new reading of impressionism. These works appear alongside further paintings by Murillo as well as his long-running 

 project, created in collaboration with schoolchildren across the globe, and participatory pieces that extend his practice beyond the studio and into the public realm. The result is a layered meditation on visibility, landscape, and the politics of artistic labor—across borders and generations. 

Designed with a modern flair to reflect the energy and ambition of the project, the book includes full-bleed plates, striking installation photography, and images from community-based projects. Both a record of a major artistic undertaking and a reflection of Murillo’s socially engaged approach, it offers an immersive look at a practice that is as materially rich as it is conceptually urgent.

Oscar Murillo: Collective Osmosis

A painting by Joe Bradley, titled Van Dongen, 2020 to 2022.

Caoimhín Mac Giolla Léith

Amy Sillman

Text by Caoimhín Mac Giolla Léith. Conversation between Joe Bradley and Amy Sillman

Joe Bradley’s colorful and dynamic paintings invite viewers to consider the interplay between the deliberate and spontaneous, and the abstract and figurative



American artist Joe Bradley is widely recognized for his expansive visual practice that encompasses painting as well as sculpture and drawing. Over the past twenty years, Bradley has continually reinvented his approach to art, creating a distinctive body of work that has ranged from modular, minimalist-style paintings and sculptures to rough-hewn, heavily worked surfaces featuring pictographic and abstract elements, to refined and layered compositions that, as critic Roberta Smith notes, “balance gracefully between representation and abstraction.”



 presents work from two celebrated exhibitions at David Zwirner, in New York and London in 2024 and 2025. Bradley worked on the paintings in these two groups simultaneously, and their mutual influence is perceptible in the presence of shared or repeated colors, forms, and shapes. These paintings suggest a new turn in the artist’s practice, as figurative elements emerge as central compositional structures. Accompanying works on paper further illuminate Bradley’s multidimensional practice. An essay by art critic Caoimhín Mac Giolla Léith situates this series within the artist’s larger oeuvre, discussing Bradley’s evolution in art-historical and formal terms. In a conversation, Bradley and fellow artist Amy Sillman explore the role of humor in art—and the influence of comics in Bradley’s work—and discuss their relationships to art history, the embodied act of painting, and the catalysts that spur their production.

Joe Bradley: Vom Abend/Animal Family

Sarah Roberts

Saul Nelson

John Ashbery

Pierre Schneider

Introduction by Sarah Roberts. Texts by Sarah Roberts, Saul Nelson, John Ashbery, and Pierre Schneider

Available for preorder. Forthcoming November 2026

Dedicated to Joan Mitchell’s remarkable paintings from 1960 to 1965, this richly produced catalogue illuminates a pivotal chapter in the internationally acclaimed artist’s career.



After settling permanently in France in 1959, the American painter Joan Mitchell embarked on a period of radical experimentation that diverged dramatically from her earlier work, replacing structured compositional frameworks with more untamed, atmospheric forms. She began spending long stretches living on a sailboat along the Côte d’Azur, absorbing the effects of the shifting light, water, and rugged coastlines of the Mediterranean. Back in her Paris studio, these experiences gave rise to daring and moody canvases that engaged with landscape more directly and visibly than she ever had before.

Characterized by dense, central currents of deep greens and blues that veil luminous colors beneath, the paintings of this period pulse with turbulence and lyricism. The poet John Ashbery described them as “an unhurried meditation on bits of landscape and air,” capturing Mitchell’s ability to translate sensation and memory into paint. This catalogue, published on the occasion of the exhibition 

To define a feeling: Joan Mitchell, 1960–1965

 at David Zwirner, New York, explores how these works advanced her approach to structure and color while engaging the enduring themes that define her oeuvre.

The volume features an introduction and an essay by the exhibition’s curator, Sarah Roberts, a text by Saul Nelson on the relationship of critic Clement Greenberg's criticism to Mitchell's work, and exhibition reviews from the 1960s by Ashbery and Pierre Schneider, offering rich historical context for this transformative moment in the artist’s career.

R. Buckminster Fuller

Anahid Nersessian

By R. Buckminster Fuller. Introduction by Anahid Nersessian.

 by R. Buckminster Fuller is a profound, lyrical celebration of the human mind, highlighting the necessary value of intuition in uniting and advancing the sciences and the arts, and in guiding humanity as a whole.

Knowledge is of the brain,
wisdom is of the mind,
and there is herewith implicit
an a priori wisdom-of-wisdoms.
—R. Buckminster Fuller

In this concise, powerful work, Fuller—the renowned inventor, artist, and creator of the geodesic dome—contends that intuition is an essential function of human understanding, in which the mind apprehends generalized principles related to the universe prior to and independent of brain-based reasoning. Drawing on decades of experience as a systems thinker, Fuller looks to ancient Greek metaphysical thought, physics, and history to demonstrate how intuitive insight allows us to grasp complex, interconnected realities. In embracing the a priori mystery of the universe, human intuition has led to discoveries that have determined the past and present, and will guide the “physical and metaphysical success of all humanity.”

 is both a meditation and a call to action, inviting readers to trust deeper patterns of understanding while remaining rigorously engaged with reason; this deeply humanist vision is especially urgent in our contemporary time. A new introduction by literary scholar Anahid Nersessian discusses Fuller’s poetics and metaphysical explorations––a remarkable, often overlooked aspect of his oeuvre.

renders abstract ideas vividly through language and form. An essential text for readers across disciplines, this volume offers ever-relevant insight into human consciousness and its relationship to the extant systems both within and outside ourselves.

Intuition

Marina Warner

Warsan Shire

Text by Marina Warner. Poetry by Warsan Shire

Available for preorder. Forthcoming December 2026

Highlighting powerful new paintings and sculptures by Michael Armitage, this catalogue showcases the artist’s poignant, timely, and profoundly humanistic works.



Kenyan British artist Michael Armitage’s work weaves real and imagined histories into powerful reflections on contemporary social and political life. 

 presents a selection of recent works exploring journeys across borders and the broader experience of displacement. Many of the artist’s paintings on Lubugo bark cloth—a traditional Ugandan textile used in funerary rituals, which he has employed for more than a decade—depict scenes from a migration route stretching from the Sahara Desert and the Mediterranean Sea toward Europe. These works, both intimate and epic, consider migration not only as movement across geography but as a condition that shapes identity, memory, and belonging.

The volume also features a series of bronze-relief sculptures inspired by the Stations of the Cross, reimagined to center migrants and the displaced—figures often marginalized within contemporary society—within a shared cultural and spiritual narrative. Armitage’s direct, emotionally charged imagery invites viewers to reflect on how migrants are seen, represented, and understood today.

Published to accompany the exhibition at David Zwirner New York, the catalogue includes an essay by Marina Warner on the role of myth in Armitage’s depictions of arduous journeys. Two poems by Warsan Shire, including a newly commissioned work, offer lyrical responses to the themes of the artist’s practice.

Michael Armitage: Crucible

Yu Nishimura. Photo by Takashi Homma for MARFA

A new limited-edition zine by Yu Nishimura, 

 unfolds across 24 pages and presents a selection of exclusive drawings from his 

 series. The publication offers an intimate glimpse into Nishimura’s quiet, atmospheric visual language, capturing subtle gestures, fleeting moments, and the poetic nuances of daily life.

Produced in a compact format, the zine is printed in grayscale offset, emphasizing the delicate tonal shifts and soft textures characteristic of the artist’s work. The restrained printing process enhances the contemplative quality of the drawings while maintaining a refined and tactile presence.

Yu Nishimura: Outline

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

Produced in conjunction with Raymond Saunders’s solo exhibition, 

, at David Zwirner Los Angeles, this collection of tearaway postcards feature artists’ responses on the frontside and exhibition information on the reverse with space to write a note of one’s own. 

Each contributor was invited to respond with a reflection on what it means to be an artist, the importance of formal arts education, and the experience of making work in Los Angeles. The project is deeply informed by Saunders’s personal archive of postcards, stamps, and correspondence with friends, colleagues, and students, much of which is presented as ephemera in the exhibition. This compendium also directly references 

 (1987), a series of postcards Saunders produced featuring excerpts from a conversation that reflect on the evolution of his artistic practice.

Proceeds from the sales of this publication will benefit 

, Los Angeles, which was founded in 1989 to provide quality arts instruction for students from underserved communities, integrated arts workshops for educators, and programming designed for the community.

Contributors include Raymond Saunders, Marcel Alcalá, Sadie Barnette, Dewey Crumpler, Derek Fordjour, Daniel T. Gaitor-Lomack, Nikita Gale, Chase Hall, Hanna Hur, Texas Isaiah, Ari Marcopoulos, Christina Quarles, Sterling Ruby, Cauleen Smith, P. Staff, and Leilah Weinraub.

Raymond Saunders: Notes from LA

An installation by Huma Bhabha, titled We Come in Peace, at the Metropolitan Museum of Art in New York, dated 2017.

Edited by Emilie Bouvard. Translated by Catherine Petit, Paul Buck, and Dennis Collins

Huma Bhabha has been asserting her keen interest in Alberto Giacometti’s work for a long time. The figures she makes are charged with a vigor, an energy at times intense, a sensibility which, in many respects, is in dialogue with those of the Swiss sculptor. In this book, recent as well as early works by Bhabha are shown, not without humor, alongside icons such as Giacometti’s 

This catalogue accompanies an exhibition presented at the Institut Giacometti from February 6 to May 24, 2026. 

Huma Bhabha / Alberto Giacometti

Designed by Andra Eggleston and featuring a drawing by William Eggleston, this pocket square brings a private language of line and color into everyday wear.

Andra and her father have long shared a love of great textiles and a good story. On trips to Memphis, Andra discovered boxes of William’s drawings—decades of work made before and after she was born, an artistic life that ran alongside his celebrated photography. Preserved and unpreserved, intimate and spontaneous, the drawings revealed a parallel legacy. She began, almost instinctively, to shape them into repeating patterns.

From that quiet collaboration grew Electra Eggleston: a collection of fabrics infused with William’s unmistakable sense of color and Andra’s eye for design. The textiles are bold yet livable, experiential rather than decorative, equally at home in fashion and interiors.

Printed on 100% linen with a vivid red embroidered edge, this pocket square carries that story in miniature—art meant to be folded, worn, and kept close.

William Eggleston Pocket Square

Contributions by Glenn Adamson, Karis Medina, Amy Jean Porter, and Jeffrey Saletnik

A beautifully illustrated look at the works of Anni Albers with a focus on the architectural dimensions of her work



Anni Albers (1899–1994) has long been revered as a trailblazing weaver, textile designer, and visual artist; she also was an insightful and eloquent writer, and her books 

 are canonical writings in design history. 

 explores the ideas of materiality, construction, and architecture across her body of work, establishing her legacy as a thinker, theoretician, and innovator.

The book’s essays include essential writings by Albers herself on the making and meaning of textiles, as well as new pieces by Glenn Adamson on her relationship to architecture, Karis Medina on the material and technique of her weavings, Amy Jean Porter on her writing, and Jeffrey Saletnik on East Asian influences in Albers’s work and thinking. Among the book’s hundreds of beautifully reproduced images are works held in private collections that have never before been published. An essential volume in the literature about modernism, this book reinforces Albers’s position as a leading figure in twentieth-century art.

Anni Albers: Constructing Textiles

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2026. Photo by Jason Schmidt

Texts by Ariel Levy, Barry Schwabsky, and Lena Dunham

The definitive monograph on innovative American painter Lisa Yuskavage

Lisa Yuskavage is one of the most acclaimed living painters. Known for her highly original approach to figurative painting, Yuskavage challenges conventional understandings of the genre. At times playful and at other times rueful, her bold, eccentric, exhibitionist, and introspective characters inhabit fantastical and vivid compositions, assuming the dual role of subject and object.

Although inspired by popular culture, the artist’s technique is deeply rooted in the history of painting, establishing an underlying tension between polar opposites such as high and low, sacred and profane, harmony and dissonance.

Yuskavage’s first proper monograph features more than 150 color images, including never-before-seen photographs of her studio, along with insightful text contributions from Barry Schwabsky, Lena Dunham, and Ariel Levy.

Lisa Yuskavage

Max Dax

Robert Eikmeyer

Kim Gordon

Astrid Ihle

Ulrich Loock

Stefan Thull

René Zechlin

Foreword by René Zechlin and Astrid Ihle. Essays by Max Dax, Robert Eikmeyer, Kim Gordon, and Ulrich Loock

The definitive collection of Raymond Pettibon’s album covers, uniting art and music in one powerful visual history. Featuring work for Black Flag, Sonic Youth, Foo Fighters, Iggy Pop, Lana Del Rey, and many others, this volume traces the artist’s bold influence on alternative culture from the late 1970s to today.

Throughout his decades-long career, Raymond Pettibon has remained deeply engaged with the world around him, whether through biting political satire of American geopolitics or poetic meditations on surfing and baseball. Pettibon’s aesthetic and political sensibilities originated in the punk scene that thrived in Southern California, the artist’s first home, in the late 1970s and 1980s—evidenced in his collaborations with bands such as the Minutemen, Sonic Youth, and Saccharine Trust. Among the most iconic works featured in this collection is Pettibon’s four-column logo design for Black Flag. His distinctive artwork appears on albums for a wide range of legendary musicians, including Iggy Pop, Foo Fighters, and Lana Del Rey, among many others.

 spotlights the artist’s enduring impact on the music industry, presenting for the first time every record, CD, and cassette cover since 1979 that features his artwork. Published on the occasion of an exhibition at the 

 in Ludwigshafen, Germany, this catalogue features more than two hundred works from the Stefan Thull Collection. With essays by Max Dax, Robert Eikmeyer, and Ulrich Loock, and a 1985 

 essay by Kim Gordon, the book includes a catalogue raisonné of Pettibon’s album artwork, an essential resource for fans, scholars, and collectors of contemporary art and music history alike.

A German edition is also published by the Wilhelm-Hack-Museum and 

Nervous Breakdown: Raymond Pettibon front cover

Nervous Breakdown: Raymond Pettibon title page

Nervous Breakdown: Raymond Pettibon spread

Album Covers

Nervous Breakdown: Raymond Pettibon

A painting by Giorgio Morandi titled Natura morta (Still Life), dated 1956.

Luigi Magnani

Stefano Roffi

Alice Ensabella

By Luigi Magnani. Translated by Antony Shugaar. Preface by Alice Ensabella. Introduction by Stefano Roffi

The Italian painter Giorgio Morandi is recounted as a friend and artist in this memoir by Luigi Magnani, an art historian and devoted collector of Morandi’s work

One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani.

is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation. Magnani’s personal collection of Morandi’s work was on view at David Zwirner, New York, in 2025. Originally published in 1982 in Italian, this memoir is accompanied by a new preface by curator and scholar Alice Ensabella and an introduction by Stefano Roffi, director of the Magnani Rocca Foundation.

My Morandi

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.