A detail of an artwork by Michaël Borremans titled The Commuter II dated 2022

Portrait of Michaël Borremans, 2025. Photo by Charlie De Keersmaecker 

Christine Kintisch

Belgian artist Michaël Borremans (born 1963) is among the most brilliant painters of emotion of the past half-century. An heir to the sober, enigmatic character studies of Manet and Velazquez and the thick indoor atmospheres of Vermeer, Borremans has greatly advanced this tradition, in part through his incorporation of cinematic allusion and of that uniquely Belgian take on Surrealism that is at once deeply phlegmatic and bizarrely comical. Any divisions between realism and flights of fantasy are mysteriously abolished by Borremans, however, leaving the viewer to confront his intense, almost claustrophobic painterly world. Published for an exhibition at BAWAG Contemporary in Vienna, 

 presents a concise selection of a dozen canvases made over the past five years, examined in dialogue with the artist’s drawings and films.

Michaël Borremans: Magnetics

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

Text by Thomas McEvilley and Julie Mehretu


Pakistan-born, New York-based artist Huma Bhabha (born 1962) makes fragile sculptures and assemblages composed from detritus, construction materials and found objects. This first survey of her work contains a wealth of full-color illustrations, an interview with Julie Mehretu and an essay by Thomas McEvilley.

Huma Bhabha

Robert Graham

 brings together rarely seen works by this American artist, providing an overview and reconsideration of Graham’s initial engagement with Minimalism and figurative sculpture. The exhibition, held at David Zwirner in 2011, comprised one of the first major presentations of the artist’s early work in the United States since 1972. Modeled after images found on television or in popular magazines, such as 

, Graham’s early work presents Plexiglas-encased environments populated by miniature wax figurines engaged in leisurely or pleasurable activities. The ethereal surfaces of the artist’s plastic enclosures are evocative of the highly finished and meticulous objects that have become associated with the so-called “Finish Fetish” aesthetic, and their interior spaces are suggestive of the geography of 1960s California as well as the modernist domestic interiors popularized by John Entenza’s Case Study House Program. Over the course of his career, Graham went on to develop an exceptionally focused artistic practice characterized by a consistent preoccupation with scale and the human figure. Since the early 1970s, his works have been exhibited widely, at such venues as Kunstverein Hamburg, and the Whitney Museum of American Art, New York, among others. Work by the artist is held in major museum collections around the world, and Graham has also received numerous public commissions, including the 1984 Olympic Gateway in Los Angeles and the Duke Ellington Memorial in Central Park, New York (1997). Born in Mexico City in 1938, he died in Santa Monica, California, in 2008.

Robert Graham: Early Work 1963-1973

, is published on the occasion of the artist’s sixth solo exhibition at David Zwirner in 2011. The exhibition debuts a major new film, 

, alongside related drawings, sculptures, and dioramas. In the film, characters based on the classic game of chess, dressed in geometrically designed costumes and wearing elaborate masks, dance across a checkered board to challenge their opponents in fatal interchanges. Designed in collaboration with the artist in the format of a small sketchbook, this exhibition catalogue includes drawings, storyboards, dioramas, and film and production stills from the making of 

Marcel Dzama: Behind Every Curtain

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

Afterword by Doon Arbus. Edited by Doon Arbus and Yolanda Cuomo

 is the only volume of Diane Arbus\s photographs devoted exclusively to a single project. The photographs were taken at residences for people with developmental disabilities between 1969 and 1971, in the last years of Arbus’s life. Although she considered doing a book on the subject, the vast majority of these pictures remained unpublished prior to this volume. These photographs achieve a lyricism, an emotional purity that sets them apart from all her other accomplishments. “Finally what I’ve been searching for,” she wrote at the time. The product of her consistently unflinching regard for reality as she found it, the images in this book have less in common with the documentary than with the mythic. 

 may well be Arbus’s most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us. For Diane Arbus, this is what making pictures was all about. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

Diane Arbus: Untitled

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence—even a legend—among serious photographers, although only a small number of her pictures were widely known. The publication of 

 in 1972, and the posthumous retrospective at the Museum of Modern Art, offered the public its first encounter with Arbus’s achievements. The response was unprecedented.

The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbus’s friend and colleague, and by her daughter Doon Arbus. Their goal was to remain faithful to the standards by which Arbus judged her own work, and to how she hoped it would be seen. Universally acknowledged as a timeless masterpiece, and translated into five languages, 

 remains the foundation of her international reputation.

Nearly fifty years has not diminished the impact of these pictures; they penetrate the psyche with the force of a personal encounter, and transform the way we see the world.

Fortieth-anniversary edition

Diane Arbus: An Aperture Monograph

Jeff Koons

 paintings, including an extensive interview with the artist in his studio.

From the outset of his controversial career, Jeff Koons turned the traditional notion of the work of art and its context inside out. Focusing on unexpected yet banal objects as models for his work, he eschewed typical standards of "good taste" in art, instead embracing what he perceives as conventional middle-class values in order to expose the vulnerabilities of aesthetic hierarchies and value systems. Koons’s declared strategies are to make art beautiful, to strive for objectivity, to give back the familiar, and to reflect, and thus empower, the viewer. The works of Koons’s series Hulk Elvis burst with energy and precision yet mystify with their complex permutations and combinations of figurative and abstract elements. A charged mix of inflatable monkeys, geishas, birds, the Incredible Hulk, and the Liberty Bell jostle against realistically rendered landscapes, gestural paintings, steam engines and horse-drawn carriages, negative silhouettes, and underlying dot screens.

Jeff Koons: Hulk Elvis

Jeffrey Weiss

Texts by Jeffrey Weiss, Béatrice Gross, and Gila Strobel

This two-volume catalogue documents the collection of Helga and Walther Lauffs, one of Europe’s most important private collections of twentieth century post-war art, comprising key examples of Pop Art, Arte Povera, Minimalism, Post-Minimalism, and Conceptual Art.

The Lauffs built their collection over the course of the late 1960s through the 1970s with the guidance of curator and art historian Paul Wember, who was known for the visionary program of contemporary art that he developed as the director of the Kaiser Wilhelm Museum in Krefeld between 1947 and 1975. In its vision and scope, which is made evident by the rigorous and broad selection of the art of their times, they succeeded in building a collection that bridges the gap between European and American artistic sensibilities. Their collection provides a singularly focused overview of art produced around the 1960s and 1970s, offering connections among its diverse artworks, while pointing forward to the work of successive generations of artists.

In two fully-illustrated volumes, the catalogue incorporates over 100 color plates, with newly-commissioned scholarship and extensive research and documentation on the works in the collection, including important works by Joseph Beuys, Mel Bochner, Lee Bontecou, Christo, Joseph Cornell, Hanne Darboven, Jan Dibbets, Lucio Fontana, Eva Hesse, Donald Judd, On Kawara, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, John McCracken, Mario Merz, Robert Morris, Bruce Nauman, Louise Nevelson, Claes Oldenburg, Giulio Paolini, Michelangelo Pistoletto, Fred Sandback, George Segal, Richard Serra, Richard Tuttle, Cy Twombly, Günther Uecker, Tom Wesselmann, and Douglas Wheeler, among other key artists of the twentieth century.

This clothbound, slipcased edition was published after a series of major exhibitions drawn from the Lauffs Collection in the Spring and Fall of 2008 at Zwirner & Wirth and David Zwirner, New York, and Hauser & Wirth, Zurich.

The Helga and Walther Lauffs Collection

This title is out of print and available in a limited number of copies. Browse a selection of rare books 

In 2007, Thomas Ruff completed his monumental 

 series in which he explored the distribution and reception of images in the digital age. Starting with images he culled primarily from the Web, Ruff enlarged them to a gigantic scale, which exaggerates the pixel patterns until they become sublime geometric displays of color. Many of Ruff’s works in the series focus on idyllic, seemingly untouched landscapes, and conversely, scenes of war, and nature disturbed by human manipulation. Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. A fittingly deluxe and oversized volume, 

 is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series. Also included is an essay by Bennett Simpson, Associate Curator at the Museum of Contemporary Art, Los Angeles.

Thomas Ruff: jpegs

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

David Adjaye

Carol Becker

Peter Doig

Okwui Enwezor

Thelma Golden

Cameron Shaw

Kara Walker

Forward by Peter Doig. Texts by David Adjaye, Carol Becker, Okwui Enwezor, Cameron Shaw, and Kara Walker. Interview with the artist by Thelma Golden

Chris Ofili’s intricately constructed works, combining beadlike dots of paint, collaged images from popular media, and elephant dung, create a unique iconography that marries African artistic and ritual practices with Western art historical traditions and contemporary hip-hop culture. This beautifully designed book, made in close collaboration with the artist, is the first to examine Ofili’s artistic development and surveys his work in watercolor, graphite drawing, and sculpture. Literary and historical parallels from a formidable list of contributors explore the ways through which the artist has grasped his times with a palpable sense of history.

Chris Ofili

John McCracken Sketchbook

Bruce Hainley

Laura Hoptman

Jan Verwoert

Texts by Bruce Hainley, Laura Hoptman, and Jan Verwoert

Each Tomma Abts painting is the result of an intuitive process, a complex operation of addition and subtraction. Within rigid parameters – unvarying materials and size – she conjures a progression of shapes and colors, building layer upon layer of seemingly spontaneous geometry until the work reaches its culmination: an abstract arrangement in perfect tension.

This volume, the artist’s first extensive monograph, provides a comprehensive survey of her work, with full-color images of thirty-seven paintings and eighteen drawings, as well as three specially commissioned essays. In the first essay, Laura Hoptman dismantles abstraction’s historical framework to illustrate the uniqueness of Abts’s approach. Jan Verwoert mediates on the subversive power of contemplation, finding in Abts’s artistic process a validation of “the beauty of latency.” And Bruce Hainley gazes at Abts’s work through the fictional eyes of Margit Carstensen – actress, muse, and star of Rainer Werner Fassbinder’s 

Tomma Abts

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

This fully illustrated catalogue was published on the occasion of the artist’s fourth solo exhibition at David Zwirner in 2008. The exhibition presented new paintings by Rauch, which feature a colorful cast of characters, ranging from sturdy women workers to dandified men in topcoats. Amongst the works on view was the striking painting 

 (2008), which depicts a fallen painter with a noose tied from his neck to a blank canvas. Available in hardcover, this catalogue includes a text by art critic Christian Viveros-Fauné.

Neo Rauch

Text by Pamela M. Lee. Interview with Fred Sandback by Kimberly Davenport

 was published on the occasion of concurrent exhibitions featuring the artist’s sculptures and drawings at David Zwirner and Zwirner & Wirth, New York, in 2006-2007. This extensive monograph presents Sandback’s work from the 1960s and 70s, including a selection of his earliest sculptures made with metal and elastic cord, wall reliefs, and large-scale sculptures as well as a rare group of the artist’s Conceptual Constructions from 1969, which are sculptures of typed text. It also includes an extensive selection of drawings spanning four decades of the artist’s career. Comprising 58 plates, this fully illustrated catalogue includes an essay by art historian Pamela M. Lee and an interview with the artist by curator Kimberly Davenport.

Fred Sandback

Klaus Kertess

Few artists's names can connote such diverse associations as the Virgin Mary, Rudolph Giuliani and elephant dung. Controversy tends to dog the art of Chris Ofili, and former New York Mayor Giuliani's suspension of funding for the Brooklyn Museum upon its exhibition of his 1996 painting 

 in 1999 was but one instance of the ire Ofili routinely arouses. When these occasional media commotions subside, one sees that the work is actually pleasing in more familiar ways: Ofili's surfaces sparkle with smears of glitter and bright veneer, resembling nothing so much as African icons. But Ofili has always been political, specifically in his confrontations with racial cliché, and in his insistent incorporation of materials from popular black culture. 

 derives its title from singer-songwriter D'Angelo's 1998 lyric meditation on temptation and retribution. According to the song, the ingredients of a devil's pie include "materialistic, greed and lust, jealousy, envious / bread and dough, cheddar cheese, flash and stash, cash and cream." Similarly diverse in its references and dichotomies, Ofili's work contains contradictions. This catalogue collects his work in sculpture, painting, printmaking, and graphite drawing for the first time and includes texts by art writer and curator Klaus Kertess and writer Cameron Shaw.

Chris Ofili: Devil's Pie

Edited by Alex Israel. Text by Kevin West

The installation and interactive performance 

 formed part of the artist’s “Pussy Trilogy,” which also encompassed 

 (2004). Evoking the style of the coffee table social diary, the catalogue documents the events, known as 

, held in the artist’s Los Angeles studio in 2006. Amidst the chrome trolleys, neon signs, dream catchers, cowboy hats, hookah pipes, and camel saddles which partially constitute the installation, guests were invited to contribute to Rhoades’s ongoing project of creating a cross-cultural compendium of euphemisms for female genitalia. Evolving to fit each location, the installation debuted at Hauser & Wirth in 2005 and traveled to David Zwirner in 2007. The catalogue, conceived by and designed in conjunction with the artist, includes a foreword by Kevin West, West Coast editor of 

 magazine, as well as photographs by Joshua White and Alexia Pilat.

Jason Rhoades’ Black Pussy Cocktail Coffee Table Book

Edited by Fabrizio Tramontano. Essays by Giovanni Leoni, Giancarlo Cosenza, and Luigi Cosenza. Introduction by Giancarlo Cosenza

Shortly after graduating in Bridge and Road Engineering in 1929 and being appointed to the rank of reserve lieutenant, I took a look around my city. There were no patterns to follow—only examples to imitate. The grand extravagant projects were the monopoly of the regime of arrogance and favoritism. A modern fish market was needed to replace the grubby “pietra del pesce" on Via Marina. I studied the problem on the spot and visited various other fish markets in Pozzuoli, Milan, Venice, Marseilles, Ostend, and Hamburg.

This is how Luigi Cosenza (Naples, 1905–1984) describes the genesis of his first project, the Mercato del pesce di Napoli (Fish Market of Naples), built in 1929 and considered the manifesto of the city's rational architecture. This book documents the "M.D.P.N." building in equally rational and elegant images from Germany's renowned Thomas Ruff, beginning with photographs taken in the dazzling light of an early afternoon in September 2002.

Thomas Ruff: m.d.p.n.

Luc Tuymans in his studio, 2022. Photo by Otman Q

Gerrit Vermeiren

 at David Zwirner in New York, this catalogue was designed by the artist. Featured are ten paintings, many now considered iconic works and in the collections of major museums, which offer a critique of America by laying claim to real events, suppressed memories, and political issues. For Tuymans, each painting presents a fragmented glimpse of a disjointed whole; his aim is to make the audience consider each image, the opposite of each image, and the uncertainty that follows. The exhibition’s title, 

, is in itself an aberration. While it refers to a seemingly requisite order determined by society at large, it simultaneously suggests the opposite – 

– and therefore subverts the notion of correctness as it relates to social and societal expectations.

In a key painting, we are confronted by the cropped, larger-than-life-sized face of Condoleeza Rice. Prompted by a remark made by a Belgian official, in which Rice was described as “strong; not unpretty,” Tuymans’s portrait of the former United States Secretary of State forces us to reevaluate a known public figure within the parameters of the still image. In 

a perfectly-arranged dinner table evokes early Americana. In 

, the image of an empty dance hall underscores a lack of festivity – mediocrity tempered by the absence of dancing – and in 

a single couple sways over the state seal of Texas at the Governor’s Ball. In other paintings, it is the sense that something has just happened, or is about to, that suggests a fragile or ephemeral state – the eerie face of a Medieval statue; the dust cloud following the demolition of a building, with a New York City street lamp barely visible; an oval mirror reflecting a solitary lamp; the top of a canopy bed in which the cropped composition is eerily reminiscent of the water line from a flood. In the painting entitled 

, we are reminded by a tiny red light that, at any moment, things can go terribly wrong – or, at the very least, that change is inevitable.

Luc Tuymans: Proper

A painting by On Kawara, titled MAY 11, 1967, dated 1967.

On Kawara, One Million Years (Past), 1970-1971, Page 2001

Shiuji Inomata

Jean-Luc Nancy

Osho

Texts by Shiuji Inomata, Jean-Luc Nancy, and Osho

 was published on the occasion of the artist’s third solo exhibition at David Zwirner in 2004, which presented a selection of date paintings, one from each of the past forty years. Also known as the 

 series, the artist began making his now signature date paintings in New York City on January 4, 1966. Available in hardcover, this catalogue includes texts by Japanese scientist Shiuji Inomata; French philosopher Jean Luc-Nancy; and Indian spiritual leader Osho.

On Kawara: Paintings of 40 Years

A portrait of Gerhard Richter by Werner Bartsch.

Jean-Philippe Antoine

This catalogue accompanies the exhibition at Zwirner & Wirth:


Gerhard Richter: Landscapes

A still from a film by Francis Alys, titled Children’s Game #26: Kisolo, Tabacongo, DR Congo, dated 2021.

Texts by Francis Alÿs, Lynne Cooke, Alejandro Diaz, Tom Eccles, Dario Gamboni, RoseLee Goldberg, Laurence Kardish, Harper Montgomery, and Francesco Pellizzi

, marked the temporary move of The Museum of Modern Art from Manhattan to Queens in 2002. Presented by the Public Art Fund in collaboration with the museum, it was a public parade involving over 100 participants who carried reproductions of some of the museum’s masterpieces and a living representative of contemporary art, Kiki Smith. This hardcover catalogue features extensive photographic documentation of the event as well as contributions and essays by the artist; the then Public Art Fund director Tom Eccles; curator Lynne Cook, among others.

Francis Alÿs: The Modern Procession

Thomas Ruff, Düsseldorf-based photographer and conceptual artist, was born in 1958 and attended the Bechers's master class at the Düsseldorf Academy of Art. He embarked on a truly striking career as an artist with a stunning series of large-format photos of artist friends, all printed with astonishing sharpness. Not long thereafter he again made a splash on the art scene with his "Sternenhimmel/Stars at Night," a second series of photographs, this time of the nocturnal firmament, once more printed in large formats. 

Ruff's most recent work is devoted to a theme which, while being considered scandalous by the media, has won the highest awards the art world has to offer. In "Nudes," he focuses on pornography, or rather on stills taken from pornographic scenes he has found on the Web, and then processes them electronically before blowing them up to immense proportions. Digitally colored, alienated by blurring contours and at times eliminating focus, the content dissolves into more or less abstract fields of color, forcefully unnerving our perception, our expectations and our erotic fantasies. 

A short story by Michel Houellebecq, Ruff's dream author for the occasion, unequivocally points to what the photographer's pictures are about, namely the act of solitary surfing through artificial worlds, the distance of purported intimacy, sex and love in the age of the Internet and of swinger clubs. In other words, the end of Romanticism.

Thomas Ruff: Nudes

Frank Moore

Frank Moore: Between Life and Death, Twin Palms Publishers, 2002

In 1977 Frank Moore took a freighter from Montreal to Santander, Spain. He traveled through Spain, France, and Morocco, finally settling in Paris, where he obtained a residency in the Cité des Arts. Upon his return to New York, Moore began a decade-long involvement with modern dance, theater, film, and video that paralleled his development as a painter. The increasing devastation of the AIDS crisis through the eighties profoundly and irrevocably transformed his life and work. His work was included in the 1995 Whitney Biennial and is included in the collections of the Whitney Museum, the Museum of Modern Art, and the Albright Knox Art Gallery.

Frank Moore: Between Life and Death

John Szarkowski

 was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the 

 contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes, and odd little moments in and around Eggleston's hometown of Memphis—an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of 

, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

William Eggleston's Guide

All Books

Collect: Discover, Buy and Sell Art

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.