The first R. Crumb comic book in 23 years! 

The seminal cartoonist who single-handedly invented the alternative comics format of the one-person anthology in 1967 with 

 returns at age 81, still raging at the world and himself, still drawing like a master, and still funny... mostly. In his latest comics excursion, Crumb dives down internet and newspaper rabbit-holes, and comes up asking questions. Why don't we know the real background of deep state careerists? And is Crumb himself just as paranoid as everyone else tells him he is? Or is that just what THEY want you to think?

Mixing memoir, essay, polemic, neurosis, and conspiracy across 12 short comics—including the final "Dirty Laundry" story, drawn by Crumb with a script written with Aline Kominsky-Crumb before her death in 2022— 

 shows there's still plenty of life in both the artist and the classic underground comics format.

R. Crumb: Tales of Paranoia

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

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)

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

Joan Mitchell and Her Dogs, Norma Editions, 2025



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

David Zwirner Books: Fall 2025, David Zwirner Books, 2025

Huma Bhabha: Welcome . . . to the one who came

Hilma af Klint and Wassily Kandinsky: Dreams of the Future

David Zwirner Books: Fall 2025

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

Edited by Dennis Brzek and Hilke Wagner. Conversation between Dennis Brzek, Hilke Wagner, and Wolfgang Tillmans.

Very few artists mirror our recent past as profoundly as Wolfgang Tillmans in their work. On the occasion of his exhibition "Weltraum" at the Albertinum in Dresden, Tillmans has created a unique artist's book that places his four decades of artistic practice in a thoughtprovoking dialogue with the past and present of East and West Germany. 

 intertwines excerpts from a 1987 Dresden inventory catalogue with Tillmans' 2003 catalogue "If one thing matters, everything matters" for Tate Britain, in which he devised a speculative catalogue raisonné of his early work. The resurgence of these two out-of-print titles is combined with a conversation in which Tillmans reflects on his artistic beginnings and analyses their aesthetic and social implications today.

Wolfgang Tillmans: Things Matter

This heavyweight cotton hoodie features a recent artwork by the legendary artist Ed Ruscha. Ruscha made the artwork for the cover of a collection of writings by the late art critic Dave Hickey, titled 

, which was edited by Jarrett Earnest and published by David Zwirner Books in 2024.

This limited edition of 300 is a collaboration between 

 and David Zwirner Books. 
Made in the USA from 100% cotton, 14 oz. heavy fleece and garment-dyed in a slightly faded black color. 
Printed with soft-touch artwork on the back and embroidered with a small, black Platform logo on the left sleeve. 
Features a loose, boxy fit with ribbed cuffs and hem and a front kangaroo pocket. Model is 5'11" and wearing size Medium. 
Due to the limited-edition nature of this product, all sales are final.

 (measurements are front body length x pit-to-pit chest width, in inches):

XS: 25.875" x 19.5"
S: 26.875" x 21.5"
M: 27.875" x 23.5"
L: 28.875" x 25.5"

Ed Ruscha: Feint of Heart Hoodie

David Zwirner Books: Color Catalogue

David Zwirner Books: Spring 2025, David Zwirner Books, 2025

R. Crumb: Existential Comics,Selected Stories, 1979–2004

David Zwirner Books: Spring 2025

Portrait of Toba Khedoori, 1995. Photo by Rachel Khedoori.

Edited with text by Moritz Wesseler. Text by Mark Godfrey and Anna Lovatt.



Meticulously drawn objects against blank backgrounds form liminal spaces devoid of human presence or context



Following the artist’s internationally acclaimed first solo exhibition at Fridericianum in Germany in 2022, this title offers a focused look at Khedoori’s singular visual language, grounded in objecthood and natural forms, and articulated through extraordinary precision. Australian-born artist Toba Khedoori’s (born 1964) oeuvre incorporates both drawing and painting. She arranges large sheets of paper worked with wax to form monumental image carriers on which she produces precise drawings using graphite and oil paint, which captivate with their execution and fine detail.

Toba Khedoori

Text by Fritz Horstman. Foreword by Nicholas Fox Weber.



in a format that engages learners of all ages and levels and encourages a hands-on approach

 is often presented as an overarching theory of color, but it is actually a method of learning how to better see and understand color—many of the color exercises illustrated in 

 were devised by Albers’s students: cutting and pasting, looking, pondering, and learning. This workbook companion is a teaching tool designed to enable readers to engage in the kinds of tactile creativity and exploration that characterized Albers’s own classroom.

Focusing on eight of the most important lessons in 

, this book invites readers to learn by doing, using only simple materials. Core instructions for each exercise are enhanced by additional tips, references to Albers’s original text and illustrations, and stories about how Albers presented the ideas in class. The book and exercises are sufficiently nuanced to challenge and inspire seasoned artists, designers, and educators while also being readily accessible to younger readers and less-experienced practitioners.

Interacting with Color: A Practical Guide to Josef Albers’s Color Experiments

By Land, Air, Home, and Sea: The World of Frank Walter

Gordon Matta-Clark & Pope.L: Impossible Failures

David Zwirner Books: Spring 2024

Yayoi Kusama: I Spend Each Day Embracing Flowers

Feint of Heart: Art Writings, 1982–2002

That Still Moment: Poetry and Essays on Dance

David Zwirner Books: Fall 2024

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

On Morandi’s exquisitely serene art as a distillation of the tumultuous 20th century

This volume positions Giorgio Morandi (1890–1964) as a paradigmatic 20th-century figure: a man who lived through two world wars and experienced the full impact of the era’s disillusionments. Against this bleak backdrop, he sought stringent order and formal harmony, while leaving room for uncertainty and surprise. This clothbound volume spotlights the artist’s paintings and works on paper from the 1920s to the 1960s, as well as a wealth of unpublished documents and photographs recently excavated from the Morandi family archives. Marilena Pasquali, an art historian and leading Morandi expert, interprets these materials, connecting them with the arc of his career. Alongside writings by other art historians, Pasquali casts Morandi’s art as an ongoing response to the tumultuous, dispiriting times in which he lived.

Giorgio Morandi: Time Suspended

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

"These paintings came together during the pandemic, a time when the streets of New York felt both familiar and strange. I spent a lot of days just looking at these buildings—ordinary places that suddenly seemed to have more to say. This book is a way to hold onto that time, to capture the city as it was, in all its grit and quiet. These aren’t just paintings; they’re moments of New York as I saw it, block by block. I hope you feel that connection too, page by page." —Josh Smith

Josh Smith: High as Fuck

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

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

Mark Godfrey

Book Cover, Oscar Murillo: Aesthetic Structures

Conversation between Oscar Murillo and Mark Godfrey

Looking back at Oscar’s practice for the last 10 years, specifically, the progression of the themes of blackness/void, games and failure, the book is a non-linear journey, finding moments of convergence between shows and artworks that have informed Murillo’s new series. Throughout the book runs in parallel relevant works and a conversation between Oscar Murillo and Mark Godfrey which delves into the details of Murillo’s process and influences.

Inspired by the 1950s Brazilian neo-concrete movement, the photographic editing of the shows and artworks seeks to spark a poetic feeling in contrast to the rigidness of the design.

Shows highlighted in the book include Venice Biennale (2015), Museo de Arte de la Universidad Nacional de Colombia (2021), South London Gallery (2013), Carlos/Ishikawa (2012) and Kunsthalle Wien, Vienna (2024) in between others.

Oscar Murillo: Aesthetic Structures

Sasha Gordon, 2024. Photo by Jason Schmidt

Texts by Liz Munsell and Kristina Parsons. Contributions by Sula Bermudez-Silverman, Sasha Gordon, Sara Issakharian, Chella Man, Ilana Savdie, Austin Martin White, and Rosha Yaghmai. Photography by Mary Kang and Abby Ross.



An investigation of seven emerging artists who use supernatural color and uncanny luminescence to challenge the boundaries of traditional figuration.



Color is flexible and amorphous. It lends itself to infinite perceptions and refuses to be definitive. 

Overflow, Afterglow: New Work in Chromatic Figuration

 discusses new work by seven emerging artists who use supernatural color and uncanny luminescence to unsettle the figure. In painting, sculpture, and installation they push at and spill over the outermost limits of realism. Their high-key palettes and disorienting glow defamiliarize human and anthropomorphic forms, highlighting the figure’s manipulability and continual metamorphosis. These artists refute any fixed notions of the self and thwart reductive interpretations, generating space for resilient, transgressive, and exuberant bodies that cannot be placed or contained.

In their work the artists take in and take on the oversaturation of our contemporary moment. They invoke surreal slippages between everyday horrors and their unbound imaginations. This multiethnic, multiracial, and multifaceted group of makers leverage palettes that reflect their cross-cultural allegiances and lived experiences—whether nodding to their respective heritages, to pop culture and digital immersion, or spaces of youthful and queer liberation. Modern and contemporary artists have long offered a counterpoint to strongholds within Western art history that have insisted on a muted palette as an indicator of purity, seriousness, and whiteness—since the Renaissance’s focus on linear perspective and recasting of classical sculpture in white. At a time of deep reconsideration of canons and institutions, this presentation reflects on how color has been othered—perceived as emotional, subjective, and secondary to line in importance. The artists in 

 embrace color to push against such hierarchies. Taken together, their works convey today’s zeitgeist of frenzied too-muchness and all-at-onceness, in-betweenness and expansiveness, ultimately showing interlinked experiences across many spectrums.

A detail from a painting by Portia Zvavahera, titled This is where I travelled [3], dated 2020.

Portia Zvavahera, Ndirikukuona (I can see you), 2021

Text by Sinazo Chiya, Tandazani Dhlakama, Tamar Garb, Pumla Gobodo-Madikizela, Fiona Bradley, Andrew Nairne

This new publication accompanies a major exhibition, curated by Tamar Garb, which will include reproductions of brand new works created on the occasion of this exhibition alongside a selection of recent and older paintings which reveal the depth and richness of Zvavahera’s practice. The focus will be on the theme of dreams, fantasy and figuration, and large details will highlight Zvavahera’s innovative amalgamation of printmaking and painting techniques that build rich surfaces to create her private cosmology of creatures and contexts.

The book will feature a significant new essay from curator Tamar Garb and will centre around an extensive conversation between Garb, Sinazo Chiya, Tandazani Dhlakama and Pumla Gobodo-Madikizela discussing Zvavahera’s engagement with eros, intimacy and female-centred experience.

The book will open up how Zvavahera’s works emerge from dreams; being figurative without being illustrative, registering a world of feminine experience and fantasy.

Portia Zvavahera: Zvakazarurwa

Isa Genzken: 75/75, published by Walther Koenig

Texts by Diedrich Diederichsen, Daniel Buchholz, and Christopher Müller. Contributions by Dieter Schwarz, Sabine Breitwieser, Manfred Hermes, Tom McDonough, Juliane Rebentisch, and Isa Genzken. Introduction by Klaus Biesenbach and Lisa Botti. Conversations on the artist by Wolfgang Tillmans and Diedrich Diederichsen



For a long time, I went about my work very conceptually. With the hi-fi photographs, ellipsoids, or with the works made of concrete, I had an idea and realized it forcefully. Then I stopped doing that, suddenly, and a new phase started. Just go ahead. And yet the rigor of all those earlier years is still in me. Now I have slowly reached the point where I can say I want to do something again that I think about very

—Isa Genzken in conversation with Wolfgang Tillmans

This comprehensive monograph is published in conjunction with Isa Genzken’s eponymous exhibition at Neue Nationalgalerie, Berlin, gathering 75 sculptures by the artist. Alongside many photographs of the works on display, the catalogue, edited by Daniel Buchholz and Christopher Müller, assembles texts by Dieter Schwarz, Sabine Breitwieser, Manfred Hermes, Tom McDonough, Juliane Rebentisch, and Isa Genzken, a preface by curators Klaus Biesenbach and Lisa Botti, and a new essay by Diedrich Diederichsen, as well as two conversations on the artist with Wolfgang Tillmans and Diedrich Diederichsen.

Isa Genzken: 75/75

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

This immersive publication explores the artistic journey of one of today's most prominent conceptual artists, with a specific focus on his groundbreaking series, “Children’s Games.”



Whether he's moving a sand dune in Peru or pushing an enormous ice block through the streets of Mexico City, Francis Alÿs is constantly seeking to decipher complex social, political, and cultural issues in ways that are simultaneously affecting, imaginative and provocative. 

Highlighting rarely seen source material, this richly illustrated book delves into the impulses behind Alÿs's influential works. Celebrating the breadth and importance of the artist’s work, a series of essays by leading scholars and writers look at his studio practice and influences across art, history, and literature, revealing new perspectives on his prolific career and ongoing preoccupations.

It also examines the most recent iteration of his critically acclaimed series 

, in which he documents children's games from various cultures around the world. From whimsical explorations of everyday life to his engagement with cross-cultural contexts from Latin America to North Africa and the Middle East, Alÿs’s work serves as a platform for navigating the world, inviting viewers to engage with the poetic and transformative potential of artistic expression.

Francis Alÿs: Ricochets

 was published on the occasion of Christopher Williams’s exhibition Radio/Rauhfaser/Television at Neubauer Collegium for Culture and Society at the University of Chicago. It focuses on Williams’s research into a broadcast of Franz Xaver Kroetz’s 1972 stage play Upper Austria and an accompanying panel discussion—consisting of Franz Xaver Kroetz, Dieter Braun, Ludwig Hannover, Dieter Schnabel, and Hans-Georg Frieser—that was cancelled by West German public television broadcaster ZDF in 1973 due to Kroetz’s communist party affiliations. This book publishes, for the first time, a complete transcript of the panel discussion along with contemporaneous newspaper articles, opinion pieces, and open letters written in the wake of the cancellation, and an introduction by Neubauer Collegium curator Dieter Roelstraete. 

Christopher Williams. Theatre in Review: Upper Austria

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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.