 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, 2024

Christopher Williams. Theatre in Review: Upper Austria

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

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

Edited with interview by Alessandro Rabottini. Text by Mark Godfrey, Eleanor Nairne, Gabi Ngcobo. Conversation with Oscar Murillo.

Canvases decorated by schoolchildren across the globe offer humor, hope and joy

This book brings together the archive of 

, a global participatory project initiated by artist Oscar Murillo (born 1986). For over a decade, members of Murillo’s team have visited schools around the globe and invited students to freely write and draw on raw canvas. The elegant volume features a lay-flat binding, dust jacket and richly produced slipcase.

Cover of a book titled Oscar Murillo: Frequencies, published by Hatje Cantz in 2024.

Oscar Murillo: Frequencies

A portrait of Gerhard Richter by Werner Bartsch.

Cover of a book titled Gerhard Richter (Special Edition), published by David Zwirner Books in 2024.

A special edition signed by the artist and featuring a slipcase is available in a limited run of 100 copies.

Tiered pricing:
$200 editions 100–56
$250 editions 55–26
$300 editions 25–11
$350 editions 10–1

Gerhard Richter’s newest facsimile-like artist’s book is focused on a single work comprising twenty-six drawings



“[Richter’s drawings] are of stringent individuality and recognizably by Richter’s hand, not based on their signature style but rather because they make their theme the act of drawing itself, gauging the conditions of drawing.” —Dieter Schwarz

In this new work, Richter combines various elements from a limited set of forms and techniques—meandering lines, broad tonal planes applied with angled strokes of graphite, and passages of smudging, hatching, and erasure—thereby uniting choice and chance in an infinitely generative process. The suite of works on paper from 2023 encapsulates and refines the fundamental principles that have consistently defined Richter’s artistic journey. Reproduced at actual size, the drawings encourage in-depth observation and inspire a compelling reimagining of abstraction. 

Interior spread from a book titled Gerhard Richter (Special Edition), published by David Zwirner Books in 2024.

Out of stock

Gerhard Richter: Foricano (Special Edition)

By Robert Storr. Edited with text by Francesca Pietropaolo

A scholarly meditation on Reinhardt’s work, bringing together his abstract painting, comics and slide lecture series

 takes as its subject the work of American artist Ad Reinhardt (1913–67). An American abstract painter, he worked in New York alongside artists including Jackson Pollock, Mark Rothko and Willem de Kooning. Renowned art critic and historian Robert Storr curated the award-winning 2013 exhibition of Reinhardt’s work at David Zwirner gallery. This book brings together, for the first time, Storr’s writings on Reinhardt’s abstract painting—for which the artist became hugely influential on the younger generations of Minimal and Conceptual practitioners—his satirical cartoons addressing political and social issues and advocating for abstract art, and his famous slide lecture series. With introductory texts by Storr and art historian Francesca Pietropaolo, this book features an essay previously published in 

 (2013) and a companion text, also written in 2013, that appears in print for the first time.

Focal Points: Ad Reinhardt

Edited with text by Brigitte Kölle. Text by Juliane Au, Hubertus Butin, Johanna Hornauer, Vija Celmins, Gerhard Richter

Contemplating perception and representation with two titans of photorealism

This publication brings together for the first time the work of New York–based artist Vija Celmins (born 1938) and Colgone-based painter Gerhard Richter (born 1932) in a transatlantic dialogue that reveals surprising connections. Their works have been paired together at the Hamburger Kunsthalle in an exhibition spanning over 60 paintings, drawings, prints and objects. This study offers comparisons between some of the artists’ most notable works, including Celmins’ 

. In addition to their thematic similarities and the fact that both have worked with photographic models throughout their careers, Celmins and Richter share an interest in the most elementary conditions of representation. This revelatory pairing invokes questions of reality, visibility and the nature of perception itself.

Vija Celmins & Gerhard Richter: Double Vision

An installation view of Rirkrit Tiravanija's work, Untitled 1992 (Free), dated 1992-2007, at David Zwirner New York, in 2007.

Rirkrit Tiravanija, 2021. Photo by Daniel Dorsa

Rirkrit Tiravanija: Fear Eats the Soul, Glenstone Museum, 2024

Edited with text by Emily Wei Rales, Nora Severson Cafritz, Daniel Mauro. Text by Molly Nesbit, Okwui Enwezor, Gavin Brown

Vividly illustrated documentation of the artist’s participatory dining installation at Glenstone

For more than 30 years, community has been central to the work of artist Rirkrit Tiravanija (born 1961). With a keen focus on collective activities and rituals, Tiravanija frequently incorporates elements such as cooking, conversation and art-making into the experiences offered by his practice. This book commemorates Tiravanija’s 2019–20 titular installation at Glenstone Museum. The participatory exhibition featured the serving of fresh soup, an active T-shirt printing factory and an evolving presentation of graffiti that unfolded across the reconfigured architecture of the museum’s Charles Gwathmey–designed building.

Anchoring this volume are texts from Molly Nesbit, Okwui Enwezor and Gavin Brown, offering perspectives that illuminate the artist’s conceptual grounding. The fully illustrated publication also features reflections from staff involved in the exhibition’s presentation, recipes of the soups served and extensive photography of the graffiti rendered throughout the run of the show.

Rirkrit Tiravanija: Fear Eats the Soul

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

, is driven by a desire to explore and to expose. It navigates joy and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable beats. Tillmans's voice, whether growling and confrontational or tender and stripped down, maintains its prominence throughout, serving as the album's core.



Where Does The Tune Hide
Regratitude
Cab Ride
Primal (Intro)
We Are Not Going Back
Morning Light
ADA403
French Lesson
Grüne Linien Feat. FRAGILE
Build From Here
Modernist Survival Unit
There's More That Connects Us
Not Telling A Friend
Language

Wolfgang Tillmans: Build From Here EP

Amadeo Luciano Lorenzato

Brazilian artist Amadeo Luciano Lorenzato (1900–1995) created thousands of paintings documenting everyday subjects in his hometown of Belo Horizonte, Brazil, including landscapes, favelas and the people that inhabited them. This essential monograph on the artist reproduces over 200 works alongside archival documents and photographs.

Lorenzato

The Problem of Taste: On the Late, Great Dave Hickey with Jarrett Earnest

1-Up

Dave Hickey

Jarrett Earnest

By Dave Hickey. Edited and with an introduction by Jarrett Earnest

From the legendary and iconoclastic critic Dave Hickey, a collection of twenty of his most emblematic essays on art

“We really don’t need to know the aesthetic and moral parameters of a work to love it—­only to know they are there.” —Dave Hickey

The late Dave Hickey was a singular voice on art, music, democracy, and culture. Known for his radical criticism, he united different worlds through a range of literary styles and techniques to ultimately explore what it means to be human. Complementing his iconic collections 

 unites twenty of Hickey’s characteristically astute essays on art from over twenty years, most of which were originally published in exhibition catalogues that are long out of print. The result is a volume that shows the writer at his most creative and incisive in an ever-relevant exploration of beauty and value. Compiled and with an introduction by the writer and critic Jarrett Earnest, and featuring cover art by Ed Ruscha, this latest book is ideal for cult followers and new readers of Hickey, for artists and art critics, and for thinkers across all disciplines.

Including essays on Terry Allen, Karen Carson, Sarah Charlesworth, Vija Celmins, Vernon Fisher, Robert Gober, Ann Hamilton, Luis Jiménez, Hung Liu, Josiah McElheny, Elizabeth Peyton, Lari Pittman, David Reed, Bridget Riley, Norman Rockwell, Ed Ruscha, Steve Schapiro, Richard Serra, and Andy Warhol, as well as Hickey’s 2002 text “Buying the World,” which he later edited for inclusion in the revised edition of 

Feint of Heart: Art Writings 1982–2002, by Dave Hickey

Feint of Heart: Art Writings, 1982–2002, By Dave Hickey

1982–2002

Feint of Heart: Art Writings

An untitled painting by Noah Davis, dated 2015.

The Artist Journals

Featuring lush, powerful paintings by Noah Davis, this blank book—the latest in 

 series—offers the ideal forum to energize the inner artist or writer.



The late American artist Noah Davis made his mark both as a painter of ethereal figurative works and as a pillar of the Los Angeles creative scene. With Karon Davis, his wife and a fellow artist, he founded the Underground Museum in 2012, a generative cultural institution and arts space in Los Angeles. His first Artist Journal celebrates his singular approach to delicate rendering, unexpected brushwork, and subjects surrounded by potent emotional luminescence.

Each journal is beautifully crafted in Verona, Italy.

Noah Davis: The Journal

Heimarbeit. Adapted for Use. IKEA Küchen Ensemble

., Christopher Williams’ 2023 exhibition at Galerie Gisela Capitain, Cologne. The exhibition included six hand-painted signs, four new photographs in full colour, five new wall treatments, two new films, one new sculpture, one new publication in full colour, and one unique arrangement. This book, designed by Petra Hollenbach, includes documentation of this project and a panel discussion from ‘Theater in der Kritik’ on Franz Xaver Kroetz’s play Oberösterreich which has been buried in the ZDF archive since 1972. It includes four full colour plates and four technical drawings describing the adaptable kitchen set IKEA Metod Küchenkombinationen.

Christopher Williams: Blocking Templates, Galerie Gisela Capitain, Köln, 2023

Christopher Williams: Blocking Templates

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

Friends in a Field: Conversations with Raoul De Keyser

Friends in a Field: Conversations with Raoul De Keyser, Gregory R. Miller & Co./Mu.ZEE Ostend, 2023

Texts by Douglas Fogle, Hanneke Skerath, and Ilse Roosens

A dialogue of sensibility and attention: artists from Forrest Bess to Amy Sillman juxtaposed with the delicate paintings of Raoul De Keyser

Over the course of his nearly five-decade career, Belgian artist Raoul De Keyser created paintings that bridge the mysteries of the everyday and the intangible world of abstraction. 

 takes the artist’s radical painterly practice as the beginning of a conversation with a diverse group of artists—both living and dead—whose works share a sensibility and attentiveness to the fragile intangibility of the world. In their paintings, sculptures, and works on paper, these artists join De Keyser in presenting the world back to us as a kind of abstract visual poetry. 

 presents works by Richard Aldrich, Forrest Bess, Matt Connors, René Daniëls, Raoul De Keyser, Vincent Fecteau, Maysha Mohamedi, Rebecca Morris, Betty Parsons, Amy Sillman, Ricky Swallow, Patricia Treib, Luc Tuymans, and Lesley Vance.

Texts by Gottfried Boehm, Vincent Broqua, Fritz Horstman, Raimer Jochims, Donald Judd, Heinz Liesbrock, Amy Jean Porter, Jeannette Redensek, and Margit Rowell

The essential account of Albers’s enormously influential proto-Minimalist series, featuring studies and archival materials

Made over the course of a quarter century between 1950 and his death in 1976, Josef Albers’s groundbreaking series 

 comprises 2,000 oil paintings. His quest for continuous reflection and refinement inspired numerous young Minimalist and Conceptualist artists in their search for a reduced formal language. This outstanding volume explores the secrets of Albers’s subtle aesthetic and the questions it poses: what is the significance of the square? How did Albers’s thoughts on color and its use as a material evolve over this span?

Featuring studies on paper, archival materials and essays by Albers aficionados Margit Rowell and Donald Judd, among others, this richly illustrated publication sheds light on the various inspirations that influenced Albers early on in Europe and later in America, and illustrates the lasting impact of his art and thinking.

Josef Albers: Homage to the Square, 1950–1976

Detail view of Alice Neel's 1967 painting titled Richard

Dynamic and forward thinking this unconventional retrospective monograph takes its cues from Alice Neel’s life and work— at once intimate, powerful, and bursting with color.

Alice Neel was one of the great American painters of the twentieth century and a pioneer among women artists. A painter of people, landscape and still life, Neel was never fashionable or in step with avant-garde movements. “One of the reasons I painted was to catch life as it goes by,” she explained, “right hot off the griddle.” This beautifully designed volume takes a unique approach to the exhibition catalog, highlighting Neel’s understanding of the fundamentally political nature of how we look at others, and what it means to feel seen. Long a favorite of portrait lovers, Neel has recently gained an even wider 21st-century audience appreciative of the searing candor with which she viewed the world, the depth of her humanity, and her championing of the underdog. This beautifully produced catalog features a thoroughly modern design, as well as an essay by renowned critic Hilton Als and poetry by Daisy Lafarge.

Alice Neel: Hot off the Griddle

Helen Molesworth

An illustrated reader featuring a collection of essays from trailblazing curator and writer Helen Molesworth – the first book of her collected writings

Over the past three decades, Helen Molesworth’s singular voice and lively curatorial vision has established her as one of the most dynamic and influential voices in the art world. This generously illustrated reader – the first ever collection of her writings – presents 24 essays from the past 30 years, gathered from exhibition catalogs and art publications such as 

The volume opens with a new essay that lays out Molesworth’s belief in art’s unique capacity for merging knowledge and feeling. It also includes new critical and reflective commentary on her past writing, an innovative approach that will position 

 as an indispensable volume for viewing and thinking about contemporary art for generations to come.

Helen Molesworth: Open Questions

Leo Amino

Edited with text by Genji Amino. Texts by Julie Amino, Aruna D'Souza, Wayne Koestenbaum, Lucy R. Lippard, Susette Min, Neferti X. M. Tadiar, Mary Whitten, Ronaldo V. Wilson, and Karen Yamashita. Chronology by Genji Amino and Christina Hiromi Hobbs. Afterword by Jeff Arnal

The first monograph to be published featuring the work of the Japanese American artist, 

 introduces a vital revision into both the canon of 20th century avant-garde sculpture and the history of Asian American art.

The volume is published in association with the first significant museum exhibition dedicated to the artist’s work since 1985, 

at the Black Mountain College Museum + Arts Center, and shares a title with the artist’s first solo exhibition in New York since 1973, held at David Zwirner Gallery in 2020. Edited and written by the artist's grandchild, poet and curator Genji Amino, the book includes additional texts by a selection of writers, poets and scholars including Aruna D'Souza, Wayne Koestenbaum, Lucy Lippard, Susette Min, Neferti Tadiar, Mary Whitten, Ronaldo Wilson and Karen Yamashita. Richly illustrated with images from the BMC Museum and Zwirner exhibitions, the volume includes an extended chronology featuring never before seen archival images and ephemera from across the artist’s career.

Amino is the first artist in the United States to take up plastics as a principal material of sculptural composition, the innovator of cast plastics in American sculpture, and the most represented artist of color in the history of the Whitney Museum of American Art’s annual exhibitions for sculpture after Isamu Noguchi. He is the only Asian American artist to teach on faculty in the history of the Summer Art Sessions at Black Mountain College, where he taught alongside artists including Josef and Anni Albers, Jacob and Gwendolyn Knight Lawrence, and Beaumont and Nancy Newhall, and informed the education of students Ruth Asawa, Kenneth Noland, and Harry Seidler, among others. Recommended to the faculty at Cooper Union by Josef Albers, Amino taught there for twenty five years, introducing students such as Jack Whitten to sculptural concerns.

Across a breadth of media and compositional approaches often remarked during the artist’s lifetime for its inventiveness and versatility, Amino’s oeuvre brings into focus the dynamics of perception, articulating space, light, and color through an optics of encounter, interpenetration, and absorption. Almost exclusively self-taught, Amino drew on three months’ training in direct carving technique at the American Artists School in Greenwich Village in order to adapt the study of form latent in wood grain into a promiscuous and autodidactic material investigation. Beginning in the early 1940s, the artist’s experiments in new media emerged from his dissatisfaction with painting on the sculptured surface. In 1945, Amino became the first American sculptor to employ cast plastics in an exploration of the question of interior and exterior relation through the problem of integral color, introducing the newly declassified military and industrial material of polyester resin into a history of media experiment following the Plexiglas works of Bauhaus and constructivist artists László Moholy-Nagy and Naum Gabo. Amino envisioned a mode of sculpture for which the principal means of composition would be light and color as early as 1949, anticipating the concerns of the next generation’s Minimalist and Light and Space movements whose artists would take up his medium of choice two decades later. In 1965, Amino made the decision to abandon his other avenues of inquiry in order to dedicate himself exclusively to the new material, beginning a series of geometric, 

 compositions in resin that he would pursue until his passing in 1989.

Leo Amino: The Visible and the Invisible

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

Richly illustrated volume exploring the inseparable histories of modernist abstraction and twentieth-century textiles.

Published on the occasion of an exhibition curated by Lynne Cooke, 

 offers a fresh and authoritative look at textiles—particularly weaving—as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts.

 begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time.

Woven Histories: Textiles and Modern Abstraction

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

His enigmatic, equivocal paintings require a long look to fully appreciate the complexity of their composition, their play on scale and the abundance of symbols. They weave unexpected links between periods and places, between history and the present, and draw on skilful references to the Italian Renaissance, German Romanticism and Socialist Realism. Neo Rauch invents a painting 'like a dream' that interweaves scenes and allusions, offering the viewer a wide range of open-ended reflections on history, heritage, the power of art, the role of the artist and the impasses of contemporary society.

In keeping with the ambition of the event, the exhibition at MO.CO. brings together hundreds of works by the artist, including over forty canvases, many of them of impressive size. Entitled Le songe de la raison (The Dream of Reason), after Goya's engraving El sueño de la razon produce monstruos (The Dream of Reason Produces Monsters), from which Neo Rauch sometimes drew inspiration, this retrospective retraces the painter's singular career from the early 1990s to the present day. After a vast selection of drawings and watercolours spanning the period from 1990 to 2021, the retrospective unfurls on the three floors of the MO.CO. an ensemble of major canvases borrowed from numerous foreign collectors and museums, never before exhibited in France.

This original, carefully produced work is the first French-language publication on Neo Rauch, and includes an interview with the artist and around sixty selected works.

Neo Rauch: The Dream of Reason

Edited by Kim Conaty and Edouard Kopp. Contributions by Aleesa Pitchamarn Alexander, Jordan Troeller, Scout Hutchinson, Kirsten Marples and Isabel Bird

A groundbreaking examination of how the act of drawing was a vital component of Ruth Asawa’s multifaceted art

“A revelatory exhibition. . . . [A] fine exhibition catalog.”—Nancy Princenthal, 

Ruth Asawa (1926–2013), widely known for her looped-wire sculptures, was an inveterate drawer. She filled sketchbook after sketchbook and even stated that drawing was central to her sculpture. This volume is the first to consider the significance of drawing in Asawa’s oeuvre throughout her career, featuring essays that examine the range of Asawa’s aesthetic maneuvers across materials and techniques; how Asawa’s drawing intertwined with the Bay Area arts community and her contributions to public education as a teacher and organizer; and the influence of Josef Albers’s pedagogy and Asawa’s lifelong adoption of his type of paper folding. Tracing Asawa’s artistic journey from her first formal art lessons in a Japanese American internment camp during World War II through her time at Black Mountain College and beyond, this comprehensive overview of the artist’s drawings includes reproductions of more than one hundred works—many of which have never been published—organized into eight thematic sections that cut through time, reflecting an art-making practice that was more circular or cyclical than linear.

Ruth Asawa: Through Line

Dieter Schwarz

Foreword by David Zwirner. Text by Dieter Schwarz

This highly anticipated catalogue, accompanying Gerhard Richter’s first exhibition with David Zwirner, presents Richter’s last paintings along with his recent explorations in drawing, printing, and sculpture.

This limited, exclusive edition is packaged in a luxurious cloth slipcase and is signed by the artist.

“[His last paintings] can feel almost like exquisite texts to be read. . . . Their freshness and spontaneity feels like a new beginning.” —Roberta Smith, 



Known for his abstract and realist paintings, Gerhard Richter has pursued a diverse and influential practice characterized by a decades-long commitment to the medium and its formal and conceptual possibilities. This remarkable book celebrates the breadth of Richter’s newest bodies of work and archives a historical moment in the artist’s career.

Full-color plates and installation views showcase a selection of the artist’s final works on canvas—made just before he announced his retirement from oil painting in 2017—alongside an expansive suite of new drawings made with ink, graphite, and colored pencil on paper, a remarkable series of chromatic inkjet prints titled mood, and a stunning glass sculpture that debuted at the exhibition in New York. A newly commissioned essay by Dieter Schwarz, one of the foremost experts on Richter’s oeuvre, illustrates the artist’s path toward his newest bodies of work. Schwarz describes Richter in his studio, revealing the creative process behind his iconic practice.

Gerhard Richter: New York 2023 (Special Edition)

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

A complete survey of Marshall’s prints from the 1970s to the present, with many previously unseen works

Kerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut 

 (1998–99), to iterations of his ongoing magnum opus 

. And while some have entered prominent museum collections, many exist only in private collections or the artist’s archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall’s work as a whole.

Kerry James Marshall: The Complete Prints

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

This limited signed edition, only available as a complete set, includes the artist’s signature on the title page of each volume. Each volume is enclosed in its own slipcase.



Edited by Eva Meyer-Hermann

One of the most important painters working today, Luc Tuymans pioneered a distinctive style of figurative painting beginning in the 1980s that has been singularly influential to his peers as well as subsequent generations of artists. Tuymans’s deeply resonant compositions insist on the power of images to simultaneously reveal and withhold meaning. From his generative early work to his most iconic canvases, the catalogue raisonné charts the artist’s investigation into painting’s relationship to history and technology.

The three-volume catalogue raisonné of paintings surveys Tuymans’s oeuvre of nearly six hundred works, made between 1972 and 2018. Each painting is illustrated and features its full exhibition history and literature notations. Each volume includes a comprehensive illustrated chronology, highlighting major projects, public commissions, discussions and events, and exhibitions. The first volume includes an expansive bibliography and exhibition history through 2016, with a supplement in the third volume covering the years 2017 and 2018.

Luc Tuymans Catalogue Raisonné of Paintings: Volume 1–3 (Signed)

Katherine Bernhardt: Why is a mushroom growing in my shower?

Seen in the Mirror: Things from the Cartin Collection

Tiona Nekkia McClodden: MASK/CONCEAL/CARRY

David Zwirner Books: Fall 2023

A studious view of Richard Serra’s recently premiered forged-steel sculpture and new drawings using his trademark paintstick technique



“Enigmatic, arresting, audacious: Richard Serra now and forever.” —



Richard Serra’s hugely successful body of work consistently explores the possibilities of form and matter. Serra’s steel sculptures are held in major collections internationally, and his drawings assert themselves as abstract victories. Through the use of black paintstick—a combination of oil paint, wax, and pigment, to which he has used since 1971—Serra’s drawings convey a strong sense of optical weight, acutely similar to the physical presence of his sculptures. 2022, the artist’s largest single forged round to date, investigates properties of weight and scale.

While the exhibition allowed viewers to encounter Serra’s immense forged round and inky drawings in relation to their own space and bodies, the catalogue is an opportunity for intimate engagement with Serra’s works through stunning reproductions.

Richard Serra: 2022

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