 was published on the occasion of Christopher Williams’s exhibition 

Werbung: A 48 hour display of quality framing materials

 at Maxwell Graham, New York. The book includes 124 typographic poems by Williams, based on the format of 1970s film festival press packets which contained camera-ready art for advertising. These poems are presented as camera-ready art to be used to advertise the availability of ‘Inklusive’ in paperback, broadcast radio, and long play vinyl.

Christopher Williams: Inklusive 1972 / Inclusive 1974

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)

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

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

A double catalogue covering two manifestations at Xavier Hufkens gallery by Josh Smith, who is known for painting series of simple yet highly distinctive visual motifs. Part of the New York-based artist’s ongoing process of image production and experimentation, the paintings are autonomous entities but also part of a larger “family” of interrelated works. ‘Finding Emo’ (2019) featured new paintings and monotypes depicting the Grim Reaper. Following on that was ‘Keyhole’ (2022), in which Smith showed a new series of large-format paintings and figurative monotypes in which he addresses abstraction, expanding on this recurrent theme in terms of scale, palette, and energy.

Josh Smith: Finding Emo / Keyhole

Tom McDonough

A concise introduction to the theatrics and rituals of the art fair

This latest book on the work of Los Angeles-born, Cologne-based photographer Christopher Williams (born 1956) explores the transparent theatricality of the modern art fair, inspired by Art Cologne 1967. Williams’ black-and-white photographs lead the viewer through clinical product shots from his 

 series paired with images of past art fairs, including the photographer’s own participation in a booth hosted by David Zwirner Gallery. The result is a stoic meditation of the object as commodity and the spaces in which these goods are purchased. This publication includes a feature essay by art historian Tom McDonough, who writes of Williams’ work: “trust in the transparency of the visual field [is] consistently and thoroughly undermined. The static set promised a totalized image and simultaneously withheld it, suspending the audience in an uncomfortable awareness of the lack inscribed in the pro-visual field.”

Christopher Williams: Kölnische Dramaturgie

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

Texts by Cuauhtémoc Medina, Luis Pérez Oramas, and Lorna Scott Fox



An updated archive of Alÿs's long-term study of children’s enduring need for play

Since 1999, Belgian multimedia artist Francis Alÿs has been producing videos that document the games that children play on the street and in courtyards around the world. 

 is an ongoing archive of the urban practices that modernity has banished from everyday life, as the concepts of public space and free time have grown increasingly distorted by the domination of motor vehicles and electronic diversions. Many of these videos were shot in economically underdeveloped regions of the world, where the strength of tradition and community have allowed the shared life of a childhood on the street to survive. The children’s games that Alÿs captures gesture toward a threatened underground culture crossing generations and borders. Their rules, images, and references suggest an ancient, potent substrate underlying our shared experience.

Francis Alÿs: Children's Games

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.

Text by Phong Bui, Leopoldine Core, Torkwase Dyson, Brian Greene, David Grubbs, Alteronce Gumby, Wayne Kostenbaum, Dorothea Lasky, Lucy Lippard, Rebecca Oppenheimer, Lynne Tillman

A critically acclaimed encounter between two American masters of threshold perception and color nuance

This book brings together the work of abstract painter Ad Reinhardt (1913–67) and key figure of the Light and Space movement James Turrell (born 1943). Turrell first encountered Reinhardt at a lecture at Pasadena Museum in 1962, and paid homage to the influence Reinhardt had on his own work through the exhibition 

, held at Pace Gallery in early 2022. As curator, Turrell designed the presentation and lighting concept to illuminate his chosen works from Reinhardt’s geometric, monochromatic “red,” “blue” and “black” paintings. This book documents this immersive exhibition through numerous installation photographs taken under different lighting conditions, accompanied by prose and poetry from a wide range of contributors, written in direct response to the visual experience of seeing the exhibition. Contemporary artists, writers, scientists and poets explore the experiential nature of both Reinhardt and Turrell’s work.

Ad Reinhardt: Color Out of Darkness

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

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

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

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)

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

Richard Shiff: Writing after Art, Essays on Modern and Contemporary Artists

David Zwirner Books: Spring 2023

Thomas Ruff: Tableaux Chinois, Walther Koenig, 2022

An ingenious photographic analysis of Chinese propaganda across two photo technologies

In the early 2000s, Thomas Ruff (born 1958) chanced across a coffee-table propaganda book on Mao Zedong and became interested in the visual rhetoric of Chinese Communism, eventually purchasing copies of 

—the French iteration of a periodical that the Chinese Communist Party produced from the late 1950s through the 1970s as a means of demonstrating the advantages of Communism to European countries.
Ruff scanned images from 

 depicting cheerful soldiers, scenic views, ceremonial occasions and Mao himself, enlarging them to reveal the offset halftone dots, then duplicating the image and converting it into pixels; that image was then layered over the original scan, from which Ruff removed various areas. The final image therefore contains both analog halftone and digital pixel. As Susanne Holschbach observes, “Ruff has visually merged the technological process of preparing photographs for their mass distribution from the two photographic eras on one pictorial plane.”

Thomas Ruff: Tableaux Chinois

Walter Price, 2024. Photo by Walter Price

“The paintings in Pearl Lines are a joyous combination of the carefree and the committed. Their sensibility is earnest, and their carnivalesque style engaging without looking labored.” – 

Everything starts with a line, says Georgia-born, Brooklyn-based artist Walter Price (born 1989). Indeed, this volume, published in conjunction with his first UK exhibition, celebrates drawing as the foundation of Price’s practice. Employing a highly developed sense of line and composition, Price expands the mark-making possibilities of colored pencil, graphite, marker and oil pastel in constantly varying gestures paired with collage and appropriated printmaking methods. Quotidien motifs such as bathtubs, sofas and automobiles float amid bright fields of color. Price’s work blurs the boundaries between collective history and individual memory, figuration and abstraction, depicting ambiguous urban and domestic landscapes populated by indefinite, almost spectral, figures and objects.

 compiles works made during Price's residency at the Camden Art Centre in 2020, as well as a selection of recent paintings and works on paper produced in New York.

Walter Price: Pearl Lines

This collection celebrates Pettibon’s potent and dynamic artistic commentary, ranging from punchy and political to high literary and extremely poetic. His artworks take points of departure in the Southern California punk-rock culture of the late 1970s and 1980s, and the do-it-yourself aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement.

Point Break: Raymond Pettibon, Surfers and Waves

“All this must be either surfed or painted”: This is the underlying sentiment behind Raymond Pettibon’s iconic works of surfers and waves in this quintessential volume dedicated to the motif.

This publication explores the intricate relationship between image and language that has long fascinated Pettibon.

Approaching high and low subject matter with equal appetite and comfort, Pettibon plumbs the depths of American sexuality, politics, subcultures, mores, and intellectual histories through themes including Shakespeare, Gumby, surfers, the Bible, baseball, and German Romanticism.

Raymond Pettibon Collection

The work of Donald Judd, one of the most significant American artists of the postwar period, has come to define what has been referred to as minimalist art—a label to which the artist strongly objected on the grounds of its generality. This beautifully designed collection highlights the enduring influence and striking visuals in Judd's practice.

A sweeping selection of Donald Judd’s iconic and ambitious works alongside a diverse collection of newly commissioned writings.

With hundreds of pages of new and previously unpublished essays, notes, and letters,

 is the most comprehensive collection of the artist’s writings assembled to date.

presents sixty interviews with the artist over the course of four decades and is the first compilation of its kind. It is the companion volume to the critically acclaimed and best-selling

Donald Judd Collection

A painting by Marlene Dumas, titled Longing, dated 2018.

By Charles Baudelaire. Illustrated by Marlene Dumas

After their successful collaboration in William Shakespeare's 

, Hafid Bouazza and Marlene Dumas decided to reunite. This time he would translate the fifty prose poems collected by Charles Baudelaire (1821-1867) in 

 , and she would illustrate his translation.
Hafid Bouazza passed away on April 29, 2021. Marlene Dumas made paintings and drawings for the twenty prose poems of which he completed the translation. She was inspired by the atmosphere of the text and the specific timbre of Bouazza. The book thus became a posthumous ode to their friendship.

Charles Baudelaire is considered the poet of the spleen, a melancholy, an intense boredom that leads to weltschmerz. In 

 he paints portraits of grieving widows, rejected lovers, people who fight against the dark around them and within themselves. Anyone who reads this magnificent collection will realize that 

The French original has been recorded in its entirety in 

 , as has an English translation by Louise Varèse. The heart of the book is formed by the twenty translations of Hafid Bouazza, illustrated by Marlene Dumas.

Charles Baudelaire: Le Spleen de Paris

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

Photographs by Diane Arbus. Texts by Doon Arbus, Sarah H. Meister, Sandra S. Phillips, Jeff L. Rosenheim, Neil Selkirk, and Elisabeth Sussman.

Aperture is proud to bring this best-selling and indispensable title back into print, coinciding with the fiftieth anniversary of Diane Arbus’s groundbreaking solo exhibition at the Museum of Modern Art, New York.

 explores the origins, scope, and aspirations of this wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career. It also includes a new contribution by Sarah Meister, executive director of Aperture, alongside essays by Sandra S. Phillips, senior curator of photography, emeritus, at the San Francisco Museum of Modern Art, and a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. An extensive chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, is illustrated by more than three hundred additional images and composed primarily of excerpts from the artist’s letters, notebooks, and other writings, amounting to a kind of autobiography. An afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues, compiled by Jeff L. Rosenheim, curator in charge of the Department of Photographs at the Metropolitan Museum of Art, New York. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

Diane Arbus: Revelations

Edited with text by Caroline Bourgeois. Text by Élisabeth Lebovici, Ulrich Loock

A concise and affordable overview of Dumas’s existential portraiture, with previously unseen works

An engrossing compendium of more than 100 works from 1984 to the present day by South African painter Marlene Dumas (born 1954), 

 offers a selective overview of her career to date, and a first look at pieces created over the course of the last few years.

Of her work, Dumas says: “I am an artist who uses second-hand images and first-hand emotions.” While in the early years of her career she was known for her collages and accompanying texts, today Dumas works chiefly in oil on canvas and ink on paper. The majority of her production is made up of portraits of people in states of suffering, ecstasy, fear and despair. A crucial moment in the development of Dumas’s style came with her use of images from newspapers and magazines, stills from films and Polaroids.

 brings together pieces from international museums and private collections to provide new insight into Dumas’ work and methods.

Marlene Dumas: Open-End

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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.