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.

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 portrait of Gerhard Richter by Werner Bartsch.

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.

Out of stock

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

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 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

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

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

Texts by Felix Gonzalez-Torres, Roni Horn, Caroline Bourgeois, Elisabeth Lebovici, Elena Filipovic, and Julie Ault

In the continuity of their deep friendship and based on emblematic works conserved by the Pinault Collection, the exhibition brings together the works of both artists, as if their discussion continued to exist in the present.

Felix Gonzalez-Torres / Roni Horn

David Zwirner Books: Fall 2022

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

Portrait of Michael Armitage, 2021. Photo by Tom Jamieson

Texts by Mũkoma wa Ngũgĩ, Yvonne Adhiambo Owuor, and Sean O'Toole

 is the artist’s first exhibition in Australia, presenting recent work with a suite of new paintings that reflect on the recent Kenyan elections and the political rallies and dissidence that followed. Sumptuous and explicit in their representation of the human body, Armitage’s paintings reconsider cultural traditions and stereotypes, spinning the exoticising gaze of Western art history into a different direction. This fully illustrated exhibition catalogue, edited by curator Natasha Bullock, features essays by Sean O’Toole and Yvonne Adhiambo Owuor and poems by Mukoma Wa Ngugi.

Michael Armitage: The Promised Land

 is a new zine designed by R. Crumb, Aline Kominsky-Crumb, and Sophie Crumb on occasion of the 2022 exhibition at David Zwirner in Paris. The zine features details from individual and collaborative works featured in the show, which expand on the Crumb family’s collective interest in graphic and comic portrayals.

Sauve qui peut ! (Run for Your Life)

The exhibition is accompanied by a richly illustrated catalogue in Danish and English. It features contributions from curator Anna Kjærsgaard Gregersen and Tamar Garb, Professor in the History of Art at University College London. 

Michael Armitage: Account of an Illiterate Man

Introduction by Duro Olowu. Interview with the artist by Craig Taylor

, artist Marcel Dzama presents a raft of new works inspired by travelling through Mexico and Morocco which touch on the wonder that travel and the strange immersion in cultures aside from one’s own can so often engender. Taking visual cues from the evocative textures and colours around him, Dzama successfully captures the spirit of place, while communicating something essentially human in the experience of those places. Coming at a time of isolation, of stasis for so many, this book engages the imagination in a broad, borderless project, allowing the viewer access to the thrill of discovery and the excitement of the new.

Marcel Dzama: Pink Moon

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

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

The latest painting series from the Belgian master of eerie figuration

Belgian artist Michaël Borremans is a master of contradiction. His paintings draw heavily from 18th-century portraiture techniques, but depict scenes that are stranger and more surreal than they first appear: in one painting, children dance in a circle, cloaked in black robes; in another, a woman attempts to cram her whole hand into her mouth. Avoiding any suggestion of a specific time or place, Borremans’s eerie images are situated just slightly beyond the realms of possibility. His dark sense of humor and technical virtuosity are synthesized into a uniquely unsettling and endlessly fascinating experience for viewers.

This volume provides an overview of all of Borremans’s work since 2013, presented in seven different series of paintings. The majority of works collected here have never before been published.

Series 2013–2020

Michaël Borremans: The Badger's Song

A detail from a work by Bridget Riley, titled Study for Measure for Measure Dark 2, dated 2019.

Portrait of Bridget Riley, 2021. Photo by Yuki Shima

Texts by Lucy Askew, Gene Baro, Lynne Cooke, Maurice de Sausmarez, Michael Harrison, John Leighton Sir, Jennifer Licht, and Bridget Riley

The first-ever book dedicated to the celebrated British artist’s working drawings, created under the aegis of the Bridget Riley Art Foundation

Bridget Riley’s paintings are developed carefully over time, the result of methodically working through pictorial variables such as colour, tone, scale, and rhythm. Studies are central to this process, allowing Riley to concentrate on the analysis and synthesis that lie at the heart of her working practice. Riley says, ‘Because my work is based on enquiry, studies are my chief method of exploration and my way into paintings’ (2005).

This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburgh and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction.

The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.

Bridget Riley Working Drawings

Dawn Ades

Richard Tuttle

Text by Dawn Ades. Poetry by Richard Tuttle

The year before he died, in what was one of the most difficult yet prolific periods of his life, Paul Klee created his most surprising and innovative works.

In 1939, the year before his death from a long illness and against a backdrop of sociopolitical turmoil and the outbreak of World War II, Paul Klee worked with a vigor and inventiveness that rivaled even the most productive periods of his youth. This book illuminates the artist’s response to his personal difficulties and the era’s broader realities through imagery that is tirelessly inventive—by turns political, solemn, playful, humorous, and poetic.

The works featured testify to Klee’s restless drive to experiment with form and material. His use of adhesive, grease, oil, chalk, and watercolor, among other media, resulted in surfaces that are not only visually striking, but also highly tactile and original. Not unlike a diary, the drawings are often meditative reflections on the pains and pleasures of life—their titles, among them 

Renowned art historian Dawn Ades looks at this group of paintings and drawings in the context of their time and as indicative of a pivotal moment in art history. Moved by this late period of Klee’s oeuvre, American artist Richard Tuttle responds to specific works in the form of a dialogical poem. This stunning publication highlights the novelty and ingenuity of Klee’s late works, which deeply affected the generation of artists—including Anni Albers, Jean Dubuffet, Mark Tobey, and Zao Wou-Ki—that emerged after World War II and continues to captivate artists and viewers alike today.

Paul Klee: 1939

 is the first English translation of Franz Xaver Kroetz’s 1971 stage play

, part of a trilogy of radio plays from 1971 titled Trilogie Münchener Lebens. In his introduction to this book, Christopher Williams writes that “Inklusive consists of seven scenes of tightly scripted, sparsely rendered dialogue in regional Bavarian dialect...following the activities and conversations of a working-class West German couple on a prepaid all-inclusive vacation package in Italy. We are presented with a standardized list of tourist activities (sunbathing, morning walks on the beach, boat rides, picture-taking, and outdoor concerts) that are included in the program into which the couple has been inscribed.” Williams Studio along with Maximilian Klemens Sänger produced this translation as part of his ongoing research into Kroetz’s theatrical work for theatre, radio, and television.

Christopher Williams: Inklusive Franz Xaver Kroetz 1971

Nicholas Fox Weber

Anni & Josef Albers: Equal and Unequal, Phaidon, 2020

A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design

Josef - painter, designer, and teacher - and Anni Albers - textile artist and printmaker - are among the twentieth century's most important abstract artists, and this is the first monograph to celebrate the rich creative output and beguiling relationship of these two masters in one elegant volume. It presents their life and work as never before, from their formative years at the Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through their intensely productive period in Connecticut.

Accessibly written, the book is packed with more than 750 artworks, archival images, and documents - many published here for the first time - all tracing the remarkable lives and careers of this legendary couple.

Dispersed throughout area series of short essays on artists that focuses on the Alberses relationship with a number of important artists and architects of the 20th century, like Ruth Asawa, Marcel Breuer, Merce Cunningham, Philip Johnson, Paul Klee, Jacob Lawrence, and many more.

The beautifully cloth-bound package utilizes an elegant color palette and design that speaks to the work of both artists. This comprehensive visual biography showcases the artists' rich and dynamic lives, and their infinite influence on each other, as they shared the profound conviction that art was central to human existence.

Anni & Josef Albers: Equal and Unequal

"The godfather of colour photography has released a new photo book, shedding light on a little-known facet of his output—his sumptuously sun-drenched Polaroids.” –Daisy Woodward, AnOther

This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company, 

 is the first publication of Eggleston's Polaroids.

The gloriously mundane subjects of these photos—a Mississippi street sign, a telephone book, stacked crates of empty soda bottles—is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form.

William Eggleston: Polaroid SX-70

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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.