Deborah Solomon

Marcel Dzama’s work is characterized by an immediately recognizable visual language that draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. While he has become known for his prolific drawings with their distinctive palette of muted colors, in recent years, the artist has expanded his practice to encompass sculpture, painting, film, and dioramas.

Created in close collaboration with the artist, this richly illustrated catalogue presents his 2013 exhibition at David Zwirner in London, which included videos inspired by the game of chess and puppets and masks based on the characters, along with drawings, collages, dioramas, paintings, and sculptural works. Dzama utilized the architecture of the gallery itself—an eighteenth-century Georgian townhouse—by hanging puppets from a skylight above the five-story building’s central spiral staircase and placing monitors in the windows so videos were viewed from the street. As writer Deborah Solomon notes in her accompanying essay, “Naturally, it is a futile endeavor to try and extract anything as compact as a moral or a single storyline from the twisty symbolism of Dzama’s art. But you can say, at the very least, that his latest work is suffused with a sense of nostalgia for the European avant garde in its heyday—it invites you to enter a world filled with costumes and masks and erotic play, with chessboard personalities dancing their heads off, with the sort of brazen gestures in which the Dadaists and the Surrealists specialized. To be sure, the old avant garde is long gone. It isn’t coming back. What Dzama offers us in its place is a fairy tale about a world where art once tried to be pathbreaking and revolutionary, and which lives on today as a story we tell and re-tell about a lost civilization.”

Marcel Dzama: Puppets, Pawns, and Prophets

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

Life as Wolfgang sees it: Tillmans's latest project sets its sights on the world 

Over the period of more than two decades, Wolfgang Tillmans has explored the medium of photo-imaging with greater range than any other artist of his generation. From snapshots of his friends to abstract images made in a darkroom without a camera or works made with a photocopier, he has pushed the photographic process to its outer limits in myriad ways. For this collection of photos Tillmans turned away from the self-reflexive exploration of the photography medium that had occupied him for several years by focusing his lens on the outside world—from London and Nottingham to Tierra del Fuego, Tasmania, Saudi Arabia, and Papua New Guinea. He describes this new phase simply as “trying out what the camera can do for me, what I can do for it.” The result is a powerful and singular view of life today in diverse parts of the world, seen from many angles. Says Tillmans, “My travels are aimless as such, not looking for predetermined results, but hoping to find subject matter that in some way or other speaks about the time I’m in.”

The book features a conversation between the artist and Beatrix Ruf, director of Kunsthalle Zurich. 

Wolfgang Tillmans: Neue Welt

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Leslie Camhi

RoseLee Goldberg

Takaya Goto

Laura Hoptman

Arthur Lubow

Kevin McGarry

Louise Neri

Olivier Zahm

Edited by Louise Neri and Takaya Goto. Contributions by Leslie Camhi, RoseLee Goldberg, Laura Hoptman, Chris Kraus, Arthur Lubow, Kevin McGarry, Louise Neri, Akira Tatehata, and Olivier Zahm

The most comprehensive book devoted to the incomparable and iconic work of Yayoi Kusama. Yayoi Kusama, now in her eighties, has become a vital force in contemporary art and an influence on generations of artists. Arriving in New York City in 1958 from her native Japan, she embarked on a series of works that forged a new visual vocabulary—the Net paintings, which were composed of scores of small, thickly painted loops spanning large canvases. Her singular approach to art making continued in other extraordinary bodies of work, including the phallic soft sculptures which she later incorporated into full-scale environments. In 1973 she returned to Japan, where she lives and works today. Since then, she has created dazzling walk-in mirror rooms and her now-famous pumpkin sculptures, as well as writing poetry and novels. In this book—created in close collaboration with Kusama and her Tokyo studio—the breadth and import of this watershed artist’s career are considered in depth. In addition to studies of the development of her artistic vocabularies across different media, the book includes ephemera, sketches, and photographs from the artist’s extensive archive that have never been seen before. The publication is timed to coincide with the artist’s major touring retrospective, which makes its American debut at the Whitney Museum in New York in summer 2012, as well as with the much-anticipated collaboration with powerhouse fashion brand Louis Vuitton.

Yayoi Kusama

In February 2011, German photographer Wolfgang Tillmans (born 1968) decided to pay a visit to Fruit Logistica, the most important convention in the international fruit trade, held annually in Berlin. More than 2,400 fresh produce companies gather at the convention, presenting a dazzling panorama of texture and color. “I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery,” he records. “I reacted with my camera straight away.” The resultant 66 color photographs are published here for the first time.

Wolfgang Tillmans: Fruit Logistica

Edited by Gregor Jansen, Magdalena Holzhey

German painter Tomma Abts (born 1967) creates her geometric abstractions through a slow and strict process, always deploying the same modest portrait format (19 x 15 inches), and applying layer upon layer of paint like blankets of sediment. This catalogue brings together her older paintings with her most recent work and offers the fullest presentation of her career to date.

Out of print

Tomma Abts

Scott Harding

John Medeski

Special six-sided 10th Anniversary Edition vinyl

(2003) is the final state of a work that Stan Douglas first presented during the summer of 2002 at 

 in Kassel. In the earlier version, pre-recorded videos of scenes from the Grimms’ fairy tales were superimposed in a random rotation with live, black-and-white feeds from surveillance cameras inside the labyrinthian corridors of Kassel’s Herkules Oktagon monument. A computer mixed this material in real-time, adding sporadic narration and musical accompaniment, and as a result, an effectively endless number of possible permutations were generated: there were no repetitions during the one hundred days of 

Further elaborating upon this work, Douglas taped the random mix of pre-recorded material and surveillance feeds in Kassel and re-edited it with additional scenes and revised narration. First shown in 2003 as a projected installation controlled by an apparatus with a generative algorithm, the present monitor version is derived from this system.

The visual presentation of the pre-recorded fairy tales in 

presents a link with Dario Argento\s eponymous horror movie from 1977. Argento's film was shot in Technicolor, a now obsolescent process which confers a lush, highly saturated palette to the material. Douglas’s scenes capture the style and sound of the film, and their juxtaposition with the muted aesthetics of the Kassel surveillance feeds creates a visually complex, almost delirious effect.

As Nell McClister notes, “Douglas’s overall project involves modernism’s promise and the nostalgia that results from its failure. With 

 the artist turns explicitly to a few historical moments of utopian aspiration. Referring to both 

(in which Marx repeatedly nods to a fairy-tale idiom of drama and transformation) and 

(which famously opens with the 'spector of communism' hanging over Europe), Douglas mines the Grimms’ stories for economic and social allegory.”

Stan Douglas: Suspiria

Lewis Carroll

Text by Lewis Carroll. Artwork by Yayoi Kusama

Since childhood, Kusama has been afflicted with a condition that makes her see spots, which means she sees the world in a surreal, almost hallucinogenic way that sits very well with the Wonderland of Alice. She is fascinated by childhood and the way adults have the ability, at their most creative, to see things the way children do, a central concern of the Alice books, by Lewis Carroll.

The book is colour illustrated to very high specification, with her images interspersed thoughtfully throughout the text.

Lewis Carroll's Alice's Adventures in Wonderland: With Artwork by Yayoi Kusama

Paul McCarthy

Eva Meyer-Hermann

Ralph Rugoff

Text by Paul McCarthy, Eva Meyer-Hermann, and Ralph Rugoff

The installation “Perfect World,” which Jason Rhoades created for the Deichtorhallen in Hamburg in 1999, is regarded by many as his most important project. This publication is devoted to that huge work, looking at it from a historical distance, and examining the artist’s central modi operandi as prototypes.

In a wide-ranging conversation Paul McCarthy, a former teacher and friend of the artist, together with Ralph Rugoff, looks back at the Hamburg project and discusses its significance in the context of Rhoades’s work overall. In his essay, Rugoff examines the true-to-scale reductions in the installation, which were created in aluminum and sterling silver as reflections of 

, and which can hardly be included in the traditional concept of the “model.” A picture essay by Eva Meyer-Hermann looks at the phenomenon of the recycling of materials in Rhoades’s work, and follows the further development of central themes in the Hamburg installation.

The book includes many drawings from the artist’s “XEROX-book” that can be read as notes on the intellectual zones and material levels of 

 while at the same time prefiguring many artistic ideas that occupied Rhoades until his early death in 2006. Lavish illustrations and numerous historical photographs of the versions of 

 created in 1999 and 2000, as well as of the complete version of the installation shown in its entirety for the first time in London in 2010 as 

 provide a detailed insight into Rhoades’s artistic cosmos.

Jason Rhoades: The Big Picture

Dan Flavin, New York, 1970.  Photo by Gianfranco Gorgoni. © Maya Gorgoni

Tiffany Bell

Isabelle Dervaux

Jennifer Raab

With texts by Tiffany Bell, Isabelle Dervaux, and Jennifer Raab

This publication documents the first retrospective of the artist’s drawings, which was held at The Morgan Library & Museum, New York, in 2012 (it then traveled to the Kunsthalle Bielefeld, Germany, in 2012-2013). The catalogue explores the central role that drawing played in Flavin’s practice, and includes essays by exhibition curator Isabelle Dervaux, noted Flavin scholar Tiffany Bell, and art historian Jennifer Raab. Excerpts from Flavin’s journal, in which he writes about his relationship to drawing, are published here for the first time. This richly illustrated catalogue features over 190 plates, including selections from the artist’s personal collection of nineteenth-century Japanese drawings, Hudson River School landscape studies, and drawings by other twentieth-century artists, from Piet Mondrian to Donald Judd.

Dan Flavin: Drawing

Spanning the most important era of his life, from the painful formative years of his early adolescence to the fame and fortune of his adulthood, this collection of personal correspondences sheds light on the artistic development, bitter struggle, and ultimate triumph of the greatest cartoonist of the twentieth century. A powerful literary view into the mind of an artistic genius, and an entertaining read even for those few not familiar with the cartooning giant's work. It's Crumb's sketchbook of words, featuring tons of great art, including entire letters done in cartoon form!

Out of stock

Your Vigor for Life Appalls Me: Robert Crumb Letters 1958–1977

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

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

Christine Kintisch

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

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

Michaël Borremans: Magnetics

 finally charts the daily exploits and erotic craziness of this “First Couple” of comics. Who could have imagined that in 1972, when Aline Kominsky, a Long Island escapee and bodaciously talented artist, broke her foot one rainy fall day, it would result in the most unique collaboration in comics history? Laid up in her house, she was persuaded by R. Crumb, her nerdy, neurotic boyfriend, to pass the time drawing together a “two-man” comic. The result is a jaw-dropping yet tender account, not only of the joys and challenges of a legendary marriage, but also of the obstacles faced by struggling female artists. In 

, our foremost male-female cartooning couple recall their success at shocking America with 

, the life-altering birth of their precocious daughter Sophie, and their astonishing move to the safe haven of France. With an irresistible introduction and a striking four-color section, Drawn Together becomes a graphic cause-célebre and a must-have for any comics devotee.

Drawn Together: The Collected Works of R. and A. Crumb

Detail view of Alice Neel's 1967 painting titled Richard

Tim Griffin

Louise Sørensen

Texts by Tim Griffin and Louise Sørensen

Alice Neel (1900–1984) is widely regarded as one of the greatest portraitists of the 20th century. Described as “the pre-eminent painter-chronicler of New York bohemia” by Deborah Solomon of 

, the artist selected her subjects among from her family, friends, and a broad variety of locals: writers, poets, artists, students, textile salesmen, psychologists, cabaret singers, and homeless bohemians. Thus, her eccentric choices also comprised a portrayal of, and dialogue with, the city in which she lived. Through her forthright and at times humorous touch, her work engaged with ongoing political and social issues, including gender, racial inequality, and labor struggles, and she remains a hero to many of today’s most influential figurative painters, including Marlene Dumas, Eric Fischl, and Elizabeth Peyton.

Published on the occasion of a solo exhibition at David Zwirner in New York in 2012—the second solo exhibition of the artist’s work at the gallery since Zwirner started representing her Estate in 2008—this beautifully designed book presents a selection of portraits and still lifes from the last two decades of the artist’s life, made between 1964 and 1983. Anchored by large-scale color reproductions of her compelling compositions, the publication also includes an essay by Tim Griffin, Executive Director and Chief Curator at The Kitchen, New York, and former 

Alice Neel: Late Portraits & Still Lifes

Interviews compiled by Jessamyn Fiore. Introduction and selected texts by Louise Sørensen

112 Greene Street was more than a physical space—it was a locus of energy and ideas that with a combination of genius and chance had a profound impact on the trajectory of contemporary art...its permeable walls became the center of an artistic community that challenged the traditional role of the artist, the gallery, the performer, the audience, and the work of art.

112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974.

112 Greene Street: The Early Years (1970–1974)

 is the culmination of an exhibition by the same name that was on view at David Zwirner in New York in 2011. This extensively researched and historically important book brings together a number of works that were exhibited at the seminal space (including works by Gordon Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra); extensive interviews with many of the artists involved in the space; a fascinating timeline of all the activity at 112 Greene Street in the early years; and installation views of the 2011 exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.

112 Greene Street: The Early Years (1970-1974)

Edited by Michelle White, Bernice Rose and Gary Garrels. Contributions by Magdalena Dabrowski and Richard Shiff



As the focal point of numerous high-profile exhibitions, the sculpture of Richard Serra (b. 1939) has drawn international acclaim. Yet even those who have marveled at Serra's intellectually rigorous and large works of sculpture may not be familiar with his equally intriguing drawings. This handsome book brings together for the first time Serra's drawn work, considering the artist's investigation of medium as an activity both independent from and linked to his pioneering sculptural practice.

First working in ink, charcoal, and lithographic crayon on paper, Serra originally used drawing as a means to explore form and perceptual relations between his sculpture and the viewer. Over time, his drawings underwent significant shifts in concept, materials, and scale and became fully realized and autonomous works of art. The grand, bold forms he created with black paintstick in his monumental Installation Drawings were designed to disrupt and complement existent spaces and eventually began to occupy entire rooms. In the late 1980s, Serra explored the tension of weight and gravity through layering, and his most recent work experiments with surface effects, using mesh screens as intermediaries between the gesture and the transfer of pigment to paper.

Richard Serra Drawing: A Retrospective

A detail from a painting by Steven Shearer, titled The Collector's Visit, dated 2019.

Steven Shearer, The Collector's Visit, 2019

Adopting and elaborating upon stylistic repertoires drawn from the history of figure painting, Steven Shearer makes formal and thematic parallels between art history and the iconography associated with various contemporary subcultures including their modes of dissemination such as fanzines and image shrines on personal websites. He is interested in how contemporary society unconsciously echoes specific manners of appearance that have been explored by historical movements or schools. Seen in this light the resemblance between the long, flowing hair of his metal-head rockers and the tresses of Pre-Raphaelite heroines is not fortuitous. Central to Shearer's work is his ongoing compilation of an archive of thousands of images culled from magazines, songs and the internet. In his paintings, text-based works, sculptures and photographic compilations, these sources function generatively as they are combined and recycled across his works. By showing us aspects of popular culture anachronistically, Shearer exposes the false hierarchy of high and low art and prompts us to consider the differences between the cultural industries and the art world.

Steven Shearer: Exhume to Consume

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

Text by Thomas McEvilley and Julie Mehretu


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

Huma Bhabha

Louis Kaplan

Maria Muhle

Melanie O’Brian

Introduction by Melanie O’Brian. Texts by Louis Kaplan and Maria Muhle

Marking the first in a new series of scholarly readers called Power Plant Pages, this richly designed catalogue was published on the occasion of Stan Douglas’s 2011 solo exhibition at The Power Plant in Toronto. Titled 

Entertainment: Selections from Midcentury Studio

, the exhibition featured two complementary series, 

, recently created by the artist. Douglas has assumed the role of a fictional, anonymous photographer for both series, which were hypothetically produced between 1945-1951. 

 chronicles the burgeoning discipline of press photography in North America during the postwar period, depicting crime-scenes, curious and exotic artifacts, magicians, fashion, dance, gambling, and technology, while 

 comprises black-and-white portraits of the patrons and staff of a fictional 1950s nightclub. Also included are essays by Louis Kaplan, Professor of History and Theory of Photography and New Media at the University of Toronto, and art historian Maria Muhle.

Stan Douglas: Entertainment

Robert Graham

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

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

Robert Graham: Early Work 1963-1973

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

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

Marcel Dzama: Behind Every Curtain

Noam M. Elcott

Sylvia Lavin

Introduction by Noam Elcott. Text by Sylvia Lavin

Over the course of three years, from 2006 to 2009, James Welling (born 1951) photographed the Glass House, the architectural landmark estate that Philip Johnson built in New Canaan, Connecticut, in 1949. Welling's photos offer a decided departure from the familiar views of the house and grounds: using digital cameras set on a tripod and holding a variety of filters in front of the lens, he created tinted veils and distortions that transformed the image at the moment of exposure, endowing it with powerful swells of glowing color. As Welling described it in an interview with 

, the use of filters enabled his project to become "a laboratory for ideas about transparency, reflectivity and color." The 45 images presented here, which invite the viewer to draw associations between the camera's lens and the glass surfaces of the house itself, oscillate before our very eyes between photographic abstraction--a recurrent preoccupation for Welling--and depictions of architecture. With this body of work, Welling has located a wholly new approach to, and blend of, both genres.

James Welling: Glass House

Text by Richard Shiff. Interview with the artist by Jochen Poetter

One of the most important American artists of the postwar period, Donald Judd has come to define Minimalist art—though he continued to strongly object to this categorization throughout his life. His unaffected, straightforward approach to his work and his strong interest in color, form, material, and space led him to create striking art objects with a direct physical “presence,” eschewing grand philosophical statements.

Judd began his practice as a painter in the late 1940s; however, he soon introduced three-dimensional elements into the surface of his work. His first sculptural objects took the form of shallow reliefs, and by 1963 he had begun to create freestanding works that were presented directly on the floor and the wall. Throughout his practice, Judd used materials such as plywood, steel, concrete, Plexiglas, and aluminum and employed commercial fabricators in order to get the surfaces and angles he desired, creating declaratively simple, fundamental sculptural forms.

This publication documents an exhibition held at David Zwirner in New York in 2011, which brought together twelve identically scaled aluminum works from the artist’s seminal 1989 solo presentation at the Staatliche Kunsthalle Baden-Baden. That exhibition marked the first time Judd used colored anodized aluminum in such a large, floor-mounted format —thus comprising one of his few explorations of color on a large scale and providing a focused investigation of one of the key concerns within his practice. Although he had previously examined the qualities of an open box form, the works created for Baden-Baden display a distinct systematic approach in determining the interior space of each box, which Judd divided vertically in different spatial configurations, sometimes introducing color through the use of anodized elements or sheets of Plexiglas in blue, black, or amber. The combinations of materials, dividers, and colors —which differ from box to box—thus determine the singular nature of each work within a finite number of variable possibilities, each of the boxes being an individual work that represents one possibility within the given parameters.

Featuring new scholarship by art historian Richard Shiff, the book’s stunning visual elements are contextualized by such archival materials as Judd’s preparatory drawings, as well as an interview with the artist conducted in 1989 by Jochen Poetter.

Donald Judd

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

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

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

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

Diane Arbus: Untitled

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

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

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

 remains the foundation of her international reputation.

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

Fortieth-anniversary edition

Diane Arbus: An Aperture Monograph

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