Yve-Alain Bois

Benjamin H. D. Buchloh

Diedrich Diederichsen

Hal Foster

Isa Genzken

Isabelle Graw

Lisa Lee

Pamela Lee

Birgit Pelzer

Juliane Rebentisch

Josef Strau

Wolfgang Tillmans

Lawrence Weiner

Texts by Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, and Lawrence Weiner

Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a 

 critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present.

These illustrated essays address the full span of Genzken’s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.

The first major catalogue published in English on the work of Korean group Dansaekhwa, who variously experimented with pushing paint, soaking canvases, dragging pencils, ripping paper, and other material manipulations. The exhibition was held at Blum & Poe, Los Angeles in 2014 and included artists Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyong-keun. The catalogue features an essay by Joan Kee, translations of key articles about the group, and beautiful new illustrations.

From All Sides: Tansaekhwa On Abstraction

Diana Thater in Chernobyl. Photo by Volodymyr Palylyk, 2010

Giuliana Bruno

Michael Govan

Christine Y. Kim

Lisa Gabrielle Mark

Patti Podesta

Jason E. Smith

Texts by Giuliana Bruno, Lynne Cooke, Michael Govan, Christine Y. Kim, Lisa Gabrielle Mark, Patti Podesta, and Jason E. Smith

This book offers a mid-career retrospective of the work of Diana Thater, one of the most important and innovative artists working today.

For more than two decades, Diana Thater has been creating ground-breaking installations that build upon the basic visual language of film and video by integrating architecture, applied color, and artificial and natural light. Depicting a range of natural phenomena, her work is largely organized around an exploration of the subjectivity of animals. This lavishly illustrated overview shows how Thater has radically reenvisioned both the ways in which film and video are deployed in site-related installations and the relationship between subject and object. Luminous images of eighteen projects such as 

 are accompanied by quotes and fictional writings that have long served as Thater’s touchstones. Also included are an interview with the artist and essays on a wide range of topics that Thater addresses in her work—from the history and politics of the Chernobyl disaster to beauty and Baroque architecture. This publication also gives readers exclusive access to a moving image supplement, featuring a film conceived and created by Thater in collaboration with production designer Patti Podesta, as well as an illustrated checklist with short video clips.

Diana Thater: The Sympathetic Imagination

Mark Godfrey

Roxana Marcoci

Text by Mark Godfrey, Roxana Marcoci, Christopher Williams, and Matthew S. Witkovsky

Representing Christopher Williams’s first publication with a major American museum, this illuminating and unusual volume is equal parts artist’s book and exhibition catalogue. Over the course of his thirty-year career, Williams (b. 1956) has crafted photographs that engage—often through uncanny mimicry—the conventions of photojournalism, picture archives, and commercial imagery, as well as their sociopolitical contexts and implications. The book includes a trio of essays by curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky, which explore Williams’s engagement with his artistic peers and predecessors, with cinema (particularly the film-essay), and with the methods and modes of display and publicity in the art world, in addition to a transcript of a talk Williams delivered on the work of John Chamberlain. These more conventional contributions are “interrupted” by additional historical and contemporary textual and visual materials that were selected by the artist himself and are occasionally presented in facsimile form. An exhibition history, bibliography, and illustrated list of works round out the publication.

Christopher Williams: The Production Line of Happiness

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Katherine Brinson

Massimiliano Gioni

Karen Marta

Edited by Karen Marta and Massimiliano Gioni. Text by Katherine Brinson.

Since the mid-1990s, Chris Ofili's painstakingly crafted paintings and sculptures have dazzled—and often distressed—viewers with a fusion of opposing forces: sacred meets profane, formal bows to demotic, and exalted bleeds into vulgar. Paintings of rare beauty are propped on elephant dung; deities squat to defecate; and lovers embrace and yet are forcibly bound.

 series is authored by Katherine Brinson, Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York, where she curated the museum's 2013 Christopher Wool retrospective and also organizes the Hugo Boss Prize, a biennial award honoring significant achievement in contemporary art.

Chris Ofili: 2000 Words

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

Robert Kudielka

Natalia Naish

Alexandra Tommasini

Text by Natalia Naish and Alexandra Tommasini. Interview by Robert Kudielka

Tracking a transitional period of Bridget Riley’s career, the works on paper in this volume move from the vertical stripe to increasingly complex diagonal compositions. During the mid-1980s, Riley introduced a new pictorial device – the rhomboid – to the then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. Riley constructs new visual relationships between divergent colors and forms within these works, creating what the artist terms a ‘harmony of contrasts’ that animates the entire visual field. Illustrated in full color, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Natalia Naish and Alexandra Tommasini, which situate these studies with major paintings during this period.

Bridget Riley: Studies 1984-95

Detail view of Alice Neel's 1967 painting titled Richard

Jeremy Lewison

Claire Messud

Texts by Jeremy Lewison and Claire Messud

Drawing was a fundamental, stand-alone component of Alice Neel’s practice, persistently pursued alongside painting, for which she is primarily known. As a medium, it enabled her to capture the immediacy of her visual experience—whether in front of her sitters or on the city streets—while also affording her a greater sense of experimentation and informality. Neel chose the subjects for both her paintings and drawings from her family, friends, and a broad variety of fellow New Yorkers: writers, poets, artists, students, textile salesmen, cabaret singers, and homeless bohemians. Through her penetrative, forthright, and at times humorous touch, her work subtly engaged with political and social issues, including gender, racial inequality, and labor struggles. Not initially intended for public view, her drawings reveal a more private and intimate nature than her paintings and as such reflect her deep sensitivity to these subjects. Yet they are far from sentimental and she readily stripped her sitters of their masks, foregrounding rather the incongruous, the awkward, and, at times, the comical.

Alice Neel: Drawings and Watercolors 1927-1978 

presents an illuminating overview of the variety of themes and styles employed by the artist across five decades. Published to coincide with an 

 at David Zwirner in New York, the book contains over sixty color plates organized thematically and includes works selected from throughout her career. In addition, it features essays by the independent curator and writer Jeremy Lewison and the award-winning novelist Claire Messud, as well as a selected chronological biography and illustrated list of works.

Although Neel’s influences and style changed from decade to decade, her profound commitment to her subjects and to her art remained consistent over the course of her career, and although the appearance of many of her sitters changed over the years, there is a timeless quality to the works. As Claire Messud notes in her reflections on the artist in the exhibition catalogue, “The complex emotions Neel evokes in her art are nothing less than the contradictions of life itself.”

Alice Neel: Drawings and Watercolors 1927-1978

A painting by On Kawara, titled MAY 11, 1967, dated 1967.

On Kawara, One Million Years (Past), 1970-1971, Page 2001

Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart, and Anne Wheeler

Because of his recourse to language, photography, and systems of information, On Kawara is often described as a key figure in the history of Conceptual art. Yet his work stands apart in its devotion to painting and its existential reach. 

 is published in conjunction with a major 

 of Kawara’s post-1964 work at the Solomon R. Guggenheim Museum, New York. Like the exhibition itself, the structure of the book was devised in close collaboration with the late artist. The exhibition catalogue contains essays on Kawara’s work by leading scholars and critics in various fields, including art history, literary studies, and cultural anthropology. It also includes substantial, authoritative descriptions of every category of his production—the first time such comprehensive information has appeared in print. Richly illustrated,

) that comprised the artist’s practice beginning in the mid-1960s. Among other groups of works, the book includes images of the 97 

(accompanied by their newspaper-lined storage boxes) that Kawara produced during a three-month run of daily painting in 1970. The catalogue also contains reproductions of paintings and drawings produced in Paris and New York in the years that precede the works for which Kawara is best known, as well as rare images of materials related to his working process. The volume is published in four differently colored covers.

On Kawara—Silence

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

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

Martin Germann

, on view at Centro de Arte Contemporáneo de Málaga in 2015.

Michaël Borremans: Fixture

This title is out of print and available in a limited number of copies. Browse a selection of rare books 



Foreword by Adam Lindemann. Text by Carlo McCormick

Since the 1970s Raymond Pettibon (born 1957) has created a vocabulary of symbols that reappear consistently if enigmatically across his oeuvre. These range from baseball players, vixens, light bulbs, and railway trains to the cartoon character Gumby and infamous murderer Charles Manson. But the most poetic and revealing of Pettibon's symbols may be the surfer, the solitary longboarder challenging a massive wave. In his "surfer paintings," viewers ride along with a counterculture existentialist hero who perhaps is the artist's nearest proxy. Almost all of the works included in this volume depict an ocean roiling with chaotic swells, accompanied by nonsequiturs, quotations, and bits of poetry in the artist's handwriting. Among these works are early small-scale, monochrome India ink paintings; numerous paintings from the 1990s when the artist introduced color to his work; and a group of rare, large-scale paintings.

Are Your Motives Pure?

Raymond Pettibon: Surfers 1985–2014

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

Between 2010 and 2014, Francis Alÿs traveled extensively to Afghanistan following his invitation to participate in dOCUMENTA(13). This publication is a compilation of the films, paintings, drawings, collages, postcards, notebooks, and other documents that make up his “Afghan Projects.” 

Like a storyboard or archive, their documentary yet narrative structure emerges like a travel journal with images and annotations. Including texts by Alÿs, dOCUMENTA(13) curator Carolyn Christov-Bakargiev, and several of the artist’s main collaborators, it offers rare insights into a country in transition, so often misrepresented in the media, as well as a nuanced debate about the relevance of contemporary art in the context of war. 

Alÿs’s engagement with Afghanistan has continued past the opening of dOCUMENTA(13)–in Spring 2013, he served as embedded war artist with UK’s Task Force Helmand, and the Afghan Projects continue to occupy an important part of his practice.

Francis Alÿs: REEL-UNREEL

Edited by Jeffrey Grove. Text by Michael Amy, Hans Christ, David Coggins, Martin Germann, Jeffrey Grove, Jan Hoet, Jeffrey Kastner, David Lynch, Charlotte Mullins et al.

Since the late 1990s, when he first began to produce drawings and paintings, Michaël Borremans has created an extraordinarily mature body of work that has captured international attention. The disparate spaces he imagines in his paintings, drawings, sculptures, and films are unified by an uncanny sense of dislocation and an often unsettling beauty. Rendered in complex palettes and exquisite techniques, Borremans’s works in all media embrace a rich legacy of artistic progenitors, but remain firmly anchored in the present. Presenting over 100 works created by the artist over a 14-year period in all media, this publication includes many works not previously reproduced in books or catalogues, offering the most complete overview of Borremans’s oeuvre to date. Contributions include a concise and incisive overview of Borremans’s practice; a revealing, in-depth interview between the main author of the book, Jeffrey Grove, and the artist, addressing process, influence and philosophical and critical issues; as well as more than 50 individual entries and mini-essays on individual works in the artist’s oeuvre by notable writers, curators, filmmakers, and musicians. Described by the artist as “the mother of all Borremans books,” 

 is published on the occasion of a major mid-career retrospective.

Michaël Borremans: As Sweet As it Gets

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

 brings together Kusama’s vivid imagery and haunting words with photos of the artist at work and at various stages in her life. The pieces are mostly from recent years (2000-2012), although there are some that go back as far as the 1950s. Here are Kusama’s large-scale canvases, environmental sculptures, multi-media installations, and numerous self-portraits. Here, too, are photos of the artist at ten years old, and as a young woman in Tokyo, and then New York, often wearing outrageous clothes of her own design. And we see Yayoi Kusama in recent years, working in her studio in Tokyo – minus the garish make-up and red wig. The book is a chronicle of her creative endeavors and of her life, offering a glimpse into the fevered imagination of this very complicated and fascinating woman.

Yayoi Kusama: Hi Konnichiwa

At the end of the 1950s William Eggleston began to photograph around his home in Memphis using black-and-white 35mm film. Fascinated by the photography of Henri Cartier-Bresson, Eggleston declared at the time: "I couldn't imagine doing anything more than making a perfect fake Cartier-Bresson. " Eventually Eggleston developed his own style which later shaped his seminal work in color—an original vision of the American everyday with its icons of banality: supermarkets, diners, service stations, automobiles, and ghostly figures lost in space. 

includes some exceptional as-yet-unpublished photographs, and displays the evolution, ruptures and above all the radicalness of Eggleston's work when he began photographing in color at the end of the 1960s. Here we discover similar obsessions and recurrent themes as present in his early black-and-white work including ceilings, food, and scenes of waiting, as well as Eggleston\s unconventional croppings-all definitive traits of the photographer who famously proclaimed, "I am at war with the obvious."

William Eggleston: From Black and White to Color

Best known for his oversized, dead-pan portraits, his unmediated shots of commonplace interiors, and his seemingly straightforward photographs of architecture, Thomas Ruff has quietly approached many familiar genres, and proceeded to discreetly reinvent them. For his 

 series, Ruff found images in newspapers, and then re-photographed and enlarged them to isolate the photographs from the text, allowing Ruff’s viewer, now no longer a reader, to make assumptions about the photograph without any information to support the viewer’s inferences. The book consists of 400 reproductions from German newspapers that Ruff collected over the span of 10 years (1981–1991).

Thomas Ruff: Zeitungsfotos / Newspaper Photographs

Ruff has always had a fascination with astronomy. His attempt at photographing night sky failed due to the lack of detail captured in the pictures he had taken. Ruff’s equipment could not render the detail he wanted as well as air and light pollution added to the difficulties of capturing the beautiful constellations. His solution was to take observation shots from the European Southern Observatory (ESO) based in the Andes in Chile.

Thomas Ruff: Sterne

Philippe Van Cauteren

Robert Fleck

Gregor Jansen

Valeria Liebermann

Texts by Philippe Van Cauteren, Robert Fleck, Gregor Jansen, Martin Germann, and Valeria Liebermann

Coinciding with museum exhibitions by Thomas Ruff at S.M.A.K in Ghent and Kunsthalle Düsseldorf in Düsseldorf, this book comprises five series of photographs ranging from the start of Ruffs’s artistic career in the late 1970s to recent work in 2014. This selection, being shown under the title 

, takes as its philosophical and scientific thread the spectrum between natural and virtual light – a fundamental shift that has taken place in the medium of photography over the last thirty years.

 (1992-1996), as well as parts of Ruffs’s most recent series called 

 (2012-2014) – a digitally generated simulation of this historical genre. In each of the series, Ruff subjects the photographic medium to systematic analysis: social, political, and aesthetic aspects of image production are laid bare, and thereby the history of Modernity as it was initiated by the emergence of photography in the 19th century. As a conceptual photographer, Ruff is not so much interested in photographing reality; he focuses more on portraying the realities of photography.

Thomas Ruff: Lichten

Robert Bean

Edward Burtynsky

Jane E. Nokes

Dieter Roelstraete

Introduction by Edward Burtynsky and Jane E. Nokes. Texts by Robert Bean and Dieter Roelstraete

 is the third annual publication celebrating the winner of the 

, Canada’s largest contemporary photography award for an established Canadian artist.

During the celebrated career of this year’s award winner Stan Douglas (starting in 1983), photography has played a vital role in his artistic development. This publication highlights the significance of the photographic image in the critical and historical reception of Stan Douglas’s approach to art and media. The stories, sites, and events that Douglas explores are populist, literate and timely. Frequently, his photographs describe the overlooked histories of cultural identity, displacement, and injustice that reveal an uncanny resemblance to present-day events. This is achieved through an insightful attention to photography as both medium and subject. Folding the spectator into the visual culture of memory and oblivion that photographs evoke initiates profound observations about the ubiquity of photography in contemporary culture. The photographs of Stan Douglas affirm the validity and volatility of the photographic medium at this decisive moment in the history of art and photography.

Stan Douglas: Scotiabank Photography Award

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

Kasper König

Jef Van Eynde

Barbara Weiss

Afterword by Barbara Weiss, Kasper König. Photographs by Jef Van Eynde.

In the summer of 2012, the acclaimed Belgian painter Raoul De Keyser (1930-2012) was preparing a show with David Zwirner, planned for March 2013. His friend, the photographer Jef Van Eynde, visited him that summer. “We were allowed to take a look at a new series of small paintings in his studio,” Van Eynde recalls in his postscript to this volume. “In their startling simplicity, these had been reduced right down to the essential. Some of them just had an oversized hook for a hanger, with the canvas simply wrapped around a wooden board.” De Keyser died in October 2012, and Van Eynde’s photographs of the paintings and the titular wall upon which they were arranged are the only documentation of his intentions for the Zwirner show. This intimate volume gathers these alongside portraits of De Keyser at home and in his studio.

Raoul De Keyser: The Last Wall

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

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

 is a retrospective look at two of Oscar Murillo’s earliest and rarest publishing projects, 

, both of which are newsprint publications. Rather than reprinting these small-run, zine-like papers, this photographic archive documents them as objects with three-dimensional physicality — photographed by Blommers and Schumm, the publication’s main content is devoted to high-gloss, still-life shots which record each folded page as a bona fide artwork.

To tie in with the haptic associations of a broadsheet paper, the artist’s newest painted works — from which the title of the publication is taken — are included as a series of fold-out posters at equivalent scale. The result is a new approach to archive and compilation.

Also included are 5 loose, fold-out posters of Murillo’s paintings.

Oscar Murillo: La era de la sinceridad

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

Norman Rosenthal

This publication is currently backordered.

The richly textured, seductive paintings of German artist Neo Rauch are marked by a “distinctive Pop-Surrealist-Social Realist style,” as described by 

 art critic Roberta Smith in 2002. Incorporating disjunctive references to disparate eras, techniques, and aesthetics, they evoke “avant-garde theater stage sets from an earlier time ... both buoyant and tamped down, comic and earnest.” In many of his compositions, human figures engaged in manual labor or indeterminable tasks work against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes. Scale is frequently arbitrary and non-perspectival, which adds to an overall dreamlike atmosphere; spatial relationships seem to construct an imaginary realm all of its own, one which both defies logic and feels somehow familiar.

, produced to coincide with the 2014 exhibition of Rauch’s new works at David Zwirner in New York, brings together small and large format paintings that expand the artist’s unique iconography of eccentric figures, animals, and hybrids within vaguely familiar but imaginary settings. This oversized catalogue—designed in close collaboration with the artist—is anchored by sixteen stunning plates and numerous 1:1 details that bring to life, and give viewers intimate access to, these compelling compositions. Themes of rebirth and new beginnings abound: Rauch consistently creates characters who appear to be in the process of transformation, literally on the brink of renaissance. These figures, though squarely centered in his paintings, often have the appearance of being part of still lifes: collaged, anachronistic elements belonging to different time zones and eras offer a contemporary take on the storied tradition of visual and psychological pastiche.

 features an illuminating essay by art historian and curator Sir Norman Rosenthal, who presents a careful reading of Rauch’s new work, including its relationship to fairy tales; the influence of the German Democratic Republic on his development as an artist in the 1980s; and the overarching sense of alienation that is present within his narratives. The book also includes a reprint of the classic Brothers Grimm fairy tale “The Young Giant,” specifically chosen by Rosenthal to further expand his analysis.

Neo Rauch: At the Well

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

Leontine Coelewij

Colm Toibin

Theodora Vischer

Text by Leontine Coelewij, Colm Toibin. Interview by Theodora Vischer

Marlene Dumas is one of the most prominent and influential painters working today. In an era dominated by the mass media and a proliferation of images, her work is a testament to the meaning and potency of painting. Dumas draws on her expansive visual archive and the nuances of language to create intense, psychologically charged works which explore themes such as sexuality, love, death, and guilt, often referencing art history and current affairs. Her paintings and drawings are characterized by their extraordinary expressiveness and sometimes controversial subject matter. This fully illustrated exhibition catalogue accompanies a major exhibition at the Tate Modern, the Stedelijk Museum, and the Fondation Beyeler. Surveying the artist’s oeuvre from the mid-70s to the present, it features over 100 of her most important paintings and drawings alongside lesser-known works from the early period of her career. 

 also includes a new interview with the artist; extracts from previously published but lesser-known texts (some available in English for the first time); and a new short story from prize-winning author Colm Tóibín written in response to the paintings. Essays and texts from a wide range of contributors examine the key themes and motifs in her work and reflect on Dumas’s entire career.

Marlene Dumas: The Image as Burden

Matthew S. Witkovsky

For more than thirty-five years, James Welling has explored the material and conceptual possibilities of photography. 

—the first mature body of work by this important contemporary artist—set the framework for his subsequent investigations of abstraction and his fascination with nineteenth- and twentieth-century New England.

In July 1977, Welling began photographing a two-volume travel diary kept by his great-grandmother Elizabeth C. Dixon, as well as landscapes in southern Connecticut. In one closely cropped image, lines of tight cursive share the page with a single ivy leaf preserved in the diary. In another snowy image, a stand of leafless trees occludes the gleaming Long Island sound. In subject and form, Welling emulated the great American modernists Alfred Stieglitz, Paul Strand, and Walker Evans—a bold move for an artist associated with radical postmodernism. At the same time, Welling’s close-ups of handwriting push to the fore the postmodernist themes of copying and reproduction.

A beautiful and moving meditation on family, history, memory, and place, 

reintroduced history and private emotion as subjects in high art, while also helping to usher in the centrality of photography and theoretical questions about originality that mark the epochal Pictures Generation. The book is published to accompany the first-ever complete 

 of this series of pivotal photographs, now owned by the Art Institute of Chicago.

James Welling: Diary/Landscape

Amanda Cruz

Matthew Drutt

Introduction by Amada Cruz. Text by Matthew Drutt

In celebration of its 15th anniversary in 2010, Artpace in San Antonio, Texas, mounted an ambitious state-wide exhibition of 336 seminal billboards created by Cuban-born artist Felix Gonzalez-Torres (1957–1996). Developed with special permission from the artist's estate, this presentation was the first-ever comprehensive survey of Gonzalez-Torres's billboard works in the US. Situated deliberately in the public's path in four cities (Austin, Houston, Dallas, and San Antonio), these artworks gracefully interrupted daily routines with poignant reflections on life, love, and humanity. The transcendent quality of Gonzalez-Torres's work was magnified in the Texas landscape, and the project garnered international attention for its unprecedented commemoration of this remarkable body of work. This book covers all the billboard pieces and serves as a mini-retrospective of this critical part of Gonzales-Torres's career.

Felix Gonzalez-Torres: Billboards

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