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

Interviews by the artist with Ruben Aberjil, Albert Agazarian, Yael Dayan, Jean Fisher, Rima Hamami, Amira Hass, Nazmi Jobeh, Yael Lerer, Eyal Sivan, Michael Warschawski, and Eyal Weizman

Available in hardcover, this catalogue was published on the occasion of Francis Alÿs’s first solo exhibition at David Zwirner in 2007. The exhibition presented a film by Alÿs in collaboration with Julien Devaux alongside a map of the artist’s journey, photocollages, paintings, drawings, and a group of sculptures. The film shows Alÿs carrying a dripping can of green paint along the armistice boundary that Moshe Dayan marked on a map with green pencil after Israel’s War of Independence ended in 1948. It questions the physicality and cultural relevance of the Green Line, its function as a social and spiritual division in the city of Jerusalem, and its role in the Arab-Israeli conflict. This trilingual exhibition catalogue (English, Hebrew, and Arabic) features interviews conducted by Alÿs with eleven activists, academics, and journalists. Also included are a fold-out map and DVD of the film with options to listen to the recorded interviews.

Out of print

Francis Alÿs: Sometimes doing something poetic can become political and sometimes doing something political can become poetic

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

This fully illustrated catalogue was published on the occasion of the artist’s third solo exhibition of thirty recent paintings at David Zwirner in 2006 and includes a text by artist Wendy White.

Raoul De Keyser: Recent Work

Josef Helfenstein

Elizabeth Hutton Turner

Jenny Anger

Vivian Endicott Barnett

Michael Baumgartner

Bradford Epley

Christa Haiml

Charles W. Haxthausen

Edited by Josef Helfenstein and Elizabeth Hutton Turner

 accompanies explores the reasons for Paul Klee's enthusiastic reception in the United States, especially during the 1930s and 1940s. While the artist was targeted in Hitler's campaign against "Degenerate Art" and the European market for his work collapsed in 1933, his reputation grew among several key American collectors and museum curators, several of whom laid the groundwork for Klee's later success in the US. These critical early figures included the dealers Galka Scheyer and J.B. Neumann, the collectors Katherine Dreier and Walter and Louise Arensberg, and the founder of the Museum of Modern Art, Alfred Barr. Jr. The publication presents an impressive selection of Klee's finest "American" works from that period, including both paintings and drawings.

Exhibition schedule:· Neue Galerie New York, March 10-May 21, 2006 · The Philips Collection, Washington, D.C., June 17-September 10, 2006 The Menil Collection, Houston, October 6, 2006-January 14, 2007

Klee and America

Benjamin H. D. Buchloh

Manfred Hermes

Texts by Benjamin H.D. Buchloh and Manfred Hermes

For more than thirty years, Isa Genzken has been developing a versatile oeuvre, continually extending it by adding new aspects. Her settings, her unusual combinations of materials, and the fragile but monumental character of her constructions reflect the surrounding world and the fragility of human existence. Her work—which includes sculptures and installations as well as photography, collage, and film—explores the space between public claims and private artistic autonomy, thus defining an interface where the personal and the universal meet. The formal and conceptual rigor at the root of Isa Genzken’s approach is tempered by unrestricted freedom, producing works that can be interpreted and experienced on very different levels. A central role is played by the choice and combination of materials with different connotations which the artist finds at home depots, builders’ suppliers, and department stores: whereas in the past Genzken used wood, plaster, epoxy resins, and above all concrete, the material of Modernism, her main materials today are plastic, synthetics, and a wide range of mirrors, as well as everyday items and consumer goods such as chairs—design classics alongside cheap camping chairs—garments, and plastic dolls and animals.

For her exhibition in the Hauptraum at the Secession, Isa Genzken has devised an installation with new sculptures and pieces on the wall: wheelchairs and seats draped in various textiles, ribbons, and sheets, walking frames, anthropomorphic figures, and wall-filling collages made from mirrors, photos, and adhesive tape create a carefully arranged image. Warholesque baby dolls with their outsize glasses look like prematurely aged children or, conversely, like infantilized adults, waiting under tattered parasols on a Hollywood set for shooting to recommence. But less than this bizarre scene, what is disconcerting here is the cool precision with which, for all the piece’s figurativeness, no story is told. Dolls and animals form heterogeneous abstract surfaces, but they are not deployed to narrative ends, and neither are other materials such as the mirrors, plastic sheeting, or the paint dripped or sprayed over many of the sculptures.

The new works relate to Genzken’s recent 

 series. But while these works were presented on plinths at eye level, at the Secession, the entire space turns into a kind of plinth and the visitors become part of this scenario that is both beguilingly beautiful and disturbing at the same time. The works turn an imaginary inner space outwards, but rather than being something merely invented, the space always refers to the real—a comparative moment against which all the pieces can be measured. In an interview with Wolfgang Tillmans, Isa Genzken describes the way she thinks a sculpture should look: “It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite. [...] Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”

Isa Genzken

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

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

Hans van Heirseele

 was published on the occasion of the artist’s second solo 

 at David Zwirner in 2006. Amongst the fourteen new paintings on view was the eponymous work 

 (2005), which portrays a young man, fashionably attired, holding two twigs from each of his nostrils. Available in hardcover, this catalogue includes a text by Belgian artist and curator Hans van Heirseele.

Michaël Borremans: Horse Hunting

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

 was published on the occasion of the artist’s third solo exhibition at David Zwirner in 2005. The exhibition presented ten large-scale canvases with an odd assortment of workers, students, military men, and other characters, against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes. Also included is a text by Christine Mehring, writer and Professor of Art History at the University of Chicago.

Neo Rauch: Renegaten

Jason Rosenfeld

Jason Tougaw

Texts by Jason Rosenfeld and Jason Tougaw

Published on the occasion of his fourth solo exhibition at David Zwirner in 2005, this beautifully designed and produced catalogue—with essays by curator and art historian Jason Rosenfeld and writer Jason Tougaw—features Marcel Dzama’s most recent drawings, costumes, sculptures, and notebook pages. The title, 

, is borrowed from the poet Dante and recalls both grandiose artistic and literary cycles from the nineteenth century such as the New York Hudson River School artist Thomas Cole’s five-painting 

, where nature plays as large a role as humans. In Dzama’s art, personification has always been the main leitmotif—imagined characters and trees and beasts assume base human characteristics. The catalogue also includes a unique fold out designed by the artist.

Marcel Dzama: The Course of Human History Personified 

Chris Burden

Chris Burden: Early Work

A portrait of Gerhard Richter by Werner Bartsch.

Jean-Philippe Antoine

This catalogue accompanies the exhibition at Zwirner & Wirth:


Gerhard Richter: Landscapes

An installation view of Juan Muñoz's work, Conversation Piece, Dublin, in 1994.

Louise Neri

Juan Muñoz: Selected Works

“The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. 

 is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of it’s inherent, but latent content. The conscious and subconscious decisions made in editing the photographs is the real work of 

Philip-Lorca diCorcia: A Storybook Life

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

Juan Vicente Aliaga

Ulrich Loock

Andrei Platonov

Hans Rudolf Reust

Nancy Spector

Luc Tuymans

Texts by Juan Vicente Aliaga, Ulrich Loock, Andrei Platonov, Hans Rudolf Reust, Nancy Spector, and Luc Tuymans

In 1996, Phaidon released one of the important early publications on Luc Tuymans in its critically acclaimed ‘Contemporary Artist Series,’ which has now become a collector’s item. Re-published in 2003 and still kept in print, the revised and expanded edition added over 100 pages and included new artist’s writings and an expansive illustrated chronology. Available in paperback, this edition has over 260 pages and approximately 300 illustrations (250 in color).

, “Amongst other recently published monographs, the revised and enlarged edition of Phaidon’s 

…is opportune as it is just in time for his major show at Tate Modern in the Summer of 2004. Indeed Tate will find it difficult to match the breadth and scale of this book in any exhibition catalogue it may choose to produce. Tuymans is rapidly gaining groung as the successor to Gerhard Richter as the History Painter of the late 20th Century, and this book, which amounts to a catalogue raisonné as nearly every one of his paintings is reproduced, goes some way towards confirming his reputation.”

Denise Blake Oleksijczuk

Nick Blomley

Jeff Derksen

Reid Shier

Neil Smith

Jeff Sommers

Edited by Reid Shier. Texts by Denise Blake Oleksijczuk, Nick Blomley, Jeff Derksen, Neil Smith, and Jeff Sommers

This beautifully designed catalogue provides an in-depth look at Stan Douglas’s monumental photograph 

, which depicts Vancouver’s contested south side of 100 West Hastings. Published to accompany the artist’s 2002 solo show at the Contemporary Art Gallery, Vancouver, the exhibition presented his film installation, 

, alongside a suite of related photographs including 

. Co-winner of the City of Vancouver Book Prize in 2003, this publication also includes a removable color poster of the work.

Stan Douglas: Every Building on 100 West Hastings

Philip-Lorca diCorcia: Heads, Steidl, 2001

Philip-Lorca diCorcia: Heads

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2020. Photo by Jason Schmidt

Claudia Gould

Marcia B. Hall

Texts by Marcia B. Hall and Katy Siegel. Interview with the artist by Claudia Gould

Published on the occasion of the artist’s first solo museum survey at the Institute of Contemporary Art, Philadelphia, in 2000-2001, the exhibition showcased over fifty-five works, including a number of large-scale paintings, a series of hydrocal-cast figurines, and a selection of supporting small paintings, monotypes, and works on paper. This fully illustrated catalogue features texts by professor Marcia B. Hall and art critic Katy Siegel as well as an interview with the artist by the exhibition’s curator and ICA director Claudia Gould. This catalogue is out-of-print, making it a must-have for any collector.

Lisa Yuskavage (ICA)

Peter Poplaski

 is a concise and beautifully designed overview of Crumb’s remarkable career, presented in chronological order. The 250-page volume compiles material from five decades of work and features hundreds of drawings, illustrations, paintings, and covers as well as rare photographs of the artist and never-seen-before sketchbook work. Each of the 15 chapters is introduced by Crumb who contributes handwritten autobiographical anecdotes. It is a must-have for any Crumb collector.

Out of stock

The R. Crumb Coffee Table Art Book

Richard Serra

One of the most important sculptors of this century, Richard Serra has been a spokesman on the nature and status of art in our day. Best known for site-specific works in steel, Serra has much to say about the relation of sculpture to place, whether urban, natural, or architectural, and about the nature of art itself, whether political, decorative, or personal. In interviews with writers including Douglas and Davis Sylvester, he discusses specific installations and offers insights into his approach to the problem each presents. Interviews by Peter Eisenman and Alan Colquhoun elicit Serra’s thoughts on the relation of architecture to contemporary sculpture, a primary component in his own work. From essays like “Extended Notes from Sight Point Road” to Serra’s extended commentary on the 

 fiasco, the pieces in this volume comprise a document of one artist’s engagement with the practical, philosophical, and political problems of art.

Richard Serra: Writings/Interviews

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

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

Texts by On Kawara, Makoto Oda, and Tadashi Yokoyama

A scarce catalogue on Kawara's previously unstudied five-year stay in Tokyo, where he was part of influential avant-garde art student associations and wrote many pieces of art criticism. His violent and grotesque imagery from this period is in stark contrast to his streamlined conceptual 

series (1953-54; Tokyo National Museum of Modern Art), Events in a Warehouse and a number of figurative paintings and drawings executed in Japan.There are two essays, in both Japanese and English, "The History of an Odd Generation" by Makoto Oda, and "At the Junction of Time and Space: On Kawara in the 1950s" by Tadashi Yokoyama. The latter half of this book, alluding to his 

 series, is a collection of newspaper headlines from 1952 to 1956 in both languages, printed on newsprint.

On Kawara 1952-1956, Tokyo

Preface by Nicholas Fox Weber. Text by Kelly Feeney

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous 

 paintings. An essay by the curator Kelly Feeney notes important influences and explores the development of Albers’s “seeing.”

Josef Albers: Works on Paper

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