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  • Recto (front): A. François Petit, Paris, December 1965. Recto: printed script invitation on pale green card stock. Text reads: "A. François Petit a l'honneur de vous inviter à l'Exposition d'œuvres choisies de" followed by the names Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen. At foot: Décembre 1965, 122 bd Haussmann, Paris 8e. Verso (back): A. François Petit, Paris, December 1965. Verso: plain pale green card stock, unprinted, with light age toning and minor surface wear consistent with handling.

    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

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    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

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  • Original 1979 AA Bronson and Peggy Gale, eds., Performance by Artists, Art Metropole, Toronto. Softcover with white ground and bold black title typography, 'Performance by Artists' in large sans-serif type, editors' names below, Art Metropole imprint at foot. Interior page from 1979 Performance by Artists, Art Metropole. Black-and-white photograph of Ulay and Marina Abramovic in a durational performance, two nude figures facing each other with a clothed photographer between them in a narrow doorway.

    AA Bronson & Peggy Gale, eds. — Performance by Artists

    AA Bronson & Peggy Gale, eds. — Performance by Artists

  • Front cover of the 1985 Achille Castiglioni exhibition invitation, featuring a bold blue and black graphic image with red side borders for *du design au ready-made* at Centre Georges Pompidou. Original 1985 Centre Georges Pompidou invitation for *Achille Castiglioni: du design au ready-made*, printed in red typography on off-white card with exhibition details and Pompidou logo.

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

  • Original 2012 Acne Paper No. 14 magazine, Manhattan Portraits issue, Acne Studios, Winter 2012. Cover showing Brigitte Lacombe's portrait of Mikhail Baryshnikov against a dark background, with the Acne Paper logotype in large serif type at the foot of the page. Reverse of 2012 Acne Paper No. 14 magazine showing back cover with Givenchy fashion advertisement featuring a model in a dark coat, with the Givenchy logotype repeated in white.

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

  • Original 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Lincoln, 2009, C-print, 50 × 68½ inches: colour photograph of the artist reclining across a seated white sculptural figure based on the Lincoln Memorial, shot on a New York street corner in winter light with bare trees, yellow taxis, and urban buildings visible in background. Reverse of 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — verso in minimal serif and sans-serif typography on cream stock; artwork caption upper left: Lincoln, 2009 (detail), C-print, 50 × 68½ inches / 127 × 174.2 cm; exhibition text lower right: Adel Abdessemed / Rio / April 3 through May 9, 2009 / Reception April 3, 2009, 6 to 8 pm / David Zwirner / 519 & 525 & 533 West 19th Street, New York, NY 10011 / 212 727 2070 telephone / 212 727 2072 fax / www.davidzwirner.com.

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

  • Original 1968 Albert Cossery, Men God Forgot, City Lights Books, San Francisco, second printing. Cream softcover with 'men God forgot' in large bold lowercase serif type at top and 'cossery' at foot, with a black-and-white close-up photograph of a young man's face — dark eyes, strong features, slightly downward gaze — filling the lower two-thirds of the cover. Age toning, light rubbing, and edge wear consistent with period. Reverse of 1968 Albert Cossery, Men God Forgot, City Lights Books. Cream back cover with 'HENRY MILLER WRITES:' in bold serif type at top, followed by Miller's endorsement dated January 19, 1963: 'Am happy you are reprinting Men God Forgot. I reread it recently and still think it a gem. In a way, it's a classic...' Below: brief biography of Cossery noting he was born in Egypt in 1913 and lives in Paris, and a note that the cover photo is courtesy of New Directions. Price: $1.50 at foot.

    Albert Cossery — Men God Forgot

    Albert Cossery — Men God Forgot

  • Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Recto: collaged card with torn paper fragments, handwritten annotation reading "And then as we were leaving I found this steel right at the gate to his new house," exhibition dates 5–29 juin 1985. Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Verso: plain cream card, blank.

    Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

    Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

  • Black-and-white softcover catalogue titled André Kertész. The cover features a blurred self-portrait-like silhouette reflected against a doorway, with the photographer's name printed across the centre. Early photograph The Kiss, Budapest (1915), depicting a formally dressed couple embracing beneath foliage.

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

  • Original 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, front cover showing artist name ANDRE STAS in serif type above a black-and-white collage of a ballerina figure standing atop a geological cross-section diagram with circular holes, offset printed on cream laid paper. Interior spread of 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, showing mock-biographical chronology by Michel Thyrion on left — listing dates from 1949 to 1975 including glue, elections, and clandestinity — and essay text Orage Forêt ou Le jeune Laboureur by Tom Gutt on right, with two collage reproductions including a suitcase labelled Je suis l'idéal rêve and an amphitheatre scene.

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

  • Andreas Gursky, Love Parade, 2001, artist postcard recto. Matthew Marks Gallery, New York, 2001. Colour reproduction of a large-format C-print: aerial view of an enormous crowd filling a clearing in a dense green forest, photographed from directly above. The mass of people — hundreds of thousands — forms an irregular oval shape, their individual figures indistinguishable at this scale, creating a dense texture of skin tones, clothing, and colour. Two long vehicles or floats are visible at the left and lower Andreas Gursky, Love Parade, 2001, artist postcard verso. Matthew Marks Gallery, New York, 2001. Cream bifold card, plain to the right panel. Left panel: small sans-serif caption text at lower left: 'ANDREAS GURSKY. German, b. 1955. / Love Parade. 2001. C-print mounted to plexiglass in artist's frame. / © 2001 Andreas Gursky. Courtesy Matthew Marks Gallery, New York.' Light handling marks and minor surface wear.

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

  • Official Andres Serrano exhibition postcard reproducing *Piss Christ (Immersions)* (1987), showing a glowing crucifix suspended within an amber-red field of light. Reverse of Andres Serrano exhibition postcard issued for *Portraits d’Amérique*, Galerie Nathalie Obadia Paris–Brussels, with exhibition and copyright details printed on white card stock.

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

  • `Animals in Pre-Columbian Art — André Emmerich Gallery, New York — exhibition catalogue front cover. Black and white photograph of a Pre-Columbian ceramic effigy vessel: a squat, four-legged jar with a zoomorphic face — wide-set eyes, open mouth with teeth, and stubby limbs — on a grey ground. Yellow Strand Bookstore price sticker upper right ($15.00). Title in black sans-serif at foot: "ANIMALS IN PRE-COLUMBIAN ART".` `Animals in Pre-Columbian Art — André Emmerich Gallery — interior plate. Two catalogue entries. Top: Cat. no. 6, Owl, Mochica, North Coast of Peru, ca. 300 B.C.–A.D. 100. Cream and light brown pottery stirrup-spout vessel in the form of a seated owl with incised feather detail, 7" high. Bottom: Cat. no. 7, Female seal with cub, and mate, Mochica I, North Coast of Peru, ca. 500–200 B.C. Two dark grey pottery stirrup-spout vessels modelled as seals, 6½" and 7" high.`

    Animals in Pre-Columbian Art — André Emmerich Inc., New York, 1965

    Animals in Pre-Columbian Art — André Emmerich Inc., New York, 1965

  • Annie Gramain Concrete Poetry Text pattern on a blue background

    Annie Gramain — Galerie Baudoin Lebon, Paris, 1979

    Annie Gramain — Galerie Baudoin Lebon, Paris, 1979

  • Original 1974 Anthea Alley exhibition card, Annely Juda Fine Art, London — recto showing black-and-white photographic portrait of the artist standing beside welded metal sculpture in a studio or exhibition space. Photograph by Jorge Lewinski. Reverse of 1974 Anthea Alley exhibition card, Annely Juda Fine Art, showing printed text with exhibition title, dates 25 January–16 February 1974, gallery address 11 Tottenham Mews London W1P 9PJ, opening hours, biographical note, and one-man and group exhibition history including Arnolfini, Hamilton Galleries, and Bradford City Art Gallery.

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

  • Anton Corbijn, Still Lives, exhibition opening card recto. Torch Gallery, Amsterdam, 2000. Blue-toned black-and-white photograph: a woman with long dark hair stands in a white dress beside a white picket fence, bare winter trees behind her. A second figure in a matching white dress crouches at her feet, face obscured by dark hair. Atmospheric, gothic mood. Image: Anton Corbijn, Björk, Reykjavik, 1999. Anton Corbijn, Still Lives, exhibition opening card verso. Torch Gallery, Amsterdam, 2000. White card with large bold black sans-serif type: 'Anton / Corbijn / Still Lives'. Opening details below: 'opening 15 . 4 . 2000 17.00 – 19.00 hrs.' Gallery details: Torch, Lauriergracht 94, 1016 RN Amsterdam; Tel 31-20-6260284; Fax 31-20-6238892; open Thurs/Fri/Sat 13.00–18.00 hrs or by appointment. Caption at foot: 'Anton Corbijn, Björk, Reykjavik, 1999, 185 × 125 cm, Ed. 8'. Address block upper left: Nicole Tran B

    Anton Corbijn — Still Lives

    Anton Corbijn — Still Lives

  • Original 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — recto reproducing Artaud's Portrait de Jany de Ruy, 2 July 1947: portrait head in graphite and greasy coloured chalk with blue wash, surrounded by dense handwritten text in French, signed and dated antonin artaud / 2 juillet 1947 at lower centre. Reverse of 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — verso showing formal inauguration invitation text from Jean Maheu, Président du Centre National d'Art et de Culture Georges Pompidou, and Bernard Ceysson, Directeur du Musée National d'Art Moderne; exhibition dates 30 June–11 October 1987, Salle d'Art Graphique 4e étage; large typeset ANTONIN ARTAUD / DESSINS; Centre Georges Pompidou logo lower left; invitation valable pour deux personnes.

    Antonin Artaud — Dessins, Centre Georges Pompidou, Paris, 1987

    Antonin Artaud — Dessins, Centre Georges Pompidou, Paris, 1987

  • Arnulf Rainer — Linguaggio del corpo. Exhibition pamphlet cover, Biennale di Venezia, 1978. Austrian pavilion. Blue typography on cream wove stock. Interior spread from Arnulf Rainer exhibition pamphlet, Biennale di Venezia, 1978. Black-and-white reproductions of photo-based works: Face Farces, Posizioni del corpo, Avvinghiamenti, Posizioni di joga, Estasi (linguaggi

    Arnulf Rainer — Linguaggio del corpo, Biennale di Venezia, 1978

    Arnulf Rainer — Linguaggio del corpo, Biennale di Venezia, 1978

  • Art Scribe No. 51 magazine cover, 1985, featuring Basquiat cover art — green background with black figure and red circle, £1.50 price printed, Artscribe Ltd Art Scribe No. 51 magazine open spread showing full Basquiat cover art, 1985 — black figure with outstretched hand and red circle on green background, Artscribe Ltd

    Art Scribe No. 51 (March–April 1985) — Basquiat, Kathy Acker, Lynne Cooke

    Art Scribe No. 51 (March–April 1985) — Basquiat, Kathy Acker, Lynne Cooke

  • olded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Bernard Aubertin and Hans Bischoffshausen in lowercase type, brown-mauve accent on the letter n in each surname. Folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Karl Prantl and J. J. Schoonhoven in lowercase type, brown-mauve accent on the letter n, gallery details in small print at lower edge.

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

  • Artist postcard reproducing Barbara Kruger’s Untitled (Love is something you fall into) (1990). A tightly cropped black-and-white profile of a woman with windswept hair fills the card while a vertical red banner runs along the right side with white text reading: “Love is something you fall into Reverse side of a Barbara Kruger exhibition postcard with small black text on white card stock identifying Untitled (Love is something you fall into) (1990), materials and dimensions, Hall Collection credit, and publication information from In the Tower: Barbara Kruger at the National Gallery of Art, Washington. Barcode at upper right with light handling wear and adhesive residue visible.

    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

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    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

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  • Barry Flanagan: Sculptures 1966–1976, exhibition catalogue cover — Van Abbemuseum, Arnolfini, Serpentine Gallery, 1977–1979 — grey card cover with colour photograph of outdoor stone and resin sculpture on cobbled courtyard Barry Flanagan: Sculptures 1966–1976 — typewritten catalogue list, Van Abbemuseum Eindhoven, 10 juni–10 juli 1977 — Dutch-language working document listing all exhibited works with materials and dimensions, including Sand Muslin (Victoria and Albert Museum), Four Casb / Ring L / Rope (Tate Gallery)

    Barry Flanagan: Sculptures 1966–1976 — Van Abbemuseum / Arnolfini / Serpentine, 1977–1979

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    Barry Flanagan: Sculptures 1966–1976 — Van Abbemuseum / Arnolfini / Serpentine, 1977–1979

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  • Reverse of 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Mouans-Sartoux — verso printed entirely in red on cream stock with the name Bernard Aubertin repeated in dense rows across the full surface of the card, functioning as typographic monochrome; name becomes pattern, artist becomes surface. Original 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Château de Mouans, Mouans-Sartoux — recto printed entirely in red on cream card stock; vertical format; header: Espace de l'Art Concret Château de Mouans; title le feu de la couleur in bold red; hommage à Bernard Aubertin / accompagné / de ses amis du mouvement Zéro; formal invitation text from André Aschièri, Maire de Mouans-Sartoux, Odile Biec, Directrice, and Sybil Albers-Barrier for vernissage

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

  • Original 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — recto printed entirely in red on textured cream handmade-style paper; horizontal format; REBUS galleria d'arte contemporanea in mixed serif and sans-serif type at top; VENERDÌ 16 DICEMBRE 1977 – ORE 21,30; Mostra personale di in italic; BERNARD AUBERTIN in large spaced capitals; SARÀ PRESENTE L'ARTISTA · CATALOGO IN GALLERIA; address 50129 FIRENZE – Via della Fortezza, 9/r – Telef. 496.701 at foot. Reverse of 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — verso showing plain unprinted textured cream paper stock with light age toning, minor corner wear, and handling marks consistent with period circulation and storage.

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

  • Pink ticket with black text for a Carl Andre event at Whitechapel Art Gallery on a white background Text document with Carl Andre's name and a quote, featuring Whitechapel Art Gallery branding.

    Carl Andre — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978

    Carl Andre — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978

  • Catherine Holly, After the Pressure the Cock, The Academy of Realness, New York 2014 — zine cover; hand-lettered title over photocopied image of Piero Gherardi costume design for Giulietta degli Spiriti (Fellini, 1965); black tape collage elements on white ground Catherine Holly, After the Pressure the Cock, 2014 — interior spread; two photocopied Marilyn Monroe portraits with handwritten text: 'I'm your mommy' and 'No yo soy tu mami'; black-and-white photocopy process

    Catherine Holly / The Academy of Realness — After the Pressure the Cock

    Catherine Holly / The Academy of Realness — After the Pressure the Cock

  • Catherine Holly / The Academy of Realness, Fuck Book, 2014 — cover; red Silvine memo book with 'MEMO BOOK' label; stencilled 'FUCK BOOK' over original cover; price stickers from Koenig Books Ltd (£35.00 / £8.99) and yellow '20p' label; 'BRITISH MADE' printed at foot Catherine Holly / The Academy of Realness, Fuck Book, 2014 — interior spread; left page shows stencilled '2014 LONDON SEPT 03' with Melendez credit and receipt reference; right page shows stencilled 'FUCK THE REBEL' on lined paper

    Catherine Holly / The Academy of Realness — Fuck Book

    Catherine Holly / The Academy of Realness — Fuck Book

  • atherine Holly / The Academy of Realness, My Brother Is Not Daniel Richter / My Father Is Not Gehrhart, New York 2014 — cover; blue spray-painted ground over found book; stencilled text reading 'Daniel Richter / Ist Not / Ther Bro / My / My Fat / Her Ist / Not / Gehrhart' in black; Strand Price stickers affixed; rubber-stamped cartoon skull image; 'I Know Nothing' speech bubble at lower left Interior opening spread; left page shows black-and-white portrait of young woman with 'RICHARD' caption; right page shows photocopied architectural interior with figures and 'guide to infectious psychology' caption; page numbers 01 and 02

    Catherine Holly / The Academy of Realness — My Brother Is Not Daniel Richter / My Father Is Not Gehrhart

    Catherine Holly / The Academy of Realness — My Brother Is Not Daniel Richter / My Father Is Not Gehrhart

  • Recto (front): Charles Ross, Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977. Recto: speckled cream card with bold yellow diagonal band crossing the field; small white circle at centre representing a point source; artist name and exhibition title in black uppercase type upper right; gallery names and addresses lower left; opening reception details at foot. Verso (back): Charles Ross, Point Source / Star Space, 1977. Verso: plain cream card with red New York meter postmark dated March 1977 upper right; typed address label to Hermann Kern, Kunstraum München, Nikolaistraße 15, München, Germany.

    Charles Ross, Point Source / Star Space — John Weber Gallery & Susan Caldwell Gallery, New York, 1977

    Charles Ross, Point Source / Star Space — John Weber Gallery & Susan Caldwell Gallery, New York, 1977

  • Charles Simonds, The Three Trees, 1985 — recto: offset-printed exhibition card showing two black-and-white photographs side by side, a modernist glass-façade building and a dense stand of conifers, on light card stock Charles Simonds, The Three Trees, 1985 — verso: exhibition invitation from Architekturmuseum in Basel with Basel postal stamp dated 25 May 1985 and typed address label to Connaissance des Arts, Paris

    Charles Simonds — The Three Trees, 1985

    Charles Simonds — The Three Trees, 1985

  • Red book titled 'The Holy Artwork' by Christian Jankowski on a white background Card with 'Thank you Lord for creating video' text and a film camera image.

    Christian Jankowski / The Holy Artwork / 2002

    Christian Jankowski / The Holy Artwork / 2002

  • Official 1998 Cindy Sherman museum postcard reproducing *Untitled #317* (1995), showing a close-up gold mask-like face with dark eyes and red cosmetic details. Reverse of 1998 Museum of Contemporary Art Chicago Cindy Sherman retrospective promotional postcard featuring exhibition information, membership offer text, and museum details.

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

  • Invitation card for an exhibition featuring Claude Monet on a light gray background Text on a white background

    Claude Monet — Exhibition Invitation, Galerie Art Vivant, Paris, 1959

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    Claude Monet — Exhibition Invitation, Galerie Art Vivant, Paris, 1959

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  • Original 1990 Collages Surréalistes exhibition invitation, Galerie Zabriskie, Paris — cover reproducing Georges Hugnet, Le Sphinx du Moulin Vert, 1934: aerial black-and-white photograph of Paris with radiating boulevards, a single realistic eye with lashes montaged at centre. Original 1990 Collages Surréalistes vernissage insert, Galerie Zabriskie, Paris — recto printed in brown on cream stock with ZABRISKIE in vertical type at left margin; invitation text from Virginia Zabriskie for cocktail reception Tuesday 27 March 1990, 18h30, 37 rue Quincampoix, entry code 2457, 1er étage gauche.

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

  • Damien Hirst, Medicine Cabinets, exhibition invitation front. L&M Arts, New York, 2010. Close-up colour photograph of a white medicine cabinet shelf holding pharmaceutical products: a large brown glass bottle of Dimotane Elixir (Brompheniramine Maleate BP, A.H. Robins); a white plastic bottle of Glucotrend Plus glucose test strips (Roche, 10 tests); a small dark glass bottle labelled Plaster Remover; and partial labels for Marcain Heavy (bupivacaine hydrochloride) and other products visible at edges. Title Damien Hirst, Medicine Cabinets, exhibition invitation verso. L&M Arts, New York, 2010. White card. 'Opening Reception October 28 6–8 pm' in small type at top. 'Damien-Hirst' in large bold sans-serif type centred; 'Medicine Cabinets' below. Footer row: L&M Arts logo (lower left); exhibition dates October 28–December 11 2010; address 45 East 78th St, New York; telephone 1.212.861.0020; website www.lmgallery.com. Note at lower right: 'The exhibition will be accompanied by a fully illustrated catalogue, with a

    Damien Hirst — Medicine Cabinets

    Damien Hirst — Medicine Cabinets

  • Dan Colen, The Sorcerer's Apprentice, gallery announcement card recto. The Greenberg Gallery, St. Louis, 2013. Colour reproduction of a painting: a dense arc of scattered pigment — white, lavender, blue, gold, and pink — curves across the upper portion of a deep black ground, suggesting a galaxy, firework burst, or spray of glitter. A dark reddish-brown mass occupies the lower centre, partially obscured by the arc. The image bleeds to the edges of the printed rectangle. Caption below in small sans-serif typ Dan Colen, The Sorcerer's Apprentice, gallery announcement card verso. The Greenberg Gallery, St. Louis, 2013. Cream card. Centred text in serif type. Header in large roman: 'Join Our Emailing List'. Body text: 'We want you to be apart of everything that is happening here at The Greenberg Gallery! If you are interested in becoming apart of our emailing list, please email or call us with your contact information. Sincerely, The Greenberg Gallery Team'. Horizontal rule below. Footer in spaced caps: 'THE GREEN

    Dan Colen — The Sorcerer’s Apprentice, The Greenberg Gallery, 2013

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    Dan Colen — The Sorcerer’s Apprentice, The Greenberg Gallery, 2013

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  • Danh Vō, Homosapiens, exhibition invitation recto, Marian Goodman Gallery, London, 2015. Cream multi-ply card with artist name and exhibition dates in serif type. Danh Vō, Homosapiens, exhibition invitation verso, Marian Goodman Gallery, London, 2015. Printed world migration map titled Homo Sapiens, routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa.

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015