Products

  • Front Original c. 2000–2001 Mike Kelley World Art magazine GoCard promotional postcard, front, showing the magazine cover with a digitally composited colour image of a man's face with stylised pink antennae rising from his temples against a dramatic purple and blue clouded sky, with the masthead WORLD ART in large white outlined capitals at top and the text Mike Kelley / ON THE ALIENS AMONG US in white and pale green type at lower left. Reverse of c. 2000–2001 Mike Kelley World Art magazine GoCard promotional postcard, showing the standard GoCard postcard reverse with WORLD ART in large black sans-serif capitals at upper left, the GoCard Postcard Advertising logo in red and black at upper right, four dotted address lines at right, and a subscription information block at lower left reading ART AND OTHER CULTURAL OBSESSIONS / COMICS • FILM • VIDEO • PHOTOGRAPHY / ELECTRONIC ART • PAINTING • SCULPTURE with telephone numbers and website addres

    Mike Kelley — On the Aliens Among Us, World Art Magazine GoCard, c. 2000–2001

    Mike Kelley — On the Aliens Among Us, World Art Magazine GoCard, c. 2000–2001

  • Mike Kelley Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (with Sonic Youth) / The Peristaltic Airwaves (2012) double CD in sealed jewel case. Purple-toned cover image featuring cave-like formations with white typography. Published by Compound Annex Records. Reverse of sealed Mike Kelley double CD showing track information, recording credits, performance details, and a black-and-white photograph of Kelley. Includes references to Sonic Youth, Artists Space, New York, and KPFK Radio, Los Angeles.

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

  • Mike Kelley, 1975–1994 Works, Me.di.um, 2006, front cover, performance photograph with stuffed toys Mike Kelley, Two Frogs and Two Cats, 1990, interior spread, four stuffed animal works against white ground

    MIKE KELLEY, 1975–1994 Works, Me.di.um, St. Barthélemy, 2006

    MIKE KELLEY, 1975–1994 Works, Me.di.um, St. Barthélemy, 2006

  • Mike Kelley, Plato's Cave, Rothko's Chapel, Lincoln's Profile, New City Editions, 1986, front cover with Strand Rare Book Room label Mike Kelley, Plato's Cave, Rothko's Chapel, Lincoln's Profile, 1986, reverse, Kelley with Kensington Runestone, Alexandria, Minnesota, 1982

    MIKE KELLEY, Plato's Cave, Rothko's Chapel, Lincoln's Profile, New City Editions / Artists Space, 1986

    MIKE KELLEY, Plato's Cave, Rothko's Chapel, Lincoln's Profile, New City Editions / Artists Space, 1986

  • Mike Kelley, Plato's Cave Rothko's Chapel Lincoln's Profile, 1986, front cover, cave photograph, gold Strand label Mike Kelley, Plato's Cave Rothko's Chapel Lincoln's Profile, 1986, back cover, Kelley with Kensington Runestone, 1982

    Mike Kelley: Plato's Cave, Rothko's Chapel, Lincoln's Profile, New City Editions / Artists Space, 1986

    Mike Kelley: Plato's Cave, Rothko's Chapel, Lincoln's Profile, New City Editions / Artists Space, 1986

  • Original 2006 Miwon Kwon lecture announcement card, Cornish College of the Arts Visual Arts Lecture Series, Seattle. Recto showing colour reproduction of Felix Gonzalez-Torres, "Untitled" (Blue Mirror), 1990 — a stack of blue-edged paper sheets on a white wooden floor — with lecture title and series name printed vertically in the right margin. Reverse of 2006 Miwon Kwon lecture announcement card, Cornish College of the Arts. Verso showing Cornish College of the Arts logo, lecture details for Miwon Kwon, The Becoming of a Work of Art: Felix Gonzalez-Torres and a Possibility of Renewal, a Chance to Share, a Fragile Truce, March 7, 2006, 7:30 pm, Seattle Asian Art Museum, Volunteer Park, with image credit and sponsor logos.

    MIWON KWON / FELIX GONZALEZ-TORRES — The Becoming of a Work of Art, Cornish College of the Arts, Seattle, 2006

    MIWON KWON / FELIX GONZALEZ-TORRES — The Becoming of a Work of Art, Cornish College of the Arts, Seattle, 2006

  • Cover of Mladen Stilinović, The Praise of Laziness, Gato Negro, Mexico City, 2015, showing the title in large pale pink rounded serif type on a vivid magenta risograph-printed wrapper, with the author name mladen stilinovic below in smaller type. Reverse of Mladen Stilinović, The Praise of Laziness, Gato Negro, Mexico City, 2015, showing a risograph-printed pale pink seated cat with hollow circular eyes on a magenta ground.

    Mladen Stilinović — The Praise of Laziness, Gato Negro, Mexico City, 2015

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    Mladen Stilinović — The Praise of Laziness, Gato Negro, Mexico City, 2015

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  • Mona Hatoum, Twelve Windows 2012–13; single Palestinian embroidery panel on clothes pegs, steel cables crossing white gallery wall Mona Hatoum, Twelve Windows invitation verso; Alexander and Bonin New York, September–October 2014, exhibition details

    MONA HATOUM — Twelve Windows, Alexander and Bonin, New York, 2014

    MONA HATOUM — Twelve Windows, Alexander and Bonin, New York, 2014

  • Monica Bonvicini, Platz machen, 1994, softcover, aerial photograph of city grid, "monica bonvicini platz machen" title label Monica Bonvicini — Platz machen, 1994, interior spread pp.26–27, Marlboro installation views

    MONICA BONVICINI — Platz machen, Goldrausch Frauennetzwerk, Berlin, 1994

    MONICA BONVICINI — Platz machen, Goldrausch Frauennetzwerk, Berlin, 1994

  • Original 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card, offset print in black ink on cream card stock, showing bold graphic layout: upper half with mixed-size italic and roman typography reading 'le vendredi 19 novembre / de 18 à 21 heures / NOVEMBRE/DÉCEMBRE 1971 / la librairie les "ALISCANS" présente / l'exemplaire de tête illustré par / abdallah BENANTEUR de :'; large bold italic display type reading 'l'air pauvre' across centre with 'textes de monique BOUCHER' in smaller Reverse of 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card showing plain cream-white thin card stock with warm age toning, light surface marks, and visible creasing and handling wear to lower corners consistent with fragile early-1970s paper ephemera.

    Monique Boucher — L’air pauvre — Exhibition / Literary Event Invitation, Les Aliscans Librairie, Paris, 1971

    Monique Boucher — L’air pauvre — Exhibition / Literary Event Invitation, Les Aliscans Librairie, Paris, 1971

  • Exhibition poster, Mounir Fatmi, Comprendra bien qui comprendra le dernier, Le Parvis, centre d’art contemporain, Ibos/Pau, 2004. Offset lithograph, 40 × 60 cm unfolded. Recto: colour photograph of books including Quran, Georges Bataille’s L’Érotisme, and New Testament in multiple languages, connected by multicoloured electrical crocodile-clip cables. Text: ‘mounir fatmi’ upper left; ‘comprendra bien qui comprendra le dernier’ in white on black band across centre. Exhibition poster reverse, Mounir Fatmi, Comprendra bien qui comprendra le dernier, Le Parvis, Ibos/Pau, 2004. Verso: white ground, black sans-serif type. Text: Le Parvis centre d’art contemporain; exhibition dates 24 juin – 24 septembre 2004; vernissage 24 juin; video programme Survival signs, œuvres vidéo 1990–2004. Good used condition with original folds.

    Mounir Fatmi — Comprendra bien qui comprendra le dernier, 2004

    Mounir Fatmi — Comprendra bien qui comprendra le dernier, 2004

  • MOVEMENT: Vienna and New York, The City 1920s. Front cover, Rachel Adler Gallery, New York, 1987. Interior spread: Erika Giovanna Klien, Tango, 1925. Casein on canvas. Rachel Adler Gallery, 1987.

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

  • Front Moving Image Contemporary Video Art Fair, London, 2011, announcement card, front, white card: black-and-white photograph of Hannah Wilke crouching against a brick wall, holding a shoe, from So Help Me Hannah, 1978; Moving image in large type below with M and i in red; Contemporary Video Art Fair / October 13–16, 2011 London in black sans-serif; vertical caption at left edge: Hannah Wilke, So Help Me Hannah, 1978. Courtesy Donald and Helen Goddard and Ronald Feldman Fine Arts, New York. Reverse Moving Image Contemporary Video Art Fair, London, 2011, announcement card, reverse, white card: Moving image logo in red and black at upper left; fair dates and opening reception; map of Oxo Tower Wharf area with red location pin; Bargehouse address at lower left; full artist and gallery list in two columns including Dara Birnbaum, Hannah Wilke, William Lamson, Lokal_30, P.P.O.W., Nara Roesler, Galerie Jocelyn Wolff, Winkleman Gallery; sponsor logos including Swedish Delivery, Flash Art, Aesthetica,

    Moving Image: Contemporary Video Art Fair, London, 2011

    Moving Image: Contemporary Video Art Fair, London, 2011

  • Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges. Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges.

    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

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    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

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  • Front cover: Stop Yelling at Me, Nancy Dwyer, FRIENDS ENEMIES FUCKING repeated red type on red, Josh Baer Meyers/Bloom, 1988 Stop Yelling at Me catalogue plate: Nancy Dwyer, Stay, laminate and leather on wood, 1987, Albright-Knox Art Gallery

    NANCY DWYER — Stop Yelling at Me, Meyers/Bloom Gallery, Santa Monica & Josh Baer Gallery, New York, 1988

    NANCY DWYER — Stop Yelling at Me, Meyers/Bloom Gallery, Santa Monica & Josh Baer Gallery, New York, 1988

  • Original 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — recto with full-bleed photograph of arid rocky ground with tangled wire or thorn mass at centre; NE TRAVAILLEZ / JAMAIS in large hand-lettered white type across upper half; artist list in white capitals: Adel Abdessemed, Art Keller, Bruno Perramant, Conrad Bakker, Frank Perrin, Gianni Motti, Jannis Kounellis, Jimmie Durham, Julien Prévieux, Marc Boucherot, Philippe Meste, Raymond Pettibon; exhibition details: Une Exposit Reverse of 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — verso showing plain unprinted white card stock with visible handling marks, surface rubbing, light creasing, and pressure marks consistent with storage and circulation.

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

  • Original 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, front showing the single handwritten word Mirrors in black ink centred on metallic gold-coated card stock, surface now naturally dulled through age and handling. Reverse of 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, showing dual-exhibition layout divided into Project Room presenting Gilles Barbier Les trous sont la partie manquante de l'histoire and main space presenting Nedko Solakov Mirrors, with dates 20 janvier au 1 mars 2003, vernissage samedi 18 janvier à 18h, gallery address 36 Rue de Seine 75006 Paris, and Veuve Clicquot sponsorship note.

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

  • Neil Young, Mirror Ball: Letras, Celeste Ediciones, 1995, front cover with album art Neil Young, Mirror Ball: Letras, Celeste Ediciones, 1995, back cover with Spanish text and barcode

    NEIL YOUNG, Mirror Ball: Letras, Celeste Ediciones / El Sueño del Cangrejo, 1995

    NEIL YOUNG, Mirror Ball: Letras, Celeste Ediciones / El Sueño del Cangrejo, 1995

  • Nicola Gunnarsson, Stuart McKenzie; two-day presentations programme card, Matthew Peers, 47 Bedford Street London 2024–25 Nicola Gunnarsson, Stuart McKenzie; programme card verso, plain white stock, Bedford Street London 2024–25

    NICOLA GUNNARSSON, STUART MCKENZIE & MATTHEW PEERS — A Series of Two-Day Presentations, London, 2024–25

    NICOLA GUNNARSSON, STUART MCKENZIE & MATTHEW PEERS — A Series of Two-Day Presentations, London, 2024–25

  • Original 2002 Nicolas Bourriaud Postproduction first edition, Lukas & Sternberg, New York. Front cover showing white wrappers with pale horizontal lines and partially obscured title text in green, designed by Surface. Interior spread of 2002 Nicolas Bourriaud Postproduction showing chapter on Deejaying and Contemporary Art with body text and footnotes.

    NICOLAS BOURRIAUD — Postproduction: Culture as Screenplay: How Art Reprograms the World, Lukas & Sternberg, New York, 2002

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    NICOLAS BOURRIAUD — Postproduction: Culture as Screenplay: How Art Reprograms the World, Lukas & Sternberg, New York, 2002

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  • Nils-Udo, Deux Saisons, Vassivière en Limousin 1986–1987, LAC&S, 1987, front cover Nils-Udo, Deux Saisons, interior spread: bare twig and leafed branch on snow, winter 1987

    NILS-UDO, Deux Saisons: Vassivière en Limousin 1986–1987

    NILS-UDO, Deux Saisons: Vassivière en Limousin 1986–1987

  • NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984 NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984

    NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984

    NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984

  • Noah Purifoy Foundation museum brochure, Outdoor Desert Art Museum of Assemblage Sculpture, Joshua Tree, c. 2022, front cover, white ground with Noah Purifoy in large brown serif type at top; below a full-width aerial colour photograph of the desert site showing scattered assemblage sculptures across a flat arid landscape with mountains in the background; Outdoor Desert Art Museum of Assemblage Sculpture in small brown serif type at foot. Noah Purifoy Foundation museum brochure, Joshua Tree, c. 2022, interior spread, showing at left the About the Artist panel with a small portrait photograph of Purifoy, biographical text, a pull quote, and six colour photographs of desert assemblage sculptures; at right the Noah Purifoy Foundation panel with mission statement, volunteer opportunities, and additional sculpture photographs.

    NOAH PURIFOY — Outdoor Desert Art Museum of Assemblage Sculpture, Joshua Tree, c. 2022

    NOAH PURIFOY — Outdoor Desert Art Museum of Assemblage Sculpture, Joshua Tree, c. 2022

  • write alt text the begins with the artists name so i can paste to the images alt text window Nobuyoshi Araki & Juergen Teller, Leben und Tod, Steidl, 2020, back cover purple sleeve with ISBN label, sealed in original shrink-wrap

    NOBUYOSHI ARAKI & JUERGEN TELLER, Leben und Tod, Steidl, Göttingen, 2020

    NOBUYOSHI ARAKI & JUERGEN TELLER, Leben und Tod, Steidl, Göttingen, 2020

  • Recto — photograph Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard recto: monochrome photograph within a Polaroid-like white border — close-up of a young woman's face tilted sideways against a dark background, hair loose and wind-blown, a small clothes peg held between her lips, hoop earring visible, braided hair at left; high-contrast black-and-white printing. 10.5 × 15 cm. postcard back Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard verso: white postcard stock; upper left, small black serif text — "Nobuyoshi Araki / ohne Titel, 1995"; stamp box upper right with Kunstmuseum Wolfsburg whale emblem and exhibition dates "vom 25.11.1995 / bis 18.2.1996"; vertical black serif text along right edge — "GEBR. KÖNIG POSTKARTEN-VERLAG · BREITE STR. 93 · D-50667 KÖLN · PRINTED IN GERMANY"; lower left, "Serie 255 · Tokyo Novelle / Karte 1 v

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

  • Nobuyoshi Araki, Geijutsu Shinchō, May 1991, front cover with painted surrogate figure on blue ground Nobuyoshi Araki, Geijutsu Shinchō, May 1991, back cover in protective sleeve with Japanese text and barcode

    NOBUYOSHI ARAKI, Geijutsu Shinchō, May 1991: What Is "Private Photography"?, Shinchosha, Tokyo, 1991

    NOBUYOSHI ARAKI, Geijutsu Shinchō, May 1991: What Is "Private Photography"?, Shinchosha, Tokyo, 1991

  • Nobuyoshi Araki, Shashin Jidai INTERNATIONAL 1, Core Magazine, 1996, front cover with woman in gingham holding beer glass Nobuyoshi Araki, Shashin Jidai INTERNATIONAL 1, Core Magazine, 1996, back cover with contributor list and photograph of figure at door numbered 323

    NOBUYOSHI ARAKI, Shashin Jidai INTERNATIONAL 1, Core Magazine, Tokyo, 1996

    NOBUYOSHI ARAKI, Shashin Jidai INTERNATIONAL 1, Core Magazine, Tokyo, 1996

  • Nobuyoshi Araki, CosMos Co / 秋桜子, Shogakukan, 1998, front jacket with eye-line tape repair, yellow obi Nobuyoshi Araki, CosMos Co / 秋桜子, Shogakukan, 1998, rear jacket, Cosmosco standing in field, yellow obi

    NOBUYOSHI ARAKI, 秋桜子 / CosMos Co, Shogakukan, 1998

    NOBUYOSHI ARAKI, 秋桜子 / CosMos Co, Shogakukan, 1998

  • Objets 67 — Exhibition Catalogue, Galerie Mathias Fels et Cie., Paris, 1967 Objets 67 — Exhibition Catalogue, Galerie Mathias Fels et Cie., Paris, 1967

    Objets 67 — Exhibition Catalogue, Galerie Mathias Fels et Cie., Paris, 1967

    Objets 67 — Exhibition Catalogue, Galerie Mathias Fels et Cie., Paris, 1967

  • Obliques No. 14–15, La Femme Surréaliste — front cover. Éditions Borderie, Paris, 1977. Decorative gothic lettering on cream textured card. Centre image: Jane Graverol's L'Esprit saint, a bird in flight suspended within a rock formation reading as a torso. Surrealist exhibition ephemera. Obliques No. 14–15, La Femme Surréaliste — interior spread with Unica Zürn diagrammatic drawing. Watercolour and ink on grid, dated Mardi 26 Avril 77. Surrealist printed matter, Éditions Borderie.

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

  • Original 2001 Olaf Breuning Ugly, Hatje Cantz, Ostfildern-Ruit — hardcover front showing full-bleed colour photograph of a young woman in round sunglasses, white crop top, and shoulder holster, holding a pistol raised to shoulder height and a power drill at hip, standing in a narrow wooden doorway, red lipstick, direct gaze Reverse of 2001 Olaf Breuning Ugly, Hatje Cantz — hardcover back showing full-bleed colour photograph of a shirtless young man in aviator sunglasses and black wig covered in temporary tattoos including a large tiger on the abdomen, holding a Gatorade bottle, standing outdoors against a rocky background in red Champion shorts

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

  • Original 1969 Olivier Mosset exhibition invitation, Galerie Rive Droite, Paris. Recto showing offset-printed red card stock with black sans-serif type stating artist name, venue, address (3 rue de Duras, Paris 8e), exhibition dates 5–25 December 1969, and vernissage time 18h30. No image. Approx. 10.5 × 13.5 cm. Reverse of 1969 Olivier Mosset exhibition invitation, Galerie Rive Droite, Paris. Verso showing plain red card stock, unprinted, with light surface wear and handling marks consistent with age.

    OLIVIER MOSSET — Galerie Rive Droite, Paris, 1969

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    OLIVIER MOSSET — Galerie Rive Droite, Paris, 1969

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  • Dust jacket front cover, Olivier Mosset, Verlag Lars Müller, Baden, 1990. Hot-pink laminated jacket, landscape format, approx. 30.5 × 22.4 cm. 'Olivier Mosset' upper left; 'OLIVIER MOSSET' spaced cyan sans-serif centre; 'Verlag Lars Müller' lower left. Light rubbing and minor corner wear, very good condition. Title page, Olivier Mosset, Verlag Lars Müller, Baden, 1990. White ground. Centre: 'OLIVIER MOSSET' in spaced black serif capitals. Upper right: institutional inventory label with handwritten reference 'SA 3553-001' and crossed-out 'Art' classification sticker. Lower centre: crossed-out rubber stamp — 'Schweizerische Bibliothek, Mythenquai 507, 8002 Zürich'. Black cloth spine visible at left edge. Deaccessioned library copy; markings present and noted in condition.

    OLIVIER MOSSET — Olivier Mosset, Verlag Lars Müller, Baden, 1990

    OLIVIER MOSSET — Olivier Mosset, Verlag Lars Müller, Baden, 1990

  • Original mini-poster/flyer, Opal L. Nations, Transgravity #11, Paul Brown Gallery / Transgravity Press, 176 Peckham Rye, London SE22, 1972. Single-colour red-brown print on thin cream paper, approx. 20 × 33 cm; likely stencil-duplicated or mimeograph-related. Two stacked panels: each showing a theatre scene — draped curtains, a reclining figure on stage, and two viewers seen from behind. Handwritten cursive inscription upper right: 'Lolling round theatre queue'. Lower left: copyright mark 'O'ALL NATION Reverse of Opal L. Nations, Transgravity #11, Paul Brown Gallery / Transgravity Press, London, 1972. Single-colour print on thin cream paper, approx. 20 × 33 cm. Pale ghost impression of the recto image visible through the sheet — two stacked panels showing theatre scene with curtains, stage figure, and two viewers seen from behind. Cream paper with age toning, surface marks, creasing, and edge wear throughout. Evidence of the sheet's production method and handling history.

    OPAL L. NATIONS — Transgravity #11, Mini-Poster, Paul Brown Gallery, London, 1972

    OPAL L. NATIONS — Transgravity #11, Mini-Poster, Paul Brown Gallery, London, 1972

  • ORLAN, Strip-Tease: All About My Life All About My Art, The Everyday Press, 2024, back cover portrait by Joel Saget, blue lipstick, forehead implants visible ORLAN, Strip-Tease, 2024, interior spread, black-and-white nude figure on bed, chapter title "ORLAN BEFORE ORLAN" in white on dark ground

    ORLAN — Strip-Tease: All About My Life All About My Art, The Everyday Press, London, 2024

    ORLAN — Strip-Tease: All About My Life All About My Art, The Everyday Press, London, 2024

  • Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — recto: offset-printed reception invitation on white card stock, text over halftone photograph of two Gothic-style pointed rooftops, issued by Alanna Heiss for the Fall Exhibitions preview, Sunday 15 October 1989, The Institute for Contemporary Art, Long Island City, New York Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — verso: plain off-white card stock, no printed text, light age toning

    P.S.1 MUSEUM — Fall Exhibitions Preview Invitation, 1989

    P.S.1 MUSEUM — Fall Exhibitions Preview Invitation, 1989