Products

  • Cindy Sherman, Photographic Work 1975–1995, Schirmer/Mosel 1995, front cover: colour Untitled — Sherman seated in black-and-white striped dress, tousled hair, dark ground; pronounced fading and colour shift from ex-library circulation Cindy Sherman, Photographic Work 1975–1995, Schirmer/Mosel 1995, interior page: Sherman seated in black-and-white striped dress, wild grey wig, smiling, dark ground; faded from ex-library use

    CINDY SHERMAN — Photographic Work 1975–1995, Schirmer/Mosel, Munich, 1995

    CINDY SHERMAN — Photographic Work 1975–1995, Schirmer/Mosel, Munich, 1995

  • Original 1994 Cindy Sherman Possession exhibition poster, City Art Galleries, Princess Street, Manchester, 17 September – 6 November 1994. Offset lithograph, approx. 43 × 60 cm. Reproduces Untitled #96, 1981, from the Centerfolds series: figure reclining, face turned upward, warm terracotta tones. Good vintage condition with visible creasing, fold marks, and surface wear throughout.

    CINDY SHERMAN — Possession, City Art Galleries, Manchester, 1994

    CINDY SHERMAN — Possession, City Art Galleries, Manchester, 1994

  • Cindy Sherman, Specimens, Art Random 65, Kyoto Shoin 1991, front cover: black, white serif title, colour close-up of red-orange fleshy form and small dark creature, clear plastic jacket Cindy Sherman, Specimens, Art Random 65, 1991, interior spread: colour — five clear plastic specimen cylinders on wooden surface, small dark insects and creatures inside each, warm daylight

    CINDY SHERMAN — Specimens, Art Random 65, Kyoto Shoin, 1991

    CINDY SHERMAN — Specimens, Art Random 65, Kyoto Shoin, 1991

  • Cindy Sherman, The Hasselblad Award 1999, Hasselblad Center 2000, front cover: red boards, white lower-case cindy / sherman, small colour photographic inset centred Cindy Sherman, Hasselblad Award 1999, interior spread: two colour works — Sherman crouching in wet white shirt, teal ground; Sherman curled on floor in white shirt, dark ground I

    CINDY SHERMAN — The Hasselblad Award 1999, Hasselblad Center, Göteborg, 2000

    CINDY SHERMAN — The Hasselblad Award 1999, Hasselblad Center, Göteborg, 2000

  • 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

  • Reverse of 1996 CK One Calvin Klein fragrance promotional postcard showing cream-white card stock with large grey CK One logo at left — overlapping 'c' and 'K' in light grey serif type with 'one' in small lowercase — and tagline 'a fragrance for a man or a woman' in small light grey italic serif type at lower left; vertical dividing line at centre right with standard postcard address fields; copyright line '©1996 Calvin Klein Cosmetics Corporation. Right reserved by CKI' in small print at lower centre; ligh Original 1996 CK One Calvin Klein fragrance promotional postcard, recto showing a black-and-white photograph on pale ground: Kate Moss at left, arms crossed, wearing a dark sleeveless dress, cropped at mid-thigh, looking away from camera; a male figure at right, arms crossed, wearing a dark sleeveless top and low-rise dark jeans with exposed midriff, looking directly at camera; between them at centre, a colour image of the CK One frosted glass bottle with silver cap and 'Calvin Klein' label, floating agains

    CK One — Calvin Klein Fragrance Promotional Postcard, 1996

    CK One — Calvin Klein Fragrance Promotional Postcard, 1996

  • Original 1959 Claude Monet exhibition invitation, Galerie Art Vivant, Paris. Recto showing printed card with exhibition title and artist name in black serif type on pale card stock, with vernissage details and gallery address. Galerie Art Vivant, Paris, 1959. Reverse of 1959 Claude Monet exhibition invitation, Galerie Art Vivant, Paris. Verso showing printed text with exhibition dates, gallery contact details, and formal invitation text in French on pale card stock.

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

    Placed

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

    Placed
  • Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974 Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

    Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

    Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974

  • 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

  • Constructed Image, Constructed Object — The Alternative Museum, New York — 1984 Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

  • CONSTRUCTURES: New Perimetrics in Abstract Painting Nohra Haime Gallery, New York, c. 1985 Rare exhibition catalogue/brochure issued by Nohra Haime Gallery for Constructures: New Perimetrics in Abstract Painting, a mid-1980s group exhibition examining geometric abstraction, shaped pictorial space, constructed surfaces, and post-minimal painting languages at a moment when abstraction was being reconsidered after conceptual art and late modernism. The publication’s severe typographic cover design — halfway Reverse of c.1985 Constructures: New Perimetrics in Abstract Painting exhibition catalogue showing plain cream-white matte stock with warm age toning and light surface marks, with small centred black serif and small-cap typography at lower centre reading 'NOHRA HAIME GALLERY / 1000 Madison Avenue / New York, N.Y. 10021 (212)772-7760'.

    Constructures: New Perimetrics in Abstract Painting, Nohra Haime Gallery, New York, 1985

    Constructures: New Perimetrics in Abstract Painting, Nohra Haime Gallery, New York, 1985

  • Exhibition card recto, Counterforms, A plus A Gallery, Venice, 2026. Organised by Neue Alte Brücke + Matt Williams. Black offset on white paper, 15.2 × 10.8 cm. Designed as a UPS shipping label — upper section: '1 KG / 1 OF 1 / COUNTERFORMS / SHPM: 2X12 ASTJ 7PF / SHP WT: 0.5 KG / DATE: 04 MAY 2026 / TIME: 11:30–20:00'; SHIP TO: 'A PLUS A GALLERY / ORGANISED BY NEUE ALTE BRÜCKE + MATT WILLIAMS / 05 MAY 26–26 JULY 26 / CALLE MALIPIERO, 3073 / 30124 VENEZIA / ITALY'; QR code and barcode; 'UPS STANDARD / TRACK Exhibition card verso, Counterforms, A plus A Gallery, Venice, 2026. White ground. Black sans-serif text right-aligned, lower centre: 'COUNTERFORMS' / [blank line] / 'HANNAH BLACK / YVO CHO / ANNA CLEGG / RACHEAL CROWTHER / UFUOMA ESSI / NAT FAULKNER / AMELIA GILL / JASON HIRATA / ANNA HOWARD / VINZENZO OTTINO / NINA PORTER'. Light handling marks, very good condition.

    Counterforms, A plus A Gallery, Venice, 2026

    Counterforms, A plus A Gallery, Venice, 2026

  • Original 1989 Coup d'envois ou l'art à la lettre Musée de La Poste Paris press dossier cover showing cream-white ground with black spiral binding at left, 'dossier de presse' in small light italic serif type at top, 'Coup d'envois' in large bold italic serif type at centre, 'ou l'art à la lettre' in smaller italic below, followed by '100 artistes et écrivains dont' and a two-column artist list in small sans-serif capitals: Alechinsky, Arman, Barthes, Beuys, Bonnard, Broodthaers, Buraglio, Carl Andre, Cesar, Reverse of 1989 Coup d'envois ou l'art à la lettre Musée de La Poste press dossier showing plain cream-white stock with black spiral binding at right edge, light age toning, surface marks, and soft creasing consistent with archive storage and institutional circulation.

    Coup d’envois ou l’art à la lettre — Press Dossier, Musée de La Poste, Paris, 1989

    Coup d’envois ou l’art à la lettre — Press Dossier, Musée de La Poste, Paris, 1989

  • CRISTINA IGLESIAS, Sculptures de 1984 à 1987, CAPC Musée d'Art Contemporain de Bordeaux, 1987

    CRISTINA IGLESIAS, Sculptures de 1984 à 1987, CAPC Musée d'Art Contemporain de Bordeaux, 1987

    CRISTINA IGLESIAS, Sculptures de 1984 à 1987, CAPC Musée d'Art Contemporain de Bordeaux, 1987

  • 1999 Dada Surréalisme Avant-Gardes Centre Wallonie-Bruxelles Paris exhibition invitation, cover: colour reproduction of Marcel Mariën's Parler de soie (1975), showing a fragmented female face — eyes and nose within a speech-bubble cutout form, lips detached below — on cream ground; handwritten caption 'Parler de soie.' at lower left and 'Mariën 9.6.75' at lower right. Reverse of 1999 Centre Wallonie-Bruxelles Dada Surréalisme Avant-Gardes invitation, showing plain cream card stock with light age toning and faint surface marks.

    DADA | SURRÉALISME | AVANT-GARDES — Un siècle de collage en Belgique — Exhibition Invitation with Insert, Centre Wallonie-Bruxelles, Paris, 1999–2000

    DADA | SURRÉALISME | AVANT-GARDES — Un siècle de collage en Belgique — Exhibition Invitation with Insert, Centre Wallonie-Bruxelles, Paris, 1999–2000

  • 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

    Placed

    DAN COLEN — The Sorcerer's Apprentice, The Greenberg Gallery, 2013

    Placed
  • 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

  • Original 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers, London. Cream textured softcover with 'DANIEL BOSSER' in small spaced serif capitals at top, 'PHILIPPE THOMAS / DECLINES HIS IDENTITY' in larger spaced serif type at centre, and a black-and-white photograph below showing Philippe Thomas seated at a table, holding up a document, wearing a black top, expression direct and slightly confrontational. 'Occasional Papers' in italic type at foot. Reverse of 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers. Plain cream textured back cover, entirely unprinted except for ISBN barcode and number 978-0-9929039-0-9 and the URL www.occasionalpapers.org at foot. Book shown in protective polypropylene sleeve.

    DANIEL BOSSER / PHILIPPE THOMAS — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015

    DANIEL BOSSER / PHILIPPE THOMAS — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015

  • Daniel Buren, Sketches for a Work in Situ, Serpentine Gallery, 1987, green front cover Daniel Buren, Sketches for a Work in Situ, 1987, red-and-white stripe working drawing, Blanc 1 of 17, handwritten annotations

    DANIEL BUREN, Sketches for a Work in Situ, Serpentine Gallery, 1987

    DANIEL BUREN, Sketches for a Work in Situ, Serpentine Gallery, 1987

  • Daniel Spoerri, Profession Obsession: The Daniel Spoerri Archives, front cover: white, spaced serif title centred, subtitle below Daniel Spoerri, Profession Obsession 1997, interior: b&w photo of The Daniel Spoerri Archives Berne — shelves of books, binders and objects, oval ceiling light

    DANIEL SPOERRI — Profession Obsession: The Daniel Spoerri Archives, Swiss National Library, 1998

    DANIEL SPOERRI — Profession Obsession: The Daniel Spoerri Archives, Swiss National Library, 1998

  • Original 1985 exhibition poster, Performance Art and Video Installation, The Tate Gallery, Millbank, London, 16 September – 6 October 1985. Offset lithograph on paper, approx. 52 × 76 cm. Published by Tate Gallery Publications; printed by Gavin Martin Ltd, London. Black ground. Upper half: large white italic bold title 'PERFORMANCE ART' with smaller caps subtitle 'AND VIDEO INSTALLATION' below; three diagonal amber-gold light trails crossing from lower left to upper right against deep red-brown ground. Lowe

    DARA BIRNBAUM — Performance Art and Video Installation, Tate Gallery, London, 1985

    DARA BIRNBAUM — Performance Art and Video Installation, Tate Gallery, London, 1985

  • Dash Snow, Selected Works from 2001 to 2009, front cover: white, heavily pixelated b&w portrait of Dash Snow, bold sans-serif title below, creased wrappers Dash Snow, Selected Works from 2001 to 2009, back cover: grid of 45 b&w Polaroid-style photographs, scenes of parties and figures; bookseller price label EUR 6.00

    DASH SNOW — Selected Works from 2001 to 2009, Nieves, 2014

    DASH SNOW — Selected Works from 2001 to 2009, Nieves, 2014

  • David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, recto. Teal ground with central yellow rectangle. Orange-red silkscreen-style reproduction of Lying 2, 2000 — a figure reclining in a chair against a gestural painted ground. Offset print on semi-gloss card, 18 × 12.7 cm. Exhibition ephemera. David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, verso. White ground, black typography in alternating bold and reversed-out bands. Text: 'DAVID DIAO / postmasters gallery / october 14 – november 11 / reception saturday 6–8 / 212 727 3323 / POSTMASTERS / 459 w 19 street nyc 10011 / www.postmastersart.com / postmasters@thing.net'. Vertical text right edge: 'Lying 2, 2000, acrylic on canvas, 79 × 115 inches'. Lower line: 'hole in the floor: Jennifer and Kevin McCoy "PINK

    David Diao — Lying 2, Postmasters Gallery, New York, 2000

    David Diao — Lying 2, Postmasters Gallery, New York, 2000

  • David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Recto: white sans-serif text reading DAVID HAMMONS on solid black ground. David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Verso: exhibition dates January 26 – February 26, 2011, and L&M Arts gallery address, 45 East 78 Street, New York, printed in black on white card

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

  • David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 18 May – 11 August 2019 — original xeroxed press release featuring Hammons' hand-drawn line composition, dedicated to Ornette Coleman, distributed at the artist's first LA solo exhibition in 45 years David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019 — reverse of original xeroxed press release showing ghost impression of Hammons' hand-drawn line composition bleeding through the thin paper, creased from handling

    David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019

    Placed

    David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019

    Placed
  • David Reed, Two Bedrooms in San Francisco, front cover: b&w dashboard view, hotel facade, teal title type below David Reed, Two Bedrooms in San Francisco, interior: b&w film still, man in hat silhouette, Kim Novak in doorway

    DAVID REED — Two Bedrooms in San Francisco, Walter/McBean Gallery, 1992

    DAVID REED — Two Bedrooms in San Francisco, Walter/McBean Gallery, 1992

  • David Shrigley, How Are You Feeling?, Cornerhouse Manchester 2012, front cover: white, hand-lettered title and exhibition details, CORNERHOUSE logo David Shrigley, How Are You Feeling?, 2012, unfolded interior: gallery guide — RELAX drawing, work descriptions, Gong image, participation and events text

    DAVID SHRIGLEY — How Are You Feeling?, Cornerhouse Manchester, 2012

    DAVID SHRIGLEY — How Are You Feeling?, Cornerhouse Manchester, 2012

  • David Shrigley, Man in a Room, Blue Q 2007, front cover: green, hand-lettered title MAN IN A ROOM BY D. SHRIGLEY David Shrigley, Man in a Room, 2007, interior: figure in bed left; MAN LIES ON HIS BED caption and repeated figure right

    DAVID SHRIGLEY — Man in a Room, Blue Q, 2007

    DAVID SHRIGLEY — Man in a Room, Blue Q, 2007

  • David Wojnarowicz / Hunter Reynolds, The Rimbaud Series / Survival AIDS, P.P.O.W Gallery, New York, 2012. Artist publication / exhibition catalogue, softcover, approx. 20 × 23 cm, 16 pages. Design by Project Projects. Two-panel cover: upper half, grey band with cropped black-and-white photograph — masked figure (Arthur Rimbaud mask) against a wall bearing a partially visible poster reading 'MYSTERIOUS INITIATION' and 'DOCUMENT… RE FOIS'; lower half, dark charcoal ground with white sans-serif text in two col Back cover of David Wojnarowicz / Hunter Reynolds, The Rimbaud Series / Survival AIDS, P.P.O.W Gallery, New York, 2012. Two-panel design: upper half, grey band with cropped black-and-white photograph of a Times Square theatre marquee — 'LOSCACHORROS', '25¢ PEEP SHOWS', 'BOOKS MAGS', 'SHOWS'; lower half, dark charcoal ground with white sans-serif text: P.P.O.W gallery address (535 West 22nd St, 3rd Floor, New York, NY 10011), telephone and fax numbers, website. Lower left: 'P·P·O·W'. Lower right: 'Copyright

    DAVID WOJNAROWICZ / HUNTER REYNOLDS — The Rimbaud Series / Survival AIDS, P.P.O.W Gallery, New York, 2012

    DAVID WOJNAROWICZ / HUNTER REYNOLDS — The Rimbaud Series / Survival AIDS, P.P.O.W Gallery, New York, 2012

  • David Wojnarowicz, Rimbaud in New York 1978–79, PPP Editions, 2004, front cover, Rimbaud mask David Wojnarowicz, Rimbaud in New York 1978–79, PPP Editions, 2004, reverse, cut paper Rimbaud mask

    DAVID WOJNAROWICZ, Rimbaud in New York 1978–79, PPP Editions / Roth Horowitz, 2004

    DAVID WOJNAROWICZ, Rimbaud in New York 1978–79, PPP Editions / Roth Horowitz, 2004

  • Original 1979 Dennis Oppenheim exhibition invitation card for Projects 78/79, ARC Paris, Musée d'Art Moderne de la Ville de Paris, showing the artist's name in large bold lowercase type alongside the exhibition title, vernissage date Friday 14 December 18–21h, and run dates through 20 January 1980, with a formal invitation line from the Mayor of Paris at the top. Reverse of 1979 Dennis Oppenheim Projects 78/79 invitation card showing a black-and-white photograph of an installation view — a large-scale sculptural structure with angled metal supports, flat platform surfaces, and dramatic directional light casting sharp shadows across the interior space, consistent with Oppenheim's late 1970s architectural and machine-based sculptural environments.

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

  • Exhibition announcement card for "Dessins Allemands" (German Drawings) at Galerie Bama, Paris 75007, 80 rue du Bac, 19 September – 30 October 1975. Artists listed: Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, Voss. Handwritten address card in blue ink reading: G.J. de Rook, P.O. Box 14012, Utrecht, Pays-Bas

    DESSINS ALLEMANDS — Invitation Card, Galerie Bama, Paris, 1975

    DESSINS ALLEMANDS — Invitation Card, Galerie Bama, Paris, 1975

  • Original 2004 Devendra Banhart Rejoicing in the Hands CD, Young God Records / XL Recordings — jewel case front showing cream-toned illustrated cover with hand-drawn figures including a winged bear, owl, rabbit, and orb amid decorative foliage, all in brown ink on aged paper ground Reverse of 2004 Devendra Banhart Rejoicing in the Hands CD — cream back cover with hand-lettered track listing in cursive script, central oval illustration of a coiled figure with inset text, XL catalogue number XLCD180 and barcode at foot

    Devendra Banhart — Rejoicing in the Hands

    Devendra Banhart — Rejoicing in the Hands

  • Original 2015 Hauser & Wirth exhibition invitation for Diana Thater, Life Is a Time-Based Medium, London, front, colour photograph: two young rhesus macaques facing each other on an ornate pale stone parapet with scalloped coping, one with hand raised to mouth, against a soft-focus rocky and green background. Reverse of 2015 Hauser & Wirth exhibition invitation for Diana Thater, Life Is a Time-Based Medium, London, white card with centred black sans-serif typography: HAUSER & WIRTH at top; DIANA THATER in large bold type; LIFE IS A TIME-BASED MEDIUM below; PRIVATE VIEW / WEDNESDAY 25 MARCH 2015 / 6–8 PM; 26 MARCH – 16 MAY 2015; gallery address, opening hours, and www.hauserwirth.com; small print at foot: PRODUCTION STILL, 2014 / PHOTO: TARUN CHOPRA FOR DIANA THATER.

    Diana Thater — Life Is a Time-Based Medium, Hauser & Wirth, London, 2015

    Diana Thater — Life Is a Time-Based Medium, Hauser & Wirth, London, 2015

  • Dieter Roth, Art Is Life / Life Is Art, Univ. of Iowa Museum of Art 1999, front cover: yellow, wheeled shelving unit, bold type I Dieter Roth 1999, interior: Fig. 13, drawing from Blumenstücke & Tischmatten 1997, cat. no. 10 — gestural bouquet in ink, spiral binding visible

    DIETER ROTH — Art Is Life / Life Is Art: The Graphic Work of Dieter Roth, University of Iowa Museum of Art, 1999

    DIETER ROTH — Art Is Life / Life Is Art: The Graphic Work of Dieter Roth, University of Iowa Museum of Art, 1999