{"title":"Artist Ephemera","description":"\u003cp\u003ePrinted and paper-based material produced in and around artistic practice — flyers, announcements, press releases, posters, leaflets, price lists, and other documents not intended to last but which did. Artist ephemera occupies a unique position: too modest to be called a work, too significant to be discarded. This collection gathers material that illuminates how artists communicated, exhibited, and moved through the world.\u003c\/p\u003e","products":[{"product_id":"wade-guyton-set-of-3-exhibition-postcards-serpentine-galleries-2017","title":"Wade Guyton – Set of 3 Exhibition Postcards, Serpentine Galleries, 2017","description":"\u003cp\u003eSet of 3 exhibition postcards, 2017\u003cbr\u003eSerpentine Galleries, London\u003c\/p\u003e\n\u003cp\u003eOffset-printed postcards on card stock, colour recto with printed verso details\u003c\/p\u003e\n\u003cp\u003ePrice includes shipping and packaging; ships securely with backing protection.\u003c\/p\u003e\n\u003cp\u003eOriginal set of three Wade Guyton postcards issued for his 2017 exhibition at Serpentine Galleries. Each card reproduces a work in Guyton's characteristic inkjet-on-linen mode, with clean institutional design and full artwork details printed on the reverse. As a small group, they make a sharp piece of contemporary exhibition ephemera—compact documents of a practice deeply invested in the instability between painting, printing, digital imaging, and circulation.\u003c\/p\u003e\n\u003cp\u003eWhat gives this set extra resonance is the 2009 interview exchange in which David Armstrong asks Guyton what he thinks when he sees postcards of his work in museums, only for Guyton to reply that he has never seen one. Read alongside that moment, these cards feel more than promotional matter. They sit right inside the logic of his work, where the artwork is never fully sealed off from its own reproduction, mediation, or afterlife as image.\u003c\/p\u003e\n\u003cp\u003eArt historically, Guyton's work emerged at a point when painting could no longer ignore the screen, the printer, or the conditions of digital reproduction. His use of misfeeds, drag marks, compression, and mechanical error turned the inkjet process into both tool and subject. These postcards echo that tension exactly: they are secondary objects, but also uncannily close to the questions the work itself asks about surface, authorship, and circulation. In that sense, this set functions not just as exhibition material, but as a concise extension of Guyton's broader project.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53039715483986,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wade_Guyton_Postcards_06.jpg?v=1774600585"},{"product_id":"urs-luthi-original-exhibition-invitation-brussels-1975-bifolded-with-2-inserts","title":"Urs Lüthi — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975","description":"\u003cp\u003e\u003cstrong\u003eURS LÜTHI\u003c\/strong\u003e\u003cbr\u003eGalerie Isy Brachot, Brussels\u003cbr\u003eNovember 12, 1975 – January 8, 1976\u003cbr\u003eOpening: November 10, 19h\u003c\/p\u003e\u003cp\u003eOriginal invitation for Urs Lüthi's 1975 solo exhibition at Galerie Isy Brachot, a key moment in the development of self-performance and gender-fluid identity in postwar European art. The invitation is a bifolded card with two loose inserts, measuring 29.7 × 21.0 cm unfolded, and features stark black-and-white photographs of the artist staging his own body — sometimes disguised, sometimes vulnerable, always deliberately composed.\u003c\/p\u003e\u003cp\u003eEmerging from the 1970s conceptual wave, Lüthi's work blended performance, photography, and personal mythology. He rejected the neutral stance of much conceptual art in favour of something more intimate, melancholic, and theatrical. The images shown here — posed, exposed, and occasionally erased — point to early preoccupations with the self as both object and illusion.\u003c\/p\u003e\u003cp\u003eThis exhibition came at a time when Lüthi was establishing his visual lexicon: the reclining body, the play with androgyny, the subtle references to artifice and autobiography. Surviving ephemera from this period is exceptionally scarce, and this invitation offers both historical significance and stark formal beauty.\u003c\/p\u003e","brand":"Galerie Isy Brachot","offers":[{"title":"Default Title","offer_id":53039877456210,"sku":null,"price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/UrsLuthi01.jpg?v=1774601935"},{"product_id":"david-hammons-harmolodic-thinker-xerox-press-release-exhibition-handout-hauser-amp-wirth-los-angeles-18-may-11-august-2019","title":"David Hammons — Harmolodic Thinker, Hauser \u0026 Wirth Los Angeles, 2019","description":"\u003cp class=\"_p_ua7qq_109\"\u003e\u003cstrong\u003e\u003cspan\u003eDAVID HAMMONS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHarmolodic Thinker\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Hauser \u0026amp; Wirth, Los Angeles 18 May – 11 August 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eOriginal xeroxed press release distributed at David Hammons' first solo exhibition in Los Angeles in 45 years. The sheet operates less as explanatory material than as a conceptual extension of the show itself — dedicated to Ornette Coleman, whose harmolodic theory rejected hierarchy and fixed structure, and designed to mirror those principles through abstraction, refusal, and displacement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eRather than conventional didactic content, Hammons reduces the text to two legible phrases — \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"This exhibition is dedicated to Ornette Coleman\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"Harmolodic Thinker\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e — set against a dense field of hand-drawn, map-like lines. Distributed freely at the gallery, the document collapses the boundary between artwork and ephemera. Surviving examples function as both exhibition trace and autonomous conceptual artefact.\u003c\/span\u003e\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53041709646162,"sku":null,"price":80.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/David_Hammons_2016_01.jpg?v=1774613071"},{"product_id":"claude-monet-le-naturalisme-abstrait-galerie-art-vivant-paris-june-18-1959","title":"Claude Monet — Exhibition Invitation, Galerie Art Vivant, Paris, 1959","description":"\u003cp\u003e\u003cstrong\u003eCLAUDE MONET\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLe Naturalisme Abstrait\u003c\/em\u003e\u003cbr\u003eGalerie Art Vivant, Paris\u003cbr\u003e18 June 1959\u003c\/p\u003e\u003cp\u003eOriginal invitation to \u003cem\u003eClaude Monet et Le Naturalisme Abstrait\u003c\/em\u003e, a bold curatorial proposition staged at Galerie Art Vivant in June 1959. The exhibition reframed Monet's late work not as historical artifact but as visionary precursor to postwar abstraction — placing him in direct lineage with Turner, Géricault, and the emerging generation of painters working through colour, light, and metaphysical depth.\u003c\/p\u003e\u003cp\u003eThe fold-out invitation includes an essay by Waldemar-George drawing these connections across time, arguing for Monet as the tutelary god of a painting that restores soul to a soulless century. Alongside Monet, the exhibition presented works by André Masson, Marie Raymond, Jean-Paul Vulliamy, Bryen, Garbell, Halpern, Lan-Bar, and Szenès — a gathering that underscored his influence on mid-century spiritual formalism and the Parisian lyrical abstraction of the period.\u003c\/p\u003e\u003cp\u003ePrinted on pale mint-green card stock with elegant letterpress typography, the object itself reflects the refined material culture of the 1950s Paris art world. A rare document from a moment when abstraction looked backward in order to move forward.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Fold-out invitation card\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good\u003c\/p\u003e","brand":"Galerie Art Vivant","offers":[{"title":"Default Title","offer_id":53041769742674,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Claude_Monet_01.jpg?v=1774613540"},{"product_id":"carl-andre-whitechapel-sculpture-1954-1978-exhibition-archive-1978","title":"Carl Andre — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978","description":"\u003cp\u003e\u003cstrong\u003eCARL ANDRE\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSculpture 1954–1978\u003c\/em\u003e\u003cbr\u003eWhitechapel Art Gallery, London\u003cbr\u003e17 March – 23 April 1978\u003c\/p\u003e\u003cp\u003eArchive of three original documents from Carl Andre's major retrospective at the Whitechapel Art Gallery in 1978 — one of the most significant presentations of his work in Britain, arriving just three years after the “Bricks” controversy at the Tate had made him the most debated artist in the country.\u003c\/p\u003e\u003cp\u003eThe set comprises a letterhead text printed on official Whitechapel stationery, a multi-page works list and programme, and a ticket to the public discussion held on the opening night, 17 March 1978 at 7pm. The ticket, marked with a handwritten X, is a trace of attendance — someone was there.\u003c\/p\u003e\u003cp\u003eThe letterhead document reproduces Andre's own words in full, selected and arranged without editorial commentary. The statements move from the agricultural to the philosophical: \u003cem\u003e“I think art is agricultural, that is involved with maintaining life and feeding life.”\u003c\/em\u003e \u003cem\u003e“My idea of a piece of sculpture is a road.”\u003c\/em\u003e \u003cem\u003e“I like work that is just there until it needs you and you need it.”\u003c\/em\u003e Printed on Whitechapel letterhead, the text functions simultaneously as press material and as a kind of concrete poetry — Andre's language performing the same economy as his floor pieces.\u003c\/p\u003e\u003cp\u003eThe works list documents 31 sculptures spanning 1954 to 1978, with full dimensions, materials, lenders, and extended notes — including the EQUIVALENTS series lent by the Tate, the ELEMENT SERIES, the DIPOLES made for this exhibition, and CRUX, a new cedar work produced for the Whitechapel entrance hall. The catalogue essay by Nicholas Serota, then director of the Whitechapel, was published separately on 1 April 1978.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Three documents — letterhead text (single sheet), works list\/programme (multi-page, stapled), public discussion ticket (card, red)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Whitechapel Art Gallery, London\u003cbr\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1978\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good; handling consistent with original distribution and use\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53042018812242,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Carl_Andre_Whitechapel_1978_6.jpg?v=1774616466"},{"product_id":"antonin-artaud-dessins-centre-georges-pompidou-paris-1987","title":"Antonin Artaud — Dessins, Centre Georges Pompidou, Paris, 1987","description":"\u003cp\u003ePrivate view invitation \/ exhibition card\u003cbr\u003eCentre Georges Pompidou, Musée national d’art moderne, Paris\u003cbr\u003e30 June – 11 October 1987\u003c\/p\u003e\u003cp\u003eOffset print on card stock\u003cbr\u003eRecto reproduces Antonin Artaud, \u003cem\u003ePortrait de Jany de Ruy\u003c\/em\u003e, 2 July 1947\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good; light toning, minor edge wear, faint handling marks.\u003c\/p\u003e\u003cp\u003eIssued for the inauguration of \u003cem\u003eAntonin Artaud: Dessins\u003c\/em\u003e at the Centre Georges Pompidou, 30 June 1987. Exhibition presented until 11 October 1987, Salle d’Art Graphique, 4th floor. Invitation valid for two persons.\u003c\/p\u003e\u003cp\u003eThe reproduced work, \u003cem\u003ePortrait de Jany de Ruy\u003c\/em\u003e, is held by the Musée national d’art moderne \/ Centre Pompidou and was made at the maison de santé du Dr Delmas, Ivry, in graphite and greasy coloured chalk on paper. The Pompidou records the drawing as signed and dated by Artaud on 2 July 1947.\u003c\/p\u003e\u003cp\u003eThe 1987 exhibition gathered Artaud’s graphic work at the Musée national d’art moderne, including the early \u003cem\u003eSorts\u003c\/em\u003e of 1939, calligraphed, drawn and burned letters, later drawings from 1948, notebooks and correspondence. The Pompidou describes the exhibition as bringing together more than sixty drawings, with many works leaving private collections for the first time.\u003c\/p\u003e\u003cp\u003eThis card is not the catalogue. It is the access object. The institutional surface through which Artaud’s drawings entered the museum: name, date, room, press hour, invitation status, reproduced wound.\u003c\/p\u003e\u003cp\u003eNot a reproduction in the ordinary sense. Not a later document. A surviving exhibition support from the opening structure itself. Held outside the institutional archive.\u003c\/p\u003e\u003cp\u003eThe catalogue remains traceable. The invitation does not circulate in the same way. Its function was temporary: admit, announce, disappear. Here it survives as a small Pompidou object, carrying Artaud’s late graphic violence in reduced administrative form.\u003c\/p\u003e\u003cp\u003eA borderline artwork-object: Artaud’s drawing translated into museum card, the museum card returned to circulation as image, document, and support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53042897092946,"sku":"ARTAUD-POMPIDOU-INV-1987","price":130.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Artaud_Antonin._Show_invite_Pompidou._1987.jpg?v=1779944538"},{"product_id":"downtown-81-friends-of-basquiat-held-at-agnes-b","title":"Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)","description":"\u003cp\u003eAn original invitation to \u003cstrong\u003eDowntown 81: Friends of Basquiat\u003c\/strong\u003e, held at \u003cstrong\u003eAgnès B. Skyline\u003c\/strong\u003e, 19 rue des Frigos, Paris, as part of the \u003cem\u003eFestival d'Automne à Paris\u003c\/em\u003e. Running from \u003cstrong\u003e21 October to 21 November 2006\u003c\/strong\u003e, the event was a multi-disciplinary activation of Basquiat's legacy — spanning film, music, and curated programming — with an opening concert by No Wave icon \u003cstrong\u003eJames Chance\u003c\/strong\u003e.\u003c\/p\u003e\u003cp\u003eThe \u003cstrong\u003erecto\u003c\/strong\u003e features a celebrated still from \u003cem\u003eDowntown 81\u003c\/em\u003e, the posthumously completed film starring Basquiat, directed by Edo Bertoglio and produced by Maripol. Shot on the Lower East Side, Basquiat stands before graffiti-covered walls bearing the phrase \u003cem\u003eLike an Ignorant\u003c\/em\u003e — a raw, street-level image that encapsulates the urban visual language at the heart of his practice.\u003c\/p\u003e\u003cp\u003eThe \u003cstrong\u003everso\u003c\/strong\u003e adopts a bold graphic identity: distressed stencil-style numerals, high-contrast red and black typography, and the unmistakable Downtown 81 \/ F.O.B. (Friends of Basquiat) branding. The involvement of Agnès B. — a long-standing champion of Basquiat and the downtown New York scene — grounds the piece within the fashion-art crossover that defined his cultural reach.\u003c\/p\u003e\u003cp\u003eA rare artifact connecting Basquiat's early 1980s world to its 21st-century institutional recognition. Essential for collectors of street art, No Wave, and post-war avant-garde ephemera.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eOriginal 2006 exhibition invitation — double-sided\u003c\/li\u003e\n\u003cli\u003eAgnès B. Skyline \/ Festival d'Automne à Paris\u003c\/li\u003e\n\u003cli\u003eFeatures film still from \u003cem\u003eDowntown 81\u003c\/em\u003e (dir. Edo Bertoglio, prod. Maripol)\u003c\/li\u003e\n\u003cli\u003eOpening concert: James Chance\u003c\/li\u003e\n\u003cli\u003eRare Basquiat-related ephemera\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Agnès B. Skyline","offers":[{"title":"Default Title","offer_id":53043152814418,"sku":null,"price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat_Downtown_81_01.jpg?v=1774625735"},{"product_id":"hans-bellmer-67-photographies-inedites-galerie-francois-petit-1983-84","title":"Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eApprox. 10.5 × 15 cm\u003cbr\u003eDouble-sided offset print on card\u003cbr\u003eFrench text\u003cbr\u003eGalerie François Petit, 196 boulevard Saint-Germain, Paris\u003cbr\u003eExhibition dates: 20 December 1983 – 25 February 1984\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good. Clean, crisp surface with light age toning and minor handling consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation card for \u003cem\u003eHans Bellmer — 67 photographies inédites\u003c\/em\u003e, issued by Galerie François Petit for the Paris exhibition of previously unpublished photographs. The recto carries a black-and-white photographic image: face, hand, obstruction, gaze. The verso reduces the exhibition to script, dates, address, and gallery placement.\u003c\/p\u003e\u003cp\u003eBellmer’s work moved through Surrealism by way of the constructed body, the doll, the erotic fragment, and the image as psychological apparatus. By the early 1980s, his photographic practice was being re-entered into circulation through exhibitions, catalogues, and specialist gallery contexts in Paris.\u003c\/p\u003e\u003cp\u003eLess commonly encountered than the related exhibition catalogue, the invitation survives as a lighter administrative fragment from the same exhibition structure. Produced for short-term circulation, examples appear infrequently on the secondary market.\u003c\/p\u003e\u003cp\u003eAs object, this card sits between announcement and retained support. It was made to pass briefly through the gallery system and disappear. Its survival gives it a second condition: invitation, document, and secondary photographic object.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected with tracked postage.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053706830162,"sku":"BELLMER-GAL3PLUS2-INV-1983","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans._Show_invite_67_photographies_inedites_._1983.jpg?v=1779946086"},{"product_id":"sarkis-reserves-sans-retour-capc-bordeaux-invitation-card-1980","title":"Sarkis, \"réserves sans retour\" — CAPC Bordeaux invitation card, 1980","description":"\u003cp\u003e\u003cstrong\u003eSarkis, \u003cem\u003eRéserves sans retour\u003c\/em\u003e — CAPC Bordeaux invitation card, 1980\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e£40 — shipping and handling included\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA period invitation card for \u003cstrong\u003eSarkis's \u003cem\u003eRéserves sans retour\u003c\/em\u003e\u003c\/strong\u003e, issued in relation to the CAPC-organised exhibition at the \u003cstrong\u003eBase sous-marine, Bordeaux\u003c\/strong\u003e in 1980. More than an announcement, the card functions as a small operational document: part invitation, part directional device, part residue of an exhibition staged inside a former German wartime structure not yet fully absorbed into the language of culture.\u003c\/p\u003e\u003cp\u003ePrinted card, \u003cstrong\u003e15 × 10.5 cm\u003c\/strong\u003e. Deep red recto with the title set in black script: \u003cstrong\u003eSarkis \"réserves sans retour.\"\u003c\/strong\u003e The verso is given over to information and cartography: \u003cstrong\u003ecapc \/ Entrée n°7 \/ Hangar \/ quai de Bacalan \/ Tél. (56) 44.16.35 \/ Centre d'Arts Contemporains de Bordeaux\u003c\/strong\u003e, alongside a printed street map locating the \u003cstrong\u003eBase sous-marine\u003c\/strong\u003e in relation to CAPC and the city. That map is one of the more compelling features here. It situates the exhibition not simply in a venue, but within an urban and historical field. The card does not just announce a show; it diagrams access to it.\u003c\/p\u003e\u003cp\u003eThe exhibition belongs to an important moment in Sarkis's trajectory, when questions of memory, displacement, architecture, and historical charge became inseparable from the work itself. It also belongs to an early phase in the cultural reuse of the Bordeaux submarine base, before such conversions became a familiar curatorial model. In that sense, this piece registers a shift: from military infrastructure to exhibition site, from logistics to art.\u003c\/p\u003e\u003cp\u003eA spare and unusually intelligent piece of French art ephemera, with strong graphic presence and a quietly conceptual use of printed navigation. Scarce. Light wear from age; overall very good.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073498734930,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarkis_0001_7a9e9a5e-59f7-4fed-8e2b-271d7dae5248.jpg?v=1774990937"},{"product_id":"sarkis-ma-chambre-de-la-rue-krutenau-ile-san-lazzaro-venice-1990","title":"Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990","description":"\u003cp\u003e\u003cstrong\u003eSarkis, \u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e — invitation card, Venice 1990\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA period invitation card for Sarkis's installation \u003cstrong\u003e\u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e\u003c\/strong\u003e, presented jointly by \u003cstrong\u003eLes Musées de la Ville de Strasbourg\u003c\/strong\u003e and \u003cstrong\u003eLe Centre National d'Art Contemporain de Grenoble, Magasin\u003c\/strong\u003e, with the collaboration of the A.F.A.A. and the Ministère des Affaires Étrangères, Paris. The exhibition was staged at the \u003cstrong\u003eCouvent des Pères Méchitaristes, Île San Lazzaro degli Armeni, Venice\u003c\/strong\u003e, opening 23 May 1990 and running through 30 September.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces a photograph of the neon installation — a luminous, biomorphic form suspended against deep black, its teal glow pooling outward. The verso carries the full institutional text in French, including vaporetto departure times from Riva Schiavoni. That logistical detail is characteristic of the work's situation: an installation accessible only by water, on an Armenian monastery island, organised through a relay of French cultural institutions. The card is itself a document of that improbable geography.\u003c\/p\u003e\n\u003cp\u003eThe work belongs to a sustained period in Sarkis's practice in which memory, displacement, and the charged specificity of place — particularly sites carrying religious, historical, or linguistic weight — became structural to the installation itself. San Lazzaro, home to the Méchitarist congregation and one of the oldest Armenian cultural centres in Europe, was not incidental to the work. It was the work's condition.\u003c\/p\u003e\n\u003cp\u003ePrinted card, approximately \u003cstrong\u003e15 × 10.5 cm\u003c\/strong\u003e. Light wear consistent with age; overall very good. Scarce.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073595728210,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/SakrisGrenoble_0001.jpg?v=1774990355"},{"product_id":"olivier-mosset-galerie-rive-droite-paris-1969-exhibition-invitation","title":"Olivier Mosset — Galerie Rive Droite, Paris, 1969","description":"\u003cp\u003e\u003cstrong\u003eOlivier Mosset — Galerie Rive Droite, Paris, 1969\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eOlivier Mosset\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Rive Droite\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e3 rue de Duras, Paris 8e\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e5–25 December 1969\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003e5 December, 18h30\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003eapprox. 10.5 × 13.5 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on red card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eGood to very good. Light surface wear and handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAn original invitation issued for Mosset's December 1969 exhibition at Galerie Rive Droite — one of his earliest solo presentations in Paris, and a key institutional moment in the post-BMPT period. The gallery is documented in Mosset's bibliography as the site of his first Paris exhibitions.\u003c\/p\u003e\u003cp\u003eThe card is almost without image. A red field. Black type. Venue, address, dates, opening time. Information replaces illustration. The object does not describe the exhibition so much as state its administrative fact — a position entirely consistent with Mosset's practice at the end of the 1960s, when painting was being reduced to repetition, neutrality, and the refusal of expressive difference. Between 1966 and 1974, he produced his serial circle paintings, a body of work inseparable from the debates around BMPT and the broader dismantling of authorship and pictorial identity.\u003c\/p\u003e\u003cp\u003eThis invitation belongs to that moment. The severe typography and unmodulated red ground read less as design than as declaration. No image, no seduction, no explanation. A card that behaves with the same restraint as the work it announces.\u003c\/p\u003e\u003cp\u003eScarce early Mosset ephemera from a documented exhibition. Comparable early Galerie Rive Droite material from this period is seldom encountered.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073639866706,"sku":null,"price":160.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/OlivierMosset_0001.jpg?v=1774992246"},{"product_id":"annie-gramain-galerie-baudoin-lebon-paris-1979-exhibition-invitation","title":"Annie Gramain — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003e\u003cstrong\u003eAnnie Gramain — Galerie Baudoin Lebon, Paris, 1979\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eAnnie Gramain\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Baudoin Lebon\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e36 rue des Archives, 75004 Paris\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e7 March – 14 April 1979\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003eWednesday 7 March 1979\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card, double-sided\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003e14 × 9 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eGood to very good. Minor handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for an Annie Gramain exhibition at Galerie Baudoin Lebon, Paris, 1979. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media. This card is a small but precise document of an emerging contemporary art context in late-1970s Paris.\u003c\/p\u003e\u003cp\u003eThe card does very little, which is part of its interest. On the front, \"annie gramain\" is repeated in descending diagonal lines until the name stops functioning as signature and begins to operate as form. Language becomes layout. Identity is handled as a typographic unit. On the reverse, the exhibition information runs in a single justified line at the lower edge — as if the administrative fact of the show had been reduced to a footer.\u003c\/p\u003e\u003cp\u003eName as image. Invitation as structure. Authorship as graphic repetition. More document than promotion. More proposition than souvenir.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073745215826,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AnnieGramain_0001.jpg?v=1774994517"},{"product_id":"jochen-gerz-le-depot-kulchur-piece-4-galerie-baudoin-lebon-paris-1979","title":"Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003e\u003cstrong\u003eJochen Gerz — \u003cem\u003eLe Dépôt · Kulchur Pièce, 4\u003c\/em\u003e — Galerie Baudoin Lebon, Paris, 1979\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eJochen Gerz\u003c\/strong\u003e\u003cbr\u003eWork: \u003cstrong\u003e\u003cem\u003eLe Dépôt · Kulchur Pièce, 4\u003c\/em\u003e, 1979\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Baudoin Lebon\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e36 rue des Archives, 75004 Paris\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e7 June – 7 July 1979\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003eThursday 7 June 1979\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card, double-sided\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003e14 × 9 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eVery good. Light age wear consistent with date.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for Jochen Gerz’s exhibition at Galerie Baudoin Lebon, Paris, June–July 1979. The title corresponds to \u003cem\u003eThe Depot \/ Le Dépôt\u003c\/em\u003e, catalogued by the artist as \u003cem\u003eKulchur Pieces 4\u003c\/em\u003e, 1979 — a large-scale installation in which several tree trunks, sawed into 5-cm-thick planks and painted with photographic opaque, were stacked horizontally on wooden spacers as they would be at a sawmill, so that the outer form of each trunk remained recognisable. A wall text accompanied the work, addressing doubts about artistic production and design.\u003c\/p\u003e\u003cp\u003eThe card’s colour is not incidental. The dark burgundy-brown ground matches the photographic opaque applied to the wood — the same material used to suppress the surface of the trunks in the installation. The invitation does not illustrate the work; it shares its pigment. On the recto, white type carries only the artist’s name and the work title. On the verso, the exhibition information runs at the lower edge — opening time, address, telephone, dates — reduced to administrative fact.\u003c\/p\u003e\u003cp\u003eThe word “Kulchur” retains Pound’s damaged spelling, recast by Gerz as something stored, processed, and possibly neutralised. Culture as deposit. Exhibition as filing. Art as a proposition lodged inside its own support system. The invitation extends the work’s logic without explaining it.\u003c\/p\u003e\u003cp\u003eScarce. Galerie Baudoin Lebon ephemera from this period is seldom encountered.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073790304594,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JochenGerz_0001.jpg?v=1774996315"},{"product_id":"dessins-allemands-invitation-card-galerie-bama-paris-1975","title":"Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975","description":"\u003cp\u003eOriginal exhibition invitation card for \u003cem\u003eDessins Allemands\u003c\/em\u003e, Galerie Bama, Paris, 19 September–30 October 1975. Featuring Joseph Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, and Voss. Printed card with handwritten address on verso; addressed but never mailed. 15.5 × 9.5 cm.\u003c\/p\u003e\u003cp\u003eA concise and unusually charged piece of 1970s exhibition ephemera: part gallery notice, part administrative trace, part suspended communication object. What sharpens this example is the handwritten verso, addressed to G. J. de Rook, Utrecht, Pays-Bas — linking the card to the Dutch experimental poetry and mail-art milieu around the Utrecht-based visual poet and publisher. Prepared for circulation but never sent, the card remains caught between private address and public announcement, turning a functional invitation into a compact object of intention, delay, and historical residue.\u003c\/p\u003e\u003cp\u003eSeen now, it operates both as a surviving fragment from the distribution structure of the exhibition and as a small self-contained work in its own right — a printed artifact in which typography, naming, handling, and withheld movement become the form. An exhibition object, rediscovered through the logic of the online store.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light age toning and minor handling wear consistent with age.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157185519954,"sku":"EPH-1975-BAMA-001","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/GallerieBamaDessinsAllemands_0001.jpg?v=1775684634"},{"product_id":"gianni-piacentino-stampe-galleria-plura-milan-1980","title":"Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980","description":"\u003cp\u003eOriginal mailed exhibition announcement for \u003cem\u003eStampe\u003c\/em\u003e, Galleria Plura, Milan, from Thursday 16 April 1980. Postcard format with applied photographic image on recto — a reproduction of Piacentino's sleek engineered forms, mounted into the card rather than simply printed as image-field, giving the piece a quieter, constructed presence. Postmarked and stamped; handwritten address on verso to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris. 15 × 11.25 cm.\u003c\/p\u003e\u003cp\u003eA modest but unusually complete piece of gallery ephemera: part announcement, part mailed object, part distribution trace. On the reverse, the card remains fully within the circulation system that produced it — stamped in Milan and sent onward to Galerie de Varenne, the Paris gallery associated with publisher and dealer Jacques Damase, known for exhibitions and publications around figures including Sonia Delaunay.\u003c\/p\u003e\u003cp\u003eSeen now, it reads less as documentation than as a small exhibition object in its own right: image, address, postal handling, and gallery-to-gallery transmission held together in one surface. A useful reminder that the art world often moved first through the mail.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall; light surface wear, soft corner wear, minor creasing and age toning consistent with handling and postal use.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157534302546,"sku":"EPH-1980-PLURA-001","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gianni_Placentino_0001.jpg?v=1775687965"},{"product_id":"a-francois-petit-paris-surrealist-group-exhibition-invitation-1965","title":"A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965","description":"\u003cp\u003eOriginal printed invitation card for an exhibition of selected works at A. François Petit, 122 boulevard Haussmann, Paris 8e, December 1965. Printed in script on pale green card stock. 10 × 8 cm.\u003c\/p\u003e\u003cp\u003eThe card lists eleven artists: Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen.\u003c\/p\u003e\u003cp\u003eA small and unusually elegant piece of mid-1960s Paris gallery ephemera. No image, no reproduction — just names, and the names do the work. The card condenses an entire Surrealist afterlife into a discreet printed square: Bellmer, Dalí, Ernst, Lam, Magritte, Tanguy, Toyen. Seen now, it reads less as a simple invitation than as a compact index of market formation, taste, and historical positioning in postwar Paris.\u003c\/p\u003e\u003cp\u003eThe address is worth noting. André-François Petit ran his gallery from 122 boulevard Haussmann and became known as a committed dealer in Surrealism, handling figures including Dalí, Bellmer, Ernst, Magritte, and others from the movement's wider orbit.\u003c\/p\u003e\u003cp\u003eA minimal object, but a dense one: a private invitation, a dealer's calling card, and a quiet administrative fragment from the secondary life of Surrealism.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light age toning and minor handling wear consistent with age.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157598691666,"sku":"EPH-1965-PETIT-001","price":100.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/A._Francois_Petit_Gallery_0001.jpg?v=1775688835"},{"product_id":"gregor-schneider-die-familie-schneider-konrad-fischer-galerie-berlin-2014","title":"Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014","description":"\u003cp\u003eOriginal exhibition announcement card for Gregor Schneider's solo show \u003cem\u003eDie Familie Schneider\u003c\/em\u003e, Konrad Fischer Galerie, Berlin, 14 November 2014 – 10 January 2015. Opening: Friday 14 November 2014, 18–21 Uhr. Printed card with floral wallpaper motif to recto and exhibition details to verso. 15 × 10.5 cm.\u003c\/p\u003e\u003cp\u003eA quiet, unsettling piece of recent exhibition ephemera. The front is almost disarmingly soft — decorative wallpaper, the title set in script — but that domestic surface is exactly where Schneider's work tends to become unstable. \u003cem\u003eDie Familie Schneider\u003c\/em\u003e belongs to the artist's longer investigation of duplicated rooms, family structures, enclosure, and the psychological charge of ordinary interiors. Schneider's earlier project of the same title turned two near-identical houses in London into a deeply disorienting encounter, making the family home feel doubled, staged, and faintly threatening.\u003c\/p\u003e\u003cp\u003eSeen now, the card functions as more than a simple invitation. It compresses one of Schneider's key moves into a small printed object: the home as façade, pattern as cover, decoration as unease. A modest Konrad Fischer announcement, but one that carries the full emotional temperature of the work.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear and minor soft creasing at edges consistent with age and storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157606588754,"sku":"EPH-2014-FISCHER-001","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gregor_Schneider_0001.jpg?v=1775689478"},{"product_id":"maciunas-learning-machines-vice-versa-verlag-berlin-2003","title":"Maciunas' Learning Machines — Vice Versa Verlag \/ Silverman Fluxus Collection, Berlin, c. 2003","description":"\u003cp\u003eOriginal publisher's postcard \/ announcement card for \u003cem\u003eMaciunas' Learning Machines: From Art History to a Chronology of Fluxus\u003c\/em\u003e, edited by Astrit Schmidt-Burkhardt. Vice Versa Verlag \/ The Gilbert and Lila Silverman Fluxus Collection, Berlin, c. 2003. Cover image to recto; publisher details and ISBN to verso. 15 × 10.5 cm. ISBN 3-932809-39-4.\u003c\/p\u003e\u003cp\u003eA clean piece of Fluxus-adjacent printed matter that sits somewhere between postcard, mailer, and bibliographic trace. The front reproduces the book cover, with Maciunas' charts and diagrams staged as both image and argument — which is the point of the publication itself. Schmidt-Burkhardt's study focuses on George Maciunas's diagrams, maps, and chronologies of art, politics, and culture, tracing how his systems of visual organisation fed directly into Fluxus thinking.\u003c\/p\u003e\u003cp\u003eSeen now, the card works as a small administrative object from the afterlife of Fluxus: not an artwork by Maciunas, but a compact carrier of the logic around him — charts, networks, distribution, printed support, the traffic between archive and publication. It is also exactly the kind of object Fluxus leaves behind so well: modest, informational, and unexpectedly complete.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear and minor age toning consistent with storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157666816338,"sku":"EPH-2003-VICEVERSA-001","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/George_Maciunas_0001.jpg?v=1775690110"},{"product_id":"man-ray-kunsthalle-basel-1980","title":"Man Ray — Kunsthalle Basel, 1980","description":"\u003cp\u003eOriginal exhibition announcement card for Man Ray at Kunsthalle Basel, opening Saturday 19 January 1980, 18 Uhr, running through 24 February 1980. Kunsthalle Basel, Steinenberg 7. Printed card featuring \u003cem\u003eViolon d'Ingres\u003c\/em\u003e (1924) to recto and full exhibition, catalogue, and film-screening details to verso. 15 × 10.75 cm.\u003c\/p\u003e\u003cp\u003eA strong piece of institutional ephemera from the secondary life of Surrealism. The front reproduces one of Man Ray's most recognisable images — the nude back with f-holes drawn in, the body as instrument — but the reverse is where the card becomes especially useful: opening details, a 210-page catalogue (162 black-and-white illustrations, 15 colour plates) with texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, and H. Molderings, and a film programme including \u003cem\u003eRetour à la raison\u003c\/em\u003e (1923), \u003cem\u003eEmak Bakia\u003c\/em\u003e (1926), \u003cem\u003eL'Étoile de mer\u003c\/em\u003e (1927), and \u003cem\u003eMystère du château du dé\u003c\/em\u003e (1928).\u003c\/p\u003e\u003cp\u003eIt reads not just as an invitation but as a compact institutional script for how Man Ray was being framed in German-speaking Europe at the start of the 1980s — part of the wider 1978–1980 touring exhibition \u003cem\u003eMan Ray: Inventionen und Interpretationen\u003c\/em\u003e. Seen now, the card sits somewhere between postcard, checklist, and museum prompt: the familiar Surrealist image on one side, the machinery of exhibition-making on the other.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear, faint surface marks, and minor age toning consistent with age and storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157707907410,"sku":"EPH-1980-BASEL-001","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Man_Ray_1980_0001.jpg?v=1775690555"},{"product_id":"charles-ross-point-source-star-space-john-weber-susan-caldwell-new-york-1977","title":"Charles Ross, Point Source \/ Star Space — John Weber Gallery \u0026 Susan Caldwell Gallery, New York, 1977","description":"\u003cp\u003eOriginal mailed exhibition announcement \/ postcard for Charles Ross's two-gallery presentation \u003cem\u003ePoint Source \/ Star Space\u003c\/em\u003e, John Weber Gallery (420 West Broadway) and Susan Caldwell Gallery (383 West Broadway), New York, 23 March – 16 April 1977. Opening reception: Thursday 24 March, 6–9 pm. Mailed copy addressed to Hermann Kern, Kunstraum München, Nikolaistraße 15, Munich, Germany. New York meter mark dated 17 March 1977. 15.25 × 10.25 cm.\u003c\/p\u003e\u003cp\u003eA strong piece of late-1970s gallery ephemera with real transatlantic movement still intact. The recto does the work in one sharp graphic gesture: star field, yellow diagonal band, a central point-source, and the paired gallery credits below. The reverse keeps the object inside the distribution system that produced it — typed label, New York meter mark, and delivery to Kunstraum München at Nikolaistraße 15, the address closely associated with the institution's early programme. Hermann Kern was a key figure at Kunstraum München from the early 1970s and later became director of Haus der Kunst.\u003c\/p\u003e\u003cp\u003eSeen now, it reads as more than an invitation. It is also a small record of how conceptual and post-minimal work circulated: gallery to kunstverein, New York to Munich, announcement as network document. The addressed verso gives the card an added charge, placing Ross's cosmological abstractions back inside the practical infrastructure of the art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light age toning, minor surface wear, soft handling marks, and slight creasing consistent with mailing and storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157747163474,"sku":"EPH-1977-WEBER-001","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Ross_0001.jpg?v=1775691094"},{"product_id":"alison-knowles-culture-des-haricots-galerie-art-contemporain-j-et-j-donguy-paris-1985","title":"Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985","description":"\u003cp\u003eExhibition invitation for \u003cem\u003eCulture des Haricots\u003c\/em\u003e, a show by Alison Knowles at Galerie Art Contemporain J. et J. Donguy, 57 rue de la Roquette, Paris. Opening vernissage 4 June 1985; exhibition running 5–29 June 1985.\u003c\/p\u003e\u003cp\u003e21 × 15 cm. Semi-gloss cardstock. Printed recto; blank verso.\u003c\/p\u003e\u003cp\u003eThe front holds the full proposition: collaged graphic field, printed and handwritten-style text elements, exhibition details. The reverse is left empty. The object stays with its front.\u003c\/p\u003e\u003cp\u003eKnowles is a central figure in Fluxus, and the card sits clearly within that history — an announcement that functions as both document and graphic work.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, minor surface marking, and slight edge wear. Clean overall.\u003c\/p\u003e\u003cp\u003e£65 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170689311058,"sku":"TNR-AK-1985-CDH","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AlisonKnowles1985_0001.jpg?v=1775778679"},{"product_id":"jochen-gerz-griechische-stucke-bundner-kunstmuseum-chur-1978","title":"Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978","description":"\u003cp\u003eExhibition invitation for \u003cem\u003eGriechische Stücke\u003c\/em\u003e by Jochen Gerz, Bündner Kunstmuseum Chur, 13 March – 16 April 1978. Opening: Saturday 18 March, 17.00 Uhr.\u003c\/p\u003e\u003cp\u003e21 × 14.75 cm. Printed card with photographic recto and text-heavy verso. Mailed example.\u003c\/p\u003e\u003cp\u003eThe recto carries a black-and-white photograph — a figure prone on a parquet floor before a set of double doors, a dark mark running down the paintwork above. 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Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170737709394,"sku":"TNR-JG-1978-GS","price":85.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Jochen_Gerz_1978_0001.jpg?v=1775779979"},{"product_id":"aubertin-bischoffshausen-prantl-schoonhoven-galerie-heide-hildebrand-klagenfurt-1967","title":"Aubertin \/ Bischoffshausen \/ Prantl \/ Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967","description":"\u003cp\u003eFolded exhibition announcement for a four-artist exhibition at Galerie Heide Hildebrand, Klagenfurt, 4–30 September 1967. Vernissage: Saturday 2 September, 20:00.\u003c\/p\u003e\u003cp\u003eFolded offset-printed sheet on lightweight stock, 21 × 15 cm folded; approximately 21 × 30 cm open. Glossy printed exterior, buff\/matte interior. Artist names printed across the outer faces — Bernard Aubertin, Hans Bischoffshausen, Karl Prantl, J. J. Schoonhoven — with a brown-mauve accent to the letter “n” in each surname. Gallery details reduced to a single line at the lower edge.\u003c\/p\u003e\u003cp\u003eA restrained late-1960s gallery document operating through typography, orientation, and distribution. The grouping places the piece in proximity to the wider ZERO \/ Nul field without overstating the exhibition as such. An invitation, but also a small record of alignment.\u003c\/p\u003e\u003cp\u003eVariant: folded printed version. Other states or accompanying formats may have been issued.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear, soft creasing, minor edge wear, pencil notation to upper right, and light age toning. Clean overall.\u003c\/p\u003e\u003cp\u003e£75 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170872549714,"sku":"TNR-GHH-1967-ABPS","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Galerie_Heide_Hildebrand_1967_0001.jpg?v=1775780776"},{"product_id":"danh-vo-homosapiens-marian-goodman-gallery-london-2015","title":"Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015","description":"\u003cp\u003eExhibition invitation card for \u003cem\u003eHomosapiens\u003c\/em\u003e at Marian Goodman Gallery, 5–8 Lower John Street, London W1F 9DY, 15 January–21 February 2015. Reception: Thursday 15 January, 6–8 pm.\u003c\/p\u003e\u003cp\u003e15 × 10.75 cm. Heavy multi-ply cardstock with a soft, almost velvety surface. Single card, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries exhibition and venue details in restrained serif typography on cream stock. The verso prints a world migration map titled HOMO SAPIENS — routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa. Administrative on one side, geopolitical on the other.\u003c\/p\u003e\u003cp\u003eA compact exhibition document in which invitation, image, and thesis are held in a single card.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, otherwise clean overall.\u003c\/p\u003e\u003cp\u003e£35 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170893390162,"sku":"TNR-DV-2015-HS","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dahn_Vo_2015_0001.jpg?v=1775779561"},{"product_id":"bernard-rancillac-pornographie-galerie-daniel-templon-paris-1969","title":"Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969","description":"\u003cp\u003e\u003cem\u003eGalerie Daniel Templon, Paris, 1969\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition invitation card issued for Rancillac's \u003cem\u003ePornographie\u003c\/em\u003e, held at Galerie Daniel Templon, 58 rue Bonaparte, Paris, from 22 April to 3 May 1969. Marked \u003cem\u003estrictement sur invitation\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePrinted on thick white coated stock, 16.6 × 13.5 cm. Black illustration to recto — a high-contrast photographic image reduced to printed signal. Black text to verso: gallery name, address, exhibition title, dates, and the controlled-access notice that defined the terms of entry.\u003c\/p\u003e\n\u003cp\u003eMore than a simple announcement, the card preserves the threshold where exhibition, scandal, and circulation briefly met. The exhibition survives here in one of its secondary forms: announced, compressed, and transferred to paper.\u003c\/p\u003e\n\u003cp\u003eProduced at an early and charged moment in the history of Galerie Daniel Templon, the card carries the atmosphere of late-1960s Paris in a particularly concise way. It is both invitation and filter — a small paper document through which the exhibition was framed, restricted, and made public only in part. What remains is not just an advertisement for a show, but a retained access piece: a document of entry, discretion, provocation, and display.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Single invitation card\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 16.6 × 13.5 cm\u003cbr\u003e\u003cstrong\u003ePrint:\u003c\/strong\u003e Black on white coated stock\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good — light handling wear, faint surface marking, soft age toning, and a pressure crease to the lower edge consistent with prior storage or clipping\u003c\/p\u003e\n\u003cp\u003eShipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53246448107858,"sku":"BR-PORNO-1969-INV","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rancillac_1069_001.jpg?v=1776667441"},{"product_id":"henrik-olesen-some-faggy-gestures-galerie-daniel-buchholz-berlin-2008","title":"Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008","description":"\u003cp\u003e\u003cem\u003eGalerie Daniel Buchholz, Berlin, 2008\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eA printed support issued on the occasion of \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e at Galerie Daniel Buchholz, Berlin, dated 11 December 2008 — the same date as the opening of Olesen's concurrent Buchholz exhibition \u003cem\u003eHow do I make myself a body?\u003c\/em\u003e, placing the card precisely within a live exhibition and publication moment rather than as a generic gallery handout.\u003c\/p\u003e\u003cp\u003eThe front is reduced to a near-total black field. The reverse carries the announcement in a restrained administrative layout. Less invitation than relay mechanism, it sits between gallery card, publication notice, and distribution object.\u003c\/p\u003e\u003cp\u003eIn 2008, Olesen's work was already closely associated with collage, appropriation, queer historiography, and the social construction of identity. \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e belongs to that body of work. The black recto pushes the card toward refusal; the verso returns it to administration. A small and exact object of circulation in which exhibition, publication, and authorship are compressed into format.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Single printed card\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e Approx. 21 × 14.8 cm\u003cbr\u003e\u003cstrong\u003ePrint:\u003c\/strong\u003e Black on white card; solid black recto, printed text verso\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good — light handling wear, minor surface softness, clean overall\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Sent flat with protective support.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53247788286290,"sku":"HO-SFG-2008-INV","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Henrik_Olesen_001.jpg?v=1776685909"},{"product_id":"georg-baselitz-devotion-invitation-alan-cristea-gallery-2019","title":"Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019","description":"\u003cp\u003eExhibition invitation \/ announcement card\u003cbr\u003e21.0 × 14.8 cm\u003cbr\u003eOffset print on light card stock; exhibition information to verso with reproduced image (\u003cem\u003eAuerbach (yellow)\u003c\/em\u003e, 2018) to recto\u003cbr\u003ePublished by Alan Cristea Gallery, London\u003cbr\u003eCondition: very good; light handling wear and faint edge softening consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for Georg Baselitz's \u003cem\u003eDevotion\u003c\/em\u003e exhibition at \u003ca href=\"https:\/\/www.alancristea.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAlan Cristea Gallery\u003c\/a\u003e, London, presented in May–June 2019. The invitation adopts a notably restrained format: generous white space, centered serif typography, and sparse institutional information offset against a reproduction from Baselitz's print practice. Rather than functioning as a graphic statement, it remains close to a threshold object — an announcement structure carrying date, access, and placement.\u003c\/p\u003e\u003cp\u003eBy 2019 Baselitz had moved through several distinct phases of production: the fractured and raw figurative paintings of the 1960s, the inverted figures that became synonymous with his practice from 1969 onward, and increasingly direct engagement with printmaking as a space for experimentation. The title \u003cem\u003eDevotion\u003c\/em\u003e introduces a quieter register, where gesture and image begin to feel less declarative and more reflective.\u003c\/p\u003e\u003cp\u003eWithin a New Rare object logic, the invitation sits somewhere between exhibition residue and administrative support. The exhibition concludes, the object remains. A small printed document retaining the coordinates of a temporary event.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Alan Cristea Gallery","offers":[{"title":"Default Title","offer_id":53547742593362,"sku":"BASELITZ-DEVOTION-INV-2019","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Baselitz_Georg._Devotion_invitation._2019_front.jpg?v=1779596810"},{"product_id":"david-hammons-invitation-postcard-lm-arts-new-york-2011","title":"David Hammons — Exhibition Invitation Card, L\u0026M Arts, New York, 2011","description":"\u003cp\u003eExhibition invitation postcard\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; black-and-white typography to recto and verso\u003cbr\u003ePublished by L\u0026amp;M Arts, New York\u003cbr\u003eExhibition dates: January 26 – February 26, 2011\u003cbr\u003eCondition: very good; light handling wear and faint surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition by David Hammons at L\u0026amp;M Arts, New York. The invitation reduces itself almost completely to a name. White letters against black ground; date and venue on the reverse. No image, no explanatory text, no secondary information. The design follows a familiar Hammons strategy: withholding rather than announcing.\u003c\/p\u003e\u003cp\u003eThe exhibition itself marked Hammons's first presentation of new work since his earlier 2007 project at L\u0026amp;M and centred on large paintings and mixed-media works that partially concealed their own images beneath tarps, blankets, and weathered coverings. Beneath these surfaces viewers encountered fragments of abstraction — painting simultaneously revealed and denied. Critics frequently described the exhibition as operating between seduction and obstruction: beauty present but deliberately interrupted.\u003c\/p\u003e\u003cp\u003eThe works pushed forward concerns already active throughout Hammons's practice. Since the body prints of the late 1960s, snowball sales, found objects, bottle caps, hair pieces, basketball imagery, and street interventions, Hammons repeatedly positioned meaning at the edges of visibility. In these 2011 works, concealment itself became material. A painting remained present physically while refusing complete access.\u003c\/p\u003e\u003cp\u003eAs an object, the invitation behaves similarly. It withholds almost everything except a name. Read through a New Rare register, the card functions less as documentation than as a compressed proposition: the artist's name acting as image, announcement, and object simultaneously.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53547844141394,"sku":"HAMMONS-LM-INV-2011","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hammons_David._L_M_Arts_invitation_postcard._2011_front.jpg?v=1779596810"},{"product_id":"martin-honert-invitation-matthew-marks-gallery-new-york-1999","title":"Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour illustration to recto, exhibition details to verso\u003cbr\u003ePublished by Matthew Marks Gallery, New York\u003cbr\u003eExhibition dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\u003cbr\u003eCondition: very good; light handling wear, minor surface marks, and faint age-related toning\u003c\/p\u003e\u003cp\u003eProduced for Martin Honert's solo exhibition at Matthew Marks Gallery, New York, in 1999. The front reproduces an image of two children taking part in a traditional German \u003cem\u003eLaternenumzug\u003c\/em\u003e, or lantern procession. The opening date connects directly to Saint Martin's Day, when children traditionally carry lanterns in evening parades.\u003c\/p\u003e\u003cp\u003eHonert's work often draws on childhood memory, folklore, schoolroom imagery, and postwar German visual culture. These references are not simply nostalgic. They are reconstructed as staged images and sculptural forms, where memory appears enlarged, clarified, and slightly estranged.\u003c\/p\u003e\u003cp\u003eAs an invitation, the card acts as a small support for this logic. A children's ritual becomes exhibition image. A date becomes thematic structure. The printed object remains as a reduced record of an event built around memory, folklore, and reconstruction.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53547970658642,"sku":"HONERT-MMG-INV-1999","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"pierre-klossowski-lenonce-a-nouveau-denonce-galerie-beaubourg-vence-1999","title":"Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour sculpture reproduction to recto, exhibition information to verso\u003cbr\u003ePublished by Galerie Beaubourg \/ Marianne \u0026amp; Pierre Nahon, Vence, France\u003cbr\u003eExhibition dates: 3 April – 12 June 1999\u003cbr\u003eCondition: very good; light handling wear and minor age-related surface marks\u003c\/p\u003e\u003cp\u003ePrinted for a solo exhibition by Pierre Klossowski titled \u003cem\u003el’énoncé à nouveau dénoncé\u003c\/em\u003e (“the statement denounced again”), held at the Château Notre-Dame des Fleurs in Vence under the direction of Marianne and Pierre Nahon. Issued late in Klossowski’s life, the exhibition gathered paintings and sculptures around a body of work that continuously moved between literature, philosophy, theatre, and image.\u003c\/p\u003e\u003cp\u003eThe front reproduces Klossowski’s \u003cem\u003eRoberte aux barres parallèles\u003c\/em\u003e (1990), a polychrome sculpture executed in painted synthetic resin, metal, and wood. The work animates characters from \u003cem\u003eThe Laws of Hospitality\u003c\/em\u003e, the avant-garde trilogy through which Klossowski developed the figure of Roberte — part fictional protagonist, part philosophical device, part recurring image-system. Across these texts and later visual works, desire becomes staged rather than narrated: roles are performed, exchanged, repeated, and observed.\u003c\/p\u003e\u003cp\u003eThe sculpture itself sits between mannequin, theatre prop, and philosophical proposition. The figures appear suspended in an ambiguous scene somewhere between choreography and ritual. As with much of Klossowski’s work, the image resists a stable reading; narrative and enactment begin to overlap.\u003c\/p\u003e\u003cp\u003eAs a printed object the card performs a similar reduction. Complex literary and philosophical structures are compressed into a portable support: title, image, date, place. The exhibition passes; the scenario remains.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Beaubourg","offers":[{"title":"Default Title","offer_id":53548089246034,"sku":"KLOSSOWSKI-GB-INV-1999","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klossowski_Pierre._Sculpture_and_painting_show_announcement_Galerie_Beubourg._1999_front.jpg?v=1779599409"},{"product_id":"barbara-kruger-untitled-love-is-something-you-fall-into-national-gallery-of-art-washington-2016-2017","title":"Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017","description":"\u003cp\u003eExhibition postcard\u003cbr\u003eApprox. 20.3 × 10.2 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition and work details to verso\u003cbr\u003ePublished for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, National Gallery of Art, Washington, D.C.\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age-related wear consistent with use\u003c\/p\u003e\u003cp\u003ePostcard published for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, presented at the National Gallery of Art, Washington, following the reopening of the museum’s East Building Tower Gallery after a major architectural renovation. Curated by Molly Donovan, the exhibition brought together profile works spanning several decades and examined one of Kruger’s central formal structures: direct language confronting indirect or withdrawn imagery.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eUntitled (Love is something you fall into)\u003c\/em\u003e (1990), one of Kruger’s most recognisable works. A cropped black-and-white image of a woman’s profile is interrupted by a vertical red text bar carrying the phrase: \u003cem\u003eLove is something you fall into\u003c\/em\u003e. The language initially resembles advertising copy or a magazine headline, but the wording immediately destabilises itself. Rather than presenting love as aspiration or fulfilment, the phrase suggests surrender, descent, or loss of control.\u003c\/p\u003e\u003cp\u003eKruger repeatedly appropriated the visual language of consumer culture — publicity, magazines, editorial layouts — not to celebrate persuasion but to expose its mechanisms. Here romance itself becomes a manufactured proposition. Desire is packaged, delivered, and sold back to the viewer. The image remains suspended between glamour and unease, attraction and warning.\u003c\/p\u003e\u003cp\u003eThe timing of the exhibition added another register. Installed in Washington during the final months of the 2016 U.S. election cycle and presidential transition, Kruger’s long-standing concerns around authority, social conditioning, and systems of persuasion acquired renewed urgency.\u003c\/p\u003e\u003cp\u003eAs an object, the postcard functions as a compressed version of Kruger’s larger method: image, command, interruption. A museum support carrying forward the structure of the work itself.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"KRUGER-NGA-PC-2017","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kruger_Barbara._Artist_postcard_from_the_exhibition_in_the_Tower_Barbara_Kruger_National_Gallery_of_Art_Washington._2017_front.jpg?v=1779601140"},{"product_id":"yayoi-kusama-festival-of-life-infinity-nets-david-zwirner-new-york-2017","title":"Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour studio portrait to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, New York\u003cbr\u003eExhibition dates: 2 November – 16 December 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for a significant concurrent two-part exhibition by Yayoi Kusama in New York in late 2017. The invitation announced two simultaneous presentations across separate David Zwirner locations: \u003cem\u003eFestival of Life\u003c\/em\u003e in Chelsea and \u003cem\u003eInfinity Nets\u003c\/em\u003e on the Upper East Side.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFestival of Life\u003c\/em\u003e brought together sixty-six paintings from Kusama’s \u003cem\u003eMy Eternal Soul\u003c\/em\u003e series alongside immersive \u003cem\u003eInfinity Mirror Rooms\u003c\/em\u003e and large-scale sculptural works. Running in parallel, \u003cem\u003eInfinity Nets\u003c\/em\u003e returned to one of the artist’s foundational bodies of work: monochromatic paintings built through repeated hand-painted gestures accumulating into dense optical fields.\u003c\/p\u003e\u003cp\u003eThe image reproduced on the front departs from a conventional artwork reproduction and instead presents Kusama inside the environment of her own production. Seated in the studio, surrounded by \u003cem\u003eMy Eternal Soul\u003c\/em\u003e paintings, the distinction between artist, setting, and work begins to collapse. The red wig, patterned dress, and surrounding surfaces seem to operate within the same visual system. Portrait becomes installation; installation becomes self-image.\u003c\/p\u003e\u003cp\u003eAcross Kusama’s practice, repetition acts simultaneously as method, psychological structure, and image-making device. Dots, nets, accumulations, and mirrored spaces continuously oscillate between personal compulsion and visual infinity. Rather than depicting a world, the work creates one.\u003c\/p\u003e\u003cp\u003eAs an object, the card retains a moment when two major trajectories of Kusama’s practice — recent maximalism and foundational repetition — were presented in parallel. A small printed support carrying the structure of a much larger environment.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"KUSAMA-DZ-INV-2017","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Festival_of_Life_show_invite._2017_front.jpg?v=1779601142"},{"product_id":"yayoi-kusama-explosion-anatomique-manifestation-non-identifiee-centre-pompidou-2019","title":"Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019","description":"\u003cp\u003ePair of museum postcards\u003cbr\u003eApprox. 15 × 10.5 cm each\u003cbr\u003eOffset print on card stock; black-and-white photographic reproductions to recto, archival and publication details to verso\u003cbr\u003ePublished by Éditions Centre Pompidou, Paris, 2019\u003cbr\u003ePhotographs by Harry Shunk and János Kender\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIncludes:\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1. \u003cem\u003eExplosion anatomique, Pont de Brooklyn, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph showing Yayoi Kusama alongside nude performers covered in polka dots beneath a large \u003cem\u003eKUSAMA SELF-OBLITERATION\u003c\/em\u003e banner on the Brooklyn Bridge.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2. \u003cem\u003eManifestation non identifiée, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph depicting two embracing nude performers covered in polka dots beneath an American flag within one of Kusama’s accumulation environments.\u003c\/p\u003e\u003cp\u003eThis pair reproduces documentary photographs from Kusama’s pivotal New York period of the late 1960s, when her practice moved beyond painting and into public actions, staged demonstrations, and politically charged Happenings. Both images were captured by the important photographic partnership of Harry Shunk and János Kender, whose archive remains one of the primary visual records of postwar avant-garde activity.\u003c\/p\u003e\u003cp\u003eProduced at the height of the Vietnam War and wider countercultural unrest, Kusama’s public actions used nudity, repetition, and spectacle as forms of protest. Her recurring polka dots functioned as more than decoration; they formed part of her idea of \u003cem\u003eSelf-Obliteration\u003c\/em\u003e, a strategy intended to dissolve the boundaries of individual identity through repetition and shared surface. Bodies, objects, and environments become absorbed into a continuous field.\u003c\/p\u003e\u003cp\u003eThe Brooklyn Bridge action transforms a recognisable structure into a temporary stage. The \u003cem\u003eManifestation non identifiée\u003c\/em\u003e image moves toward something more psychologically charged — intimacy, nationalism, eroticism, and confrontation compressed into a single frame.\u003c\/p\u003e\u003cp\u003eAs objects, the postcards operate as secondary documents of ephemeral actions that originally resisted permanence. Performance disappears; the image remains. The image enters an archive; the archive returns as a printed support.\u003c\/p\u003e\u003cp\u003eOriginal period items. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548580929874,"sku":"KUSAMA-CP-PC-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Editions_Pompidou_Paris_postcard._Explosion_anatomique_Pont_de_Brooklyn_1968_._2019_front_63027cc3-fa61-4e6c-8f65-795ec564945a.jpg?v=1779602205"},{"product_id":"sherrie-levine-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, London\u003cbr\u003eExhibition dates: 4 October – 18 November 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIssued for a solo exhibition by Sherrie Levine at David Zwirner, London. The card reproduces a detail from \u003cem\u003eAfter Russell Lee: 1–60\u003c\/em\u003e (2016), Levine’s reworking of historic documentary photographs originally made by Russell Lee during his work for the Farm Security Administration in the 1940s.\u003c\/p\u003e\u003cp\u003eThe image depicts Faro and Doris Caudill in Pie Town, New Mexico, photographed in October 1940. In Levine’s version, the original documentary image re-enters circulation as a new object: digitally translated, enlarged, and repositioned within the context of contemporary art. Rather than producing an image from nothing, Levine works through transfer, repetition, and displacement.\u003c\/p\u003e\u003cp\u003eSince the late 1970s Levine has repeatedly questioned the stability of authorship and originality through acts of appropriation. Existing images are not simply reused but placed under pressure. Ownership, historical authority, and artistic identity become unstable categories. The gesture is small and direct: take an image already embedded in culture and ask what changes when it appears again.\u003c\/p\u003e\u003cp\u003eWithin a New Rare register the invitation performs a similar operation. One image passes through multiple systems — documentary record, archive, artwork, exhibition support, printed card. Authorship remains active but temporarily unsettled.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53549335314770,"sku":"LEVINE-DZ-INV-2017","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Pie_Town_exhibition_card._David_Zwirner_London._2017_front.jpg?v=1779601142"},{"product_id":"sherrie-levine-directions-hirshhorn-museum-washington-1988","title":"Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988","description":"\u003cp\u003eOriginal folded exhibition brochure \/ catalogue\u003cbr\u003eApprox. folded: 22.8 × 22.8 cm\u003cbr\u003eOffset print on cream stock with fold-out interior panels\u003cbr\u003ePublished by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution\u003cbr\u003eExhibition dates: 9 March – 30 May 1988\u003cbr\u003eCondition: good to very good; light toning, handling wear, minor corner softening and age-related surface marks\u003c\/p\u003e\u003cp\u003eIssued for Sherrie Levine’s 1988 \u003cem\u003eDirections\u003c\/em\u003e exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., later travelling to the High Museum of Art in Atlanta as part of \u003cem\u003eArt at the Edge\u003c\/em\u003e. The publication includes essays by Phyllis Rosenzweig and Susan Krane alongside a checklist, bibliography, exhibition history, and reproductions of works from Levine’s then-recent \u003cem\u003eLead Checks\u003c\/em\u003e and \u003cem\u003eGolden Knots\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe brochure marks a distinct moment in Levine’s practice. During the early 1980s her name became closely associated with re-photographed images and acts of appropriation, but by the late 1980s those strategies had migrated toward painting and material itself. The reproduced \u003cem\u003eLead Checks\u003c\/em\u003e works borrow the language of modernist geometry while removing its rhetoric of originality. The \u003cem\u003eGolden Knots\u003c\/em\u003e paintings similarly elevate accidental defects in commercially available plywood into subjects of attention.\u003c\/p\u003e\u003cp\u003eThe publication records a transition rather than a conclusion. Photography becomes painting, repetition becomes material, and citation becomes object. It also captures a moment when Neo-Geo and post-appropriation discourse were actively reorganising assumptions around authorship and artistic authority.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the brochure functions as a retained institutional support object — part checklist, part exhibition document, part evidence of a critical shift in Levine’s work becoming publicly fixed in print.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53549909442898,"sku":"LEVINE-HIRSH-BROCH-1988","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Directions_show_invite._1988_front.jpg?v=1779601140"},{"product_id":"mark-morrisroe-1959-1989-clampart-new-york-2011","title":"Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by ClampArt, New York\u003cbr\u003eExhibition dates: 24 March – 30 April 2011\u003cbr\u003eCondition: good vintage condition; light handling wear and minor surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition dedicated to Mark Morrisroe at ClampArt in New York, produced simultaneously with the major survey \u003cem\u003eMark Morrisroe: From This Moment On\u003c\/em\u003e at Artists Space. Together the two exhibitions contributed to a broader re-examination of Morrisroe’s short but influential career and his position within late twentieth-century photography.\u003c\/p\u003e\u003cp\u003eThe card reproduces \u003cem\u003eSelf Portrait\u003c\/em\u003e (1980 \/ photogravure edition printed 1996), an image that condenses much of Morrisroe’s practice into a single frame: intimacy, performance, vulnerability, and self-invention. Rather than presenting portraiture as stable documentation, Morrisroe treated the photograph as a mutable surface — manipulated through layered negatives, reprinting, and darkroom intervention. His images frequently move between autobiography and fiction.\u003c\/p\u003e\u003cp\u003eAssociated with the Boston School alongside figures such as Nan Goldin and David Armstrong, Morrisroe photographed friends, lovers, and underground communities with an immediacy that resisted polished documentary conventions. The work sits between diaristic record and constructed persona, preserving both closeness and instability.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory this card functions as a secondary record of a second life: a contemporary exhibition built around posthumous circulation, where the image continues to move through archive, institution, estate, and print support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"ClampArt","offers":[{"title":"Default Title","offer_id":53549988446546,"sku":"MORRISROE-CLAMP-INV-2011","price":135.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Morrisroe_Mark._Clamp_Art_opening_reception_invite._2011_front.jpg?v=1779605198"},{"product_id":"yoko-ono-dollar-piece-printed-matter-studio-one-2006","title":"Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006","description":"\u003cp\u003ePrinted Matter membership multiple with original envelope\u003cbr\u003eOffset print on textured paper with companion envelope\u003cbr\u003ePublished by Printed Matter, New York\u003cbr\u003e2006\u003cbr\u003eApprox. letter sheet with mailing envelope\u003cbr\u003eCondition: good vintage condition; fold lines, light handling wear, minor creasing and age-related marks to sheet and envelope; adhesive residue and opening wear to envelope present\u003c\/p\u003e\u003cp\u003eIssued in 2006 as a benefit multiple for Printed Matter, this work reactivates Yoko Ono’s \u003cem\u003eDollar Piece\u003c\/em\u003e, an instruction score first written in spring 1963 during one of the most important periods of her early conceptual practice. The text asks the reader to choose a monetary amount, imagine everything it can purchase, then imagine everything it cannot purchase, before recording the result. Like many of Ono’s early instruction works, the piece shifts the artwork away from object and toward action, imagination, and participation.\u003c\/p\u003e\u003cp\u003eThe original score belongs to the same moment that produced works later collected in \u003cem\u003eGrapefruit\u003c\/em\u003e (1964), a publication that helped establish Ono as a central figure within early conceptual art and Fluxus. Rather than producing fixed images, these works operate as proposals — activated mentally rather than materially.\u003c\/p\u003e\u003cp\u003eThe printed sheet carries a reproduced “Yoko Ono ’06” signature and a Studio One letterhead, while an illustration of the Dakota apartment building appears at the lower edge. The accompanying envelope extends the work into a mail format, placing it within a lineage of circulation objects and artist-distributed multiples.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the object sits somewhere between correspondence, conceptual score, and fundraising support document. It proposes value while quietly undoing it.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550083309906,"sku":"ONO-PM-DOLLAR-2006","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ono_Yoko._Dollar_Piece_membership_memo_for_Printed_Matter_signed_Yoko_Ono_06._2006.jpg?v=1779605564"},{"product_id":"yvonne-rainer-john-erdman-this-is-the-story-of-a-woman-who-portland-center-visual-arts-1973","title":"Yvonne Rainer \u0026 John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973","description":"\u003cp\u003eOriginal performance announcement postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePortland Center for the Visual Arts (PCVA), Portland, Oregon\u003cbr\u003eMay 1973\u003cbr\u003eApprox. postcard format\u003cbr\u003eCondition: good vintage condition; light age toning, minor surface wear and handling marks consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Yvonne Rainer and John Erdman’s 1973 presentation \u003cem\u003eThis is the story of a woman who…\u003c\/em\u003e, this card documents a key transitional moment in Rainer’s practice as her work moved from post-minimal choreography toward narrative, language, and film structures. Produced at the Portland Center for the Visual Arts, the announcement belongs to an early ecosystem of artist-run spaces that circulated experimental performance outside traditional theatre and museum systems.\u003c\/p\u003e\u003cp\u003eThe work itself rejected theatrical conventions in favour of fragmented narrative, task-based movement, projected text, and emotionally restrained gestures. Rainer’s choreography had already challenged spectacle through ordinary movement and procedural structures, and by the early 1970s these concerns began folding into cinematic and psychological territory. Rather than resolving narrative, the work treated it as something unstable and discontinuous.\u003c\/p\u003e\u003cp\u003eThe front reproduces a photograph of Rainer performing \u003cem\u003eTrio A\u003c\/em\u003e (1966), perhaps her most influential choreographic work. \u003cem\u003eTrio A\u003c\/em\u003e famously replaced virtuosic display with continuous unaccented movement, refusing climax, hierarchy, or direct engagement with the audience. The body operates less as performer than as carrier of actions.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the card functions as a residual performance object — a printed support for an event designed to disappear. What remains is a small administrative trace from a larger structure of movement, language, and temporary encounter.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Portland Center for the Visual Arts","offers":[{"title":"Default Title","offer_id":53550304559442,"sku":"RAINER-PCVA-PC-1973","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rainer_Yvonne_Erdman_John._Portland_Centre_for_Visual_Arts_postcard._1973_front.jpg?v=1779606115"},{"product_id":"thomas-rentmeister-centre-art-contemporain-vassiviere-limousin-1997","title":"Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003eOriginal period item\u003cbr\u003eCondition: light handling and storage wear consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Thomas Rentmeister’s solo exhibition at the Centre d’art contemporain de Vassivière en Limousin, held from 26 April – 29 June 1997. The exhibition occupied the institution’s main nave and study spaces and reproduces \u003cem\u003eUntitled (Sans titre)\u003c\/em\u003e (1997), a polyester sculpture measuring 38 × 124 × 97 cm.\u003c\/p\u003e\u003cp\u003eProduced during Rentmeister’s early sculptural period, the reproduced work belongs to a group of highly polished synthetic forms positioned between industrial finish and organic association. The object precedes later installations employing supermarket and domestic materials, but already introduces a movement between Minimalist surface logic and softer bodily or material references.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a secondary exhibition object: notice, image support, and retained document from an early point within Rentmeister’s practice.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Centre d’art contemporain de Vassivière en Limousin","offers":[{"title":"Default Title","offer_id":53550675984722,"sku":"RENTMEISTER-VASSIVIERE-INV-1997","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rentmeister_Thomas._Show_invite_Centre_d_art_contemporain_de_Vassivere_en_Limousin._1997_front.jpg?v=1779607177"},{"product_id":"etienne-sandorfi-galerie-3-3-paris-1970","title":"Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003ePublished by Galerie 3+3, Paris\u003cbr\u003eExhibition dates: 17 November – 16 December 1970\u003cbr\u003eCondition: light handling wear, fold marks, and age toning consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for an exhibition by Étienne Sandorfi at Galerie 3+3, Paris, held from 17 November – 16 December 1970. The folded invitation reproduces a psychologically charged image characteristic of Sandorfi’s early period: a fragmented doll-like head interrupted by wires, mechanical elements, and surgical associations. The interior includes exhibition details alongside a short contemporary text describing the work through detachment, repetition, and a restrained form of violence.\u003c\/p\u003e\u003cp\u003eProduced during an early moment in Sandorfi’s practice, the invitation already suggests themes that would later remain central to his work: psychological tension, constructed bodies, precision, and the unstable boundary between figuration and disturbance. The image sits somewhere between portrait, object, and staged condition.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a retained exhibition document from a particular Paris moment. Exhibition notice, image support, and secondary object.\u003c\/p\u003e\u003cp\u003eOriginal period item. 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The reproduced work presents a small crucifix suspended within an illuminated field of amber-red colour. Detached from its original scale and exhibition setting, the image shifts from photographic work to portable support and circulation object.\u003c\/p\u003e\u003cp\u003eOver time \u003cem\u003ePiss Christ\u003c\/em\u003e became one of the most publicly debated artworks of the late twentieth century, moving repeatedly through disputes concerning religion, public funding, censorship, and image circulation. This postcard retains that larger history in condensed form: exhibition material functioning simultaneously as document, reproduction, and residual carrier of a widely circulated image.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551086109010,"sku":"SERRANO-GNO-PC-2024","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Serrano_Andres._Artist_Postcard._Galerie_Natalie_Obadia_Paris___Brussels._2025_front.jpg?v=1779738186"},{"product_id":"cindy-sherman-untitled-317-retrospective-museum-of-contemporary-art-chicago-1998","title":"Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998","description":"\u003cp\u003eMuseum promotional postcard \/ exhibition announcement\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by the Museum of Contemporary Art, Chicago\u003cbr\u003eExhibition dates: 21 February – 31 May 1998\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCindy Sherman: Retrospective\u003c\/em\u003e, presented at the Museum of Contemporary Art, Chicago from 21 February – 31 May 1998 and jointly organised with the Museum of Contemporary Art, Los Angeles. The card reproduces \u003cem\u003eUntitled #317\u003c\/em\u003e (1995), a work from Sherman’s mid-1990s \u003cem\u003eMasks\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe reproduced image belongs to a body of work in which Sherman shifted from earlier self-performative roles toward prosthetic surfaces, mannequins, masks, and constructed identities. The tightly framed gold face produces an uncertain register somewhere between portrait, disguise, mannequin, and theatrical object. Identity appears less as revelation than as a manufactured surface.\u003c\/p\u003e\u003cp\u003eThe reverse retains traces of its original function. Alongside exhibition information, museum text, and a membership campaign offer, the object records a particular moment when institutional promotion, mass circulation, and a major retrospective converged. The postcard becomes both advertisement and residual exhibition material.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"SHERMAN-MCA-PC-1998","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Museum_of_Contemporary_Art_exhibition_announcement._1998_front.jpg?v=1779609858"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/collections\/Claude_Monet_01.jpg?v=1775859689","url":"https:\/\/thenewrare.com\/collections\/artist-ephemera.oembed","provider":"The New Rare","version":"1.0","type":"link"}