{"title":"Biblioteka Art Book Fair 2026","description":"\u003cp\u003eThe New Rare \/ Biblioteka Art Book Fair 2026\u003c\/p\u003e\u003cp\u003eThe presentation brings together publications, rare books, exhibition ephemera, damaged printed matter, artist editions, reproductions, and archival fragments produced and collected through The New Rare and The Academy of Realness.\u003c\/p\u003e\u003cp\u003eThe selection moves between contemporary publishing and historical material from the 1960s to the present, including works connected to Richard Prince, Hans Bellmer, Cindy Sherman, Philippe Thomas, and a wider field of conceptual, post-conceptual, and lesser-circulated artists' publications and exhibition documents.\u003c\/p\u003e\u003cp\u003eRather than treating books and ephemera as fixed historical artifacts, the collection approaches printed matter as something continuously altered through circulation, ownership, storage, reproduction, damage, framing, scanning, display, and reclassification. Invitations, posters, catalogues, photocopies, artist books, and exhibition supports appear not simply as documents but as objects whose status shifts through placement and context.\u003c\/p\u003e\u003cp\u003ePublications produced through The Academy of Realness and The New Rare exist alongside found and historical material without strict separation between archive, artwork, shop, edition, and exhibition structure. Throughout the presentation, reproduction and authorship remain unstable. Original printed matter sits beside replicas, digital transfers, reconstructed supports, and contemporary reframings.\u003c\/p\u003e\u003cp\u003eThe project draws from conceptual art, mail art, institutional critique, underground publishing, artist-book culture, damaged archives, and secondary art-world circulation while resisting fixed categorization. A rare catalogue, a water-damaged poster, a photocopied pamphlet, or a reproduced PDF may operate under the same conditions: retained objects moving between systems of display, exchange, memory, and interpretation.\u003c\/p\u003e\u003cp\u003eThe collection is structured less as a historical survey than as a circulating inventory of printed material in transition.\u003c\/p\u003e\u003cp\u003e— The New Rare, London, 2026\u003c\/p\u003e","products":[{"product_id":"art-scribe-no-51","title":"Art Scribe No. 51 (March–April 1985) — Basquiat, Kathy Acker, Lynne Cooke","description":"\u003cp\u003e\u003cstrong\u003eArt Scribe No. 51\u003c\/strong\u003e\u003cbr\u003eMarch–April 1985\u003c\/p\u003e\n\u003cp\u003eCover: Bruce McLean\u003cbr\u003eFeaturing: Jean-Michel Basquiat (ICA London)\u003c\/p\u003e\n\u003cp\u003eSoftcover magazine\u003cbr\u003ePublished: March–April 1985\u003cbr\u003eLondon: Artscribe Ltd\u003cbr\u003eEditor: Matthew Collings\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContents:\u003c\/strong\u003e\u003cbr\u003e– Jean Michel Basquiat — review by Kathy Acker (p.52)\u003cbr\u003e– Neo-Primitivism — essay by Lynne Cooke (p.16)\u003cbr\u003e– Bruce McLean interview by Mel Gooding\u003cbr\u003e– Reviews: Jonathan Borofsky, Richard Wilson, Ger van Elk, Ian McKeever, Chagall, among others\u003cbr\u003e– Report: 2nd International Contemporary Art Fair\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eA mid-1980s London art magazine capturing Basquiat at a precise moment of reception in the UK. He appears twice here — first through Kathy Acker’s review of his ICA exhibition, written with her characteristic urgency, and again within Lynne Cooke’s essay on Neo-Primitivism, where his work is folded into a broader critical debate around authorship, instinct, and cultural projection.\u003c\/p\u003e\n\u003cp\u003eThe issue sits at an intersection: literary critique, institutional framing, and the British art context encountering Basquiat in real time. The Bruce McLean cover further grounds it within the language of British conceptual and post-performance practice of the period.\u003c\/p\u003e\n\u003cp\u003eFor Basquiat-focused collectors, this functions less as a magazine and more as a document of early critical positioning — before the narrative settled.\u003c\/p\u003e\n\u003cp\u003eLike and follow for more rare art books and ephemera.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53035119149394,"sku":null,"price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat01.jpg?v=1774539700"},{"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":"tracey-emin-i-need-art-like-i-need-god-jay-jopling-1998","title":"Tracey Emin — I Need Art Like I Need God, Jay Jopling \/ London, 1998","description":"\u003cp\u003e\u003cstrong\u003eTracey Emin — I Need Art Like I Need God\u003c\/strong\u003e\u003cbr\u003eJay Jopling \/ London, 1998\u003cbr\u003ePublished for \u003cem\u003eTracey Emin: I Need Art Like I Need God\u003c\/em\u003e, South London Gallery, 16 April–18 May 1997\u003c\/p\u003e\u003cp\u003eSoftcover exhibition monograph with stiff glossy wraps\u003cbr\u003e73 pp., colour plates\u003cbr\u003e30 × 21 cm \/ large quarto\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e English\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. Light rubbing, handling marks, faint surface wear to glossy covers, minor edge\/corner wear, original rear price\/barcode sticker present. Interior clean and bright.\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition already moving beyond exhibition status.\u003c\/p\u003e\u003cp\u003eBefore \u003cem\u003eMy Bed\u003c\/em\u003e became the public shorthand, this book fixes an earlier arrangement: body, room, handwriting, photograph, confession, object. The cover stages the artist from behind, inside the workspace, already converted into image and signature. The back cover reduces the body further: four small vertical fragments set into a field of turquoise, with the shop label still attached.\u003c\/p\u003e\u003cp\u003eInside, the sequence continues as document and display. Clothes, blankets, studio floor, handwritten notes, framed fragments, street images, hotel paper. Nothing is outside the work once it enters the catalogue. Biography becomes layout. Intimacy becomes plate. Evidence becomes style.\u003c\/p\u003e\u003cp\u003eThe book does not explain Emin. It files her.\u003c\/p\u003e\u003cp\u003eA catalogue as exhibition residue.\u003cbr\u003eA self-portrait routed through paper.\u003cbr\u003eAn object from the construction of a public name.\u003c\/p\u003e\u003cp\u003eShipping included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53318458736978,"sku":"TE-INALIG-1998","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.--I-Need-Art-Like-I-Need-God-cover.jpg?v=1777513928"},{"product_id":"east-village-85-a-guide-a-documentary-pelham-press-1985","title":"Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985","description":"\u003cp\u003e\u003cstrong\u003eRoland Hagenberg et al.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEast Village ’85: A Guide. A Documentary.\u003c\/strong\u003e\u003cbr\u003eNew York: Pelham Press, 1985\u003cbr\u003eSoftcover, illustrated wrappers\u003cbr\u003eApprox. 20 × 26.5 cm\u003cbr\u003e160 pp., black-and-white and colour illustrations\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall for a heavily handled period softcover. Visible rubbing, edge wear, surface creasing, corner wear, age toning, and handling marks to covers and page edges. Interior remains clean and highly usable. The wear is consistent with an object that circulated as guide, document, address book, scene report, and commercial instrument.\u003c\/p\u003e\u003cp\u003eEdited by Roland Hagenberg, with contributions by Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege and others. A dense guide\/documentary of the mid-1980s East Village art scene, combining gallery profiles, essays, maps, portraits, listings, advertisements, and social documentation. Includes references and appearances connected to Jean-Michel Basquiat, Keith Haring, Jeff Koons, Madonna, Kenny Scharf, Walter Robinson, Gracie Mansion, Piezo Electric, Limbo, Civilian Warfare, Artmart, Nolo Contendere, Wolff, and many others.\u003c\/p\u003e\u003cp\u003eA book that converts a neighbourhood into a printed system.\u003cbr\u003eMap, gallery, portrait, advertisement, essay, directory, gossip structure.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eEast Village ’85\u003c\/em\u003e does not sit outside the scene it describes. It participates in it. The book has the form of a yearbook, a sales prospectus, a local index, and a documentary device. Artists, dealers, photographers, critics, performers, and galleries are arranged as entries within a short-lived cultural economy. The East Village appears here not as myth after the fact, but as a working surface: named, mapped, promoted, monetised, and already becoming historical.\u003c\/p\u003e\u003cp\u003eThe commercial language is part of the object. Hagenberg’s project understood the East Village as a place where documentation and promotion could not be separated. The guide records the scene while helping to produce its visibility. In that sense it belongs to the same economy as the gallery card, the downtown flyer, the paid page, the art-world directory, and the social photograph.\u003c\/p\u003e\u003cp\u003eAs shop\/object, this copy functions as retained evidence from a moment when art, nightlife, real estate, youth culture, and market formation briefly occupied the same paper field. Not a neutral guide. A printed mechanism for placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53333045018962,"sku":"EV85-HAGENBERG-PELHAM-1985","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/East_Village_85_A_guide._A_documentary_cover.jpg?v=1777822032"},{"product_id":"richard-prince-the-girl-next-door","title":"Richard Prince — The Girl Next Door","description":"\u003cp\u003eSoftcover artist book\u003cbr\u003e72 pp.\u003cbr\u003e15 × 22 cm\u003cbr\u003eColour offset printing\u003cbr\u003eText in English\u003cbr\u003eOriginal publisher's shrinkwrap intact\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Sealed \/ unread. Light shelf wear visible to shrinkwrap, with minor pulling and creasing to plastic at edges and corners. Book appears clean and unopened beneath wrap.\u003c\/p\u003e\u003cp\u003ePublished by Hatje Cantz with the MAK Center for Art and Architecture, Los Angeles, \u003cem\u003eThe Girl Next Door\u003c\/em\u003e sits within Richard Prince's long use of vernacular American imagery: houses, roads, bodies, cars, basketball hoops, suburban edges, and the charged neutrality of looking. Issued in 2000, the book belongs to the period in which Prince's photographic language had already moved from appropriation into a broader archive of American surfaces, habits, and poses. MACBA records the publication as a 2000 monograph measuring 22 × 15.1 cm; other book records list it as a 72-page Hatje Cantz publication.\u003c\/p\u003e\u003cp\u003eThis copy remains in its original shrinkwrap. The object is still suspended between book and commodity: visible, titled, sealed, withheld.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed with tracked delivery.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53366912745810,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/0277ACCC-2BE1-4B20-A53D-DCA638DD2ED9_0c0a854f-dbbf-4164-a737-6f6babcf4f7a.jpg?v=1778237646"},{"product_id":"damien-hirst-medicine-cabinets-lm-arts-2010","title":"Damien Hirst — Medicine Cabinets","description":"\u003cp\u003eL\u0026amp;M Arts, New York, 2010\u003cbr\u003eExhibition invitation card\u003cbr\u003e18.5 × 22.5 cm\u003cbr\u003eHeavy multi-ply cardstock; glossy image side, matte printed verso\u003cbr\u003eOpening reception: 28 October 2010, 6–8 pm\u003cbr\u003eExhibition dates: 28 October – 11 December 2010\u003cbr\u003eL\u0026amp;M Arts, 45 East 78th Street, New York\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor edge and corner wear consistent with circulation and storage.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for Damien Hirst’s \u003cem\u003eMedicine Cabinets\u003c\/em\u003e exhibition at L\u0026amp;M Arts, New York, 2010. The card reduces the exhibition to image, venue, date, and catalogue notice: pharmaceutical surface as announcement.\u003c\/p\u003e\u003cp\u003eFirst developed in 1988 while Hirst was at Goldsmiths, the medicine cabinet works became one of the clearest structures in his early practice. Medical packaging is arranged as belief system, consumer image, bodily proxy, and temporary defence against decay. The cabinet promises order. The products promise repair. The image holds both promises in place.\u003c\/p\u003e\u003cp\u003eThis invitation carries that system in secondary form. Bottles, labels, dosages, warnings, and branded containers move from cabinet to photograph to printed card. An exhibition document, retained after the event.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53441411219794,"sku":"DH-MC-LMA-2010","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hirst_-Damien.-Medicine-Cabinets_-invite-card.jpg?v=1778781033"},{"product_id":"pipilotti-rist-heroes-of-birth-luhring-augustine-2010","title":"Pipilotti Rist — Heroes of Birth","description":"\u003cp\u003eLuhring Augustine, New York, 2010\u003cbr\u003eExhibition announcement card\u003cbr\u003e22 × 18.5 cm\u003cbr\u003eMedium-weight card, printed both sides\u003cbr\u003eColour image to recto; red letterpress-style typography to verso\u003cbr\u003eIssued for \u003cem\u003eHeroes of Birth\u003c\/em\u003e, Luhring Augustine, Chelsea, New York, 11 September – 16 October 2010\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface marks, minor handling wear, faint corner\/edge wear consistent with use and storage.\u003c\/p\u003e\u003cp\u003ePublished for Pipilotti Rist’s third solo exhibition at Luhring Augustine, \u003cem\u003eHeroes of Birth\u003c\/em\u003e presented new work including two video installations and a smaller video sculpture. The exhibition included \u003cem\u003eLayers Mama Layers\u003c\/em\u003e and continued Rist’s long investigation into the body, image, colour, sound, and immersive projection as a spatial experience rather than a fixed screen-based form.\u003c\/p\u003e\u003cp\u003eRist had been a central figure in experimental video and installation since the late 1980s, bringing together pop, feminism, bodily imagery, music, and dreamlike saturation. By 2010 her work had moved fully into large-scale environments: rooms as optical and psychological fields. The image on this card — a pregnant body in a clinical setting, marked by red monitoring devices — operates as announcement, threshold, and bodily signal. Birth appears less as subject than as system: medical, visual, intimate, public.\u003c\/p\u003e\u003cp\u003eA retained gallery object from the circulation of a video exhibition. One side carries the image; the other fixes the administrative record: artist, title, dates, venue, address. The card reduces an immersive installation to a portable surface.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Luhring Augustine","offers":[{"title":"Default Title","offer_id":53441567785298,"sku":"PR-HOB-LA-2010","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rist_-Pippilotti.-_Heroes-of-Birth_-show-postcard.-2010-front.jpg?v=1778783764"},{"product_id":"anton-corbijn-still-lives-torch-gallery-amsterdam-2000","title":"Anton Corbijn — Still Lives","description":"\u003cp\u003eTORCH Gallery, Amsterdam, 2000\u003cbr\u003eMailed exhibition announcement \/ circulation object\u003cbr\u003e15 × 21 cm\u003cbr\u003eOffset print on card; photographic image to recto; exhibition details, gallery information, address label, Belgian postal machine marks, and red handling notation to verso\u003cbr\u003eOpening: 15 April 2000, 17.00–19.00 hrs\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor corner softening, and postal wear consistent with mailing.\u003c\/p\u003e\u003cp\u003eOriginal exhibition announcement for Anton Corbijn’s \u003cem\u003eStill Lives\u003c\/em\u003e at TORCH Gallery, Amsterdam. The recto reproduces Corbijn’s image of Björk, Reykjavik, 1999, connected to his \u003cem\u003e33 Still Lives\u003c\/em\u003e project: a body of staged celebrity portraits made to resemble paparazzi images, film stills, and fragments from imagined documentaries.\u003c\/p\u003e\u003cp\u003eThis copy was mailed to Nicole Tran Ba Vang at 130 rue Lafayette, Paris. The verso retains its address label, Brussels\/Belgian postal markings, and red handling notation. These marks are not incidental. They place the announcement back into circulation: gallery to post, post to artist, image to address, document to retained object.\u003c\/p\u003e\u003cp\u003eCorbijn’s image of Björk carries the public face of the card. Tran Ba Vang’s name and address carry its private route. The object survives between exhibition announcement, celebrity image, postal record, and artist-addressed document.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53441869250898,"sku":"AC-SL-TOR-2000","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Corbijn_-Anton.-Still-Lives-show-opening-card_-15-4-2000-front.jpg?v=1778785891"},{"product_id":"tracey-emin-flux-magazine-the-all-seeing-i-postcard-1999","title":"Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard","description":"\u003cp\u003eFLUX Magazine, Manchester, c. 1999\u003cbr\u003ePromotional postcard\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card\u003cbr\u003eBlack-and-white Tracey Emin cover image to recto with red FLUX masthead and typography; printed postcard verso with FLUX Magazine address, Manchester\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, faint handling marks, minor corner softness and age-related paper toning consistent with period ephemera.\u003c\/p\u003e\u003cp\u003ePromotional postcard issued by FLUX Magazine, a British style, culture, fashion, music, and art publication based in Manchester. The recto reproduces a stark cover image of Tracey Emin with the feature title ‘The All Seeing I \/ Paper Recordings’. The cover also places Emin within a late-1990s cultural field that includes Leftfield, Le Tone, \u003cem\u003eThe Blair Witch Project\u003c\/em\u003e, and \u003cem\u003eReal Goodfellas\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eTracey Emin emerged in the 1990s as one of the defining figures associated with the Young British Artists. Her work brought autobiography, confession, sexuality, grief, and public exposure into the centre of contemporary British art. By the time of this FLUX feature, Emin had already made works such as \u003cem\u003eEveryone I Have Ever Slept With 1963–1995\u003c\/em\u003e and was close to the wider public attention surrounding \u003cem\u003eMy Bed\u003c\/em\u003e and the Turner Prize.\u003c\/p\u003e\u003cp\u003eA small printed support from the period in which Emin’s image moved between art, media, celebrity, and confession. Magazine cover becomes postcard. Artist becomes circulation. The face is retained as both portrait and promotional device.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53442447835474,"sku":"TE-FLUX-ASI-1999","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.-_The-all-seeing-I-paper-recordings_-Flux-magazine-postcard.-Mid-2000s-front.jpg?v=1778795822"},{"product_id":"richard-prince-the-masochist-7-ratstar-shoot-the-lobster-2020","title":"Richard Prince — The Masochist #7","description":"\u003cp\u003eRATSTAR \/ Shoot the Lobster, Brooklyn \/ New York, 2020\u003cbr\u003eFirst edition artists’ book \/ zine\u003cbr\u003eStaple-bound softcover\u003cbr\u003e36 pp.\u003cbr\u003e28 × 21 cm\u003cbr\u003eBlack-and-white photocopy-style reproductions of drawings\u003cbr\u003eEdited by David Rimanelli\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers and edges, minor surface marks consistent with the format.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThe Masochist #7\u003c\/em\u003e presents a group of Richard Prince drawings in a deliberately reduced, low-production format. The booklet sits closer to zine, studio photocopy, or provisional drawing packet than conventional exhibition catalogue. Its crude figures, notebook edges, visible reproduction grain, and stapled construction place the work against the polished surface of Prince’s more familiar appropriated media images.\u003c\/p\u003e\u003cp\u003ePrince’s practice has long moved between found image, joke, celebrity, advertising, and self-authored interruption. Here the gesture appears almost anti-monumental: drawings that look immediate, juvenile, and unstable are routed through a modest printed support. The title introduces a darker register, while the images remain blunt, cartoon-like, and unresolved.\u003c\/p\u003e\u003cp\u003eA small-format publication from Prince’s late-period printed output. The book functions as an accessible carrier for drawings, but also as a deliberately plain object within a larger practice built around authorship, reproduction, circulation, and value.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"RATSTAR \/ Shoot the Lobster","offers":[{"title":"Default Title","offer_id":53445467078994,"sku":"RP-TM7-STL-2020","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Masochist-_7.-2020-cover.jpg?v=1778823410"},{"product_id":"richard-hamilton-private-view-invitation-serpentine-gallery-1975","title":"Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975","description":"\u003cp\u003eSerpentine Gallery, London, 1975\u003cbr\u003eOriginal private view invitation card\u003cbr\u003e10.5 × 15 cm\u003cbr\u003ePrinted card; black-and-white image to recto, exhibition details to verso\u003cbr\u003ePrivate view: Friday 3 October 1975, 5–8 pm\u003cbr\u003eExhibition dates: 4 October – 2 November 1975\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, handling marks, surface creasing, faint staining, and softened corners consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal private view invitation for \u003cem\u003eRichard Hamilton: Paintings, Pastels, Prints\u003c\/em\u003e at the Serpentine Gallery, Kensington Gardens, London. This was Hamilton’s first solo exhibition in England in five years, following his 1970 Tate retrospective.\u003c\/p\u003e\u003cp\u003eThe show included works from the mid-1970s in which Hamilton returned to advertising, domestic imagery, romantic landscape, and consumer surfaces with deliberately awkward results. Series such as \u003cem\u003eFlowers and Shit\u003c\/em\u003e, the \u003cem\u003eSoft Landscapes\u003c\/em\u003e, and the sunset pastels placed sentimental visual language beside low or banal material references, confusing expectations around Pop, taste, and seriousness.\u003c\/p\u003e\u003cp\u003eThe invitation is a small public-facing support for that moment. One side carries the image; the other gives only the administrative facts: artist, private view, venue, date, opening hours, admission free. Its design is plain, centred, and institutional, closer to notice than promotion. As retained Serpentine material from 1975, it sits between announcement, archive fragment, and secondary object.\u003c\/p\u003e\u003cp\u003eA scarce private view card from an important post-Tate Hamilton exhibition, especially interesting for its modest format and the contrast between the subdued institutional typography and the provocative body of work it announced.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Packed flat with protective support.\u003c\/p\u003e","brand":"Serpentine Gallery","offers":[{"title":"Default Title","offer_id":53458192105810,"sku":"RH-PV-SERP-1975","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hamilton_Richard._Serpentine_Gallery_show_invite._1975_front.jpg?v=1778878549"},{"product_id":"robert-kushner-the-dance-the-kiss-daniel-templon-paris-1979","title":"Robert Kushner — “The dance, the kiss,…”","description":"\u003cp\u003eGalerie Daniel Templon, Paris, 1979\u003cbr\u003eExhibition invitation card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on card stock; black-and-white image to recto; exhibition details printed to verso\u003cbr\u003eExhibition dates: 31 March – 3 May 1979\u003cbr\u003eVernissage: Saturday 31 March, 10h–19h\u003cbr\u003eGalerie Daniel Templon, 30 rue Beaubourg, Paris\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling wear, faint edge\/corner softening consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation card issued for Robert Kushner’s solo exhibition \u003cem\u003e“The dance, the kiss,…”\u003c\/em\u003e at Galerie Daniel Templon, Paris, 1979. The recto carries a cropped black-and-white image of entwined figures, while the verso is almost entirely administrative: gallery name, artist, title, dates, and opening hours.\u003c\/p\u003e\u003cp\u003eKushner was a central figure in the Pattern and Decoration movement, which emerged in the 1970s as a deliberate turn away from the austerity of Minimalism and Conceptual art. His work from this period brought together ornament, fabric, gesture, eroticism, and performance-like figuration. This Paris invitation places that language inside a small printed support: sensual image on one side, institutional record on the other.\u003c\/p\u003e\u003cp\u003eA retained document from a key late-1970s moment in Kushner’s European reception.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected, and tracked.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53458585157970,"sku":"RK-DK-DT-1979","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kushner_-Robert.-_The-dance_-the-kiss_-show-invite.-1979-front.jpg?v=1778880796"},{"product_id":"rachel-lachowicz-yoko-ono-shoshana-wayne-gallery-santa-monica-1996","title":"Rachel Lachowicz \/ Yoko Ono — Shoshana Wayne Gallery, 1996","description":"\u003cp\u003eShoshana Wayne Gallery, Bergamot Station, Santa Monica, 1996\u003cbr\u003eOriginal exhibition announcement card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on cream card stock; printed recto, blank verso\u003cbr\u003eMain Gallery: Rachel Lachowicz\u003cbr\u003eWest Gallery: Yoko Ono — \u003cem\u003eWishing Tree\u003c\/em\u003e\u003cbr\u003eExhibition dates: April 13 – May 18, 1996\u003cbr\u003eOpening reception: Saturday, April 13, 5–8 PM\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling marks and faint edge\/corner wear consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal 1996 exhibition announcement card for a two-part programme at Shoshana Wayne Gallery, Bergamot Station: Rachel Lachowicz in the Main Gallery and Yoko Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e in the West Gallery. The Santa Monica presentation is noted as the first exhibited version of Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e, making this a modest but significant document in the early public history of one of her central participatory works.\u003c\/p\u003e\u003cp\u003eThe pairing records a specific mid-1990s Los Angeles moment. Lachowicz’s work was closely associated with feminist critique, reworking the authority of Minimalism and male art-historical form through cosmetics and bodily materials. Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e extended her long-standing instruction-based practice into a social, participatory structure: the viewer’s written wish became part of the work.\u003c\/p\u003e\u003cp\u003eThe card itself remains spare and administrative: centred type, cream stock, no image, blank reverse. It does not reproduce the artwork. It marks its placement.\u003c\/p\u003e\u003cp\u003eA small printed support for feminist critique, Fluxus afterlife, and participatory instruction entering 1990s gallery circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected in archival sleeve with rigid backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459413795154,"sku":"RL-YO-SWG-1996","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lachowicz_Rachel_and_Ono_Yoko._Shoshana_Wayne_Gallery_invite_card._1996_front.jpg?v=1778904766"},{"product_id":"andreas-gursky-love-parade-matthew-marks-gallery-2001","title":"Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001","description":"\u003cp\u003eMatthew Marks Gallery, New York, 2001\u003cbr\u003eOriginal exhibition announcement postcard\u003cbr\u003e22.5 × 10.5 cm\u003cbr\u003eOffset-printed postcard on card stock; colour reproduction to recto; exhibition\/work credit and divided postcard back to verso\u003cbr\u003eImage: \u003cem\u003eLove Parade\u003c\/em\u003e, 2001, C-print mounted to plexiglass in artist’s frame\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks and minor age toning visible to verso.\u003c\/p\u003e\u003cp\u003eOriginal period announcement card for Andreas Gursky’s \u003cem\u003eLove Parade\u003c\/em\u003e, issued by Matthew Marks Gallery in 2001. The card reproduces one of Gursky’s large-format crowd images in reduced, horizontal form: a mass public event compressed into a narrow printed support.\u003c\/p\u003e\u003cp\u003eGursky’s work from the 1990s and early 2000s helped define a new photographic scale, combining documentary distance, digital construction, and the visual logic of global systems. \u003cem\u003eLove Parade\u003c\/em\u003e sits within that moment: music culture, crowd formation, spectacle, and market entry all held inside a single image.\u003c\/p\u003e\u003cp\u003eAs an object, the card is not only promotional material. It records the moment of institutional circulation around the work: title, date, medium, gallery credit, and distribution format. A monumental photograph becomes a retained paper unit. The mass event returns to circulation through the mail.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective packaging.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53459535954258,"sku":"AG-LP-MMG-2001","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gursky_-Andreas.-Artist-postcard_-Matthew-Marks-Gallery.-2001-front.jpg?v=1778912794"},{"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":"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":"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":"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":"oppenheim-arc-paris-projects-78-79-inv-1979","title":"Dennis Oppenheim — Projects 78\/79, ARC Paris, 1979–1980","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003e16 × 11.5 cm\u003cbr\u003eOriginal, 1979\u003c\/p\u003e\u003cp\u003eOriginal invitation for Dennis Oppenheim's \u003cem\u003eProjects 78\/79\u003c\/em\u003e exhibition at ARC Paris, Musée d'Art Moderne de la Ville de Paris, opening 14 December 1979 and running through 20 January 1980. The recto reproduces an installation image tied to Oppenheim's late 1970s investigations into architectural intervention, machine structures, and performative sculpture. The reverse carries the exhibition details in a restrained institutional typographic layout characteristic of the period.\u003c\/p\u003e\u003cp\u003eBy the late 1970s, Dennis Oppenheim had moved from early Conceptual and Land Art gestures toward increasingly theatrical sculptural environments involving light, movement, industrial materials, and spatial disorientation. ARC Paris functioned during this period as an important site for experimental international contemporary art, and invitations such as this operated simultaneously as announcement, administrative document, and portable exhibition residue.\u003c\/p\u003e\u003cp\u003eWithin a The New Rare context, the object sits close to the shop\/object register: retained institutional paper support documenting the circulation of post-conceptual sculpture at the end of the 1970s. The reproduced installation image becomes flattened into print, while the invitation itself survives as a secondary relay mechanism between exhibition, archive, and collection.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition with light surface wear, soft handling marks, corner wear, and age toning consistent with period ephemera. The marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699226403154,"sku":"OPPENHEIM-ARCPARIS-INV-1979","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Oppenheim_Dennis.Showinvite_projects78_79_ARCParis.1980front.jpg?v=1781067594"},{"product_id":"paalen-en-hommage-octavio-paz-librairie-loliee-inv-1960","title":"Wolfgang Paalen — “En Hommage” \/ Octavio Paz Text Insert, Librairie Loliée, Paris, 1960","description":"\u003cp\u003eOriginal exhibition insert \/ printed text sheet\u003cbr\u003eLibrairie Loliée, Paris, November 1960\u003cbr\u003eIssued in relation to a posthumous Wolfgang Paalen retrospective organised by Géo Dupin\u003cbr\u003eFrench text by Octavio Paz\u003cbr\u003ePrinted in black on cream paper\u003c\/p\u003e\u003cp\u003eA small posthumous document for Wolfgang Paalen, carrying an elegiac text by Octavio Paz on one side and a concise loan record on the other. The verso lists three works by Paalen loaned by Mme Géo Dupin: \u003cem\u003ePersonnages dans une grotte\u003c\/em\u003e 1933, \u003cem\u003eSelam Trilogy\u003c\/em\u003e 1947, and \u003cem\u003eSans titre\u003c\/em\u003e 1954.\u003c\/p\u003e\u003cp\u003ePaalen moved between Surrealism, Mexico, poetry, science, pre-Columbian culture, and abstraction. His work and writing helped open a route away from orthodox European Surrealism toward a more speculative, cosmological modernism. Paz’s text frames this passage directly: painting as flight, solitude, vertigo, and return to space.\u003c\/p\u003e\u003cp\u003eThis sheet survives as a secondary object from that circulation. Not the painting, not the catalogue, but the retained support: homage, text, loan list, correction, afterlife.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Age toning, soft handling creases, light corner wear, minor surface marks consistent with period paper ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included. Ships flat, protected, and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699283091794,"sku":"PAALEN-LOLIEE-INV-1960","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wolfgang_Paalen._Show_invite_En_Hommage_._1960_front.jpg?v=1781068483"},{"product_id":"janfamily-riflemaker-becomes-indica-inv-2006","title":"Janfamily \/ Riflemaker becomes Indica — Promotional Announcement Card, London, 2006","description":"\u003cp\u003ePromotional announcement card\u003cbr\u003eRiflemaker, London, 2006\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eDouble-sided offset print on card; rounded corners\u003c\/p\u003e\u003cp\u003eDouble-sided promotional card for Janfamily and \u003cem\u003eRiflemaker becomes Indica\u003c\/em\u003e, issued by Riflemaker, London. Recto with staged Janfamily domestic photographs; verso announcing the temporary transformation of Riflemaker into Indica, with Yoko Ono, Takis, Gustav Metzger, David Medalla, Julio Le Parc, Boyle Family, Liliane Lijn, Conrad Shawcross, Goldfrapp, and others.\u003c\/p\u003e\u003cp\u003eThe exhibition revisited the history of Indica Gallery, the short-lived 1960s London space associated with Yoko Ono, John Lennon, counterculture, Fluxus, and experimental art. Riflemaker’s 2006 project reactivated that history forty years later, placing original Indica figures beside younger artists and related practices.\u003c\/p\u003e\u003cp\u003eA small printed support for a temporary institutional fiction: Riflemaker becomes Indica. One gallery assumes the name and memory of another. Janfamily appears on one side; Indica’s afterlife on the other. The card operates between announcement, document, and retained exhibition object.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear, minor surface marks, and soft corner wear consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699360817490,"sku":"JANFAMILY-RIFLEMAKER-INV-2006","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Riflemaker_Gallery._becomes_Indica_exhibition_opening_card._2006_1.jpg?v=1781069579"},{"product_id":"prince-i-changed-my-name-artpost-pc-1990s","title":"Richard Prince — I Changed My Name Postcard, Artpost, c. 1990s–2000s","description":"\u003cp\u003eOffset-printed postcard\u003cbr\u003ePublished by Artpost\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003e1994\u003c\/p\u003e\n\u003cp\u003ePostcard reproducing Richard Prince’s 1988 text painting \u003cem\u003eI Changed My Name\u003c\/em\u003e. Front reproduces the work in deep blue with pink text reading: “I never had a penny to my name so I changed my name.” Reverse includes artwork details and Artpost imprint.\u003c\/p\u003e\n\u003cp\u003eA secondary circulation object built from one of Prince’s early joke\/text paintings, where identity, authorship, money, and branding collapse into a single deadpan statement. By the late 1970s and 1980s, Prince had already become central to conversations around appropriation, repetition, advertising language, and the instability of originality. Here the painting survives in reduced form: exhibition image becoming postcard, artwork becoming distributable surface.\u003c\/p\u003e\n\u003cp\u003eWithin The New Rare object-register, the card functions less as souvenir than portable support material — a compressed version of a larger authorship machine. The statement moves easily between autobiography, fabricated persona, market joke, and administrative fact. Printed matter as circulation structure.\u003c\/p\u003e\n\u003cp\u003eA small but exact Richard Prince object.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition; light surface wear and minor handling marks consistent with age and storage.\u003c\/p\u003e\n\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699385950546,"sku":"PRINCE-ARTPOST-PC-1990S","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Changed-my-Name---Postcard.jpg?v=1781070169"},{"product_id":"prince-good-revolution-parkett-34-pc-1992","title":"Richard Prince — Good Revolution \/ Parkett 34 Postcard, 1992","description":"\u003cp\u003ePostcard issued by Parkett Publishers for Richard Prince’s \u003cem\u003eGood Revolution\u003c\/em\u003e edition for \u003cem\u003eParkett\u003c\/em\u003e no. 34, 1992.\u003cbr\u003eApprox. postcard format\u003cbr\u003eOffset print on card\u003cbr\u003ePublished by Parkett Verlag, Zürich \/ New York\u003c\/p\u003e\u003cp\u003eRecto: colour reproduction of \u003cem\u003eGood Revolution\u003c\/em\u003e — a framed edition combining a C-print backdrop, gold 7-inch vinyl record, and engraved plaque. Verso: Parkett Verlag \/ Parkett Publishers imprint with the credit “Richard Prince Edition for Parkett 34.”\u003c\/p\u003e\u003cp\u003eThe original \u003cem\u003eGood Revolution\u003c\/em\u003e edition was a gold record and plaque mounted on a C-print, with a playable 7-inch vinyl record by Prince — an object that folds together music, performance, edition, reproduction, and display. The postcard reduces that system back into circulation: image, publisher, issue number, address.\u003c\/p\u003e\u003cp\u003eA small printed support connected to one of Prince’s more unusual early-1990s multiples, where the logic of the gold record — achievement, commerce, celebrity — is reframed as art edition and distributable object.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition; light toning, minor surface wear and handling marks.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699391455570,"sku":"PRINCE-PARKETT34-PC-1992","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard._Artist_postcard_Edition_for_Parakeet_34._1992_front.jpg?v=1781070410"},{"product_id":"ray-chicken-new-beetle-father-figure-matthew-marks-pc-2007","title":"Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eMatthew Marks Gallery, New York\u003cbr\u003eNovember 14, 2007 – January 19, 2008\u003cbr\u003e13.5 × 11.5 cm\u003cbr\u003eOffset print on card\u003cbr\u003eGreen recto with black text; black verso with silver-grey gallery details\u003c\/p\u003e\u003cp\u003eExhibition announcement card for Charles Ray at Matthew Marks Gallery, New York. The exhibition presented three sculptures: \u003cem\u003eChicken\u003c\/em\u003e, \u003cem\u003eThe New Beetle\u003c\/em\u003e, and \u003cem\u003eFather Figure\u003c\/em\u003e, and was Ray’s first solo exhibition in New York since 1998.\u003c\/p\u003e\u003cp\u003eRay’s sculpture often moves between toy, body, scale, realism, and industrial fabrication. In this exhibition, a small hatching chicken, a nude child with a toy car, and a monumental toy tractor became a compact grammar of childhood, objecthood, and sculptural enlargement. \u003cem\u003eFather Figure\u003c\/em\u003e alone was made in painted steel and measured 238 × 349 × 182 cm.\u003c\/p\u003e\u003cp\u003eA small gallery support for a major Ray exhibition. Printed matter reduced to title, date, address, and surface. The postcard holds the exhibition as a compressed administrative object.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear and minor surface marks.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699405087058,"sku":"RAY-MATTHEWMARKS-PC-2007","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ray_-Charles.-Artist-postcard_-Matthew-Marks-Gallery.-2007--front.jpg?v=1781070906"},{"product_id":"chadwick-enfleshings-i-tate-pc-1994","title":"Helen Chadwick — Enfleshings I — Tate Postcard, 1994","description":"\u003cp\u003eTate postcard\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card\u003cbr\u003ePrinted 1994\u003c\/p\u003e\u003cp\u003eTate postcard reproducing Helen Chadwick’s \u003cem\u003eEnfleshings I\u003c\/em\u003e, 1989. Printed after Tate’s 1994 purchase of the work. The original is a photographic transparency on lightbox, 106.6 × 91.5 × 18 cm, held in the Tate collection.\u003c\/p\u003e\u003cp\u003eChadwick was a key British artist working through sculpture, photography, installation, and the body. Her work often treated flesh, desire, biology, and display as unstable materials. She was nominated for the Turner Prize in 1987. \u003cem\u003eEnfleshings I\u003c\/em\u003e is among her most significant works: a circular arrangement of raw organic matter around a central light source, the body rendered as luminous, biological, and formally composed.\u003c\/p\u003e\u003cp\u003eA small museum support for a major Chadwick work. The body becomes image, lightbox, collection record, shop object. Printed matter after acquisition.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition; light corner wear, surface marks, and minor handling.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699435299154,"sku":"CHADWICK-TATE-PC-1994","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Chadwick_-Helen.-Enfleshings-I-1989--Printed-1994_-Tate.jpg?v=1781071359"},{"product_id":"perkovic-baltz-desire-gallery-ram-inv-1995","title":"Slavica Perković with Lewis Baltz — Desire — Exhibition Postcard, Gallery RAM, Santa Monica, 1995","description":"\u003cp\u003eOriginal exhibition announcement postcard\u003cbr\u003eGallery RAM, Bergamot Station, Santa Monica, 1995\u003cbr\u003e21.5 × 14 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003c\/p\u003e\u003cp\u003eExhibition postcard issued for \u003cem\u003eDesire\u003c\/em\u003e, a 1995 exhibition by Serbian-born artist Slavica Perković with photographer Lewis Baltz at Gallery RAM, Bergamot Station, Santa Monica. The recto reproduces one of Perković’s psychologically charged image-text works: a cropped feminine figure overlaid with the phrase “Men usually like when I dress like a little girl.”\u003c\/p\u003e\u003cp\u003eThe work sits within the broader 1990s field of feminist image culture, media critique, staged identity, and the uneasy overlap between desire, performance, infantilization, and advertising language. Baltz’s presence in the exhibition adds another layer, linking Perković’s constructed image world to the colder conceptual and photographic traditions associated with the Pictures Generation and post-industrial documentary practice.\u003c\/p\u003e\u003cp\u003eThe card operates less as secondary promotional matter than as a retained support for circulation: artist, text, image, institution, telephone number, opening date. A temporary distribution device that survives long enough to become an object again.\u003c\/p\u003e\u003cp\u003eAn increasingly scarce Bergamot Station-era Los Angeles exhibition document from the mid-1990s independent gallery landscape.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Light surface wear, faint handling marks, minor edge softening, and slight age toning to reverse. Clean overall example.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699478651218,"sku":"PERKOVIC-GALLERYRAM-INV-1995","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Perkovic_-Slavica-and-Baltz_-Lewis.-_Desire_-show-postcard-front.jpg?v=1781071830"},{"product_id":"maffei-yvon-lambert-paris-inv-2005","title":"Mario Maffei — Exhibition Invitation Card, Yvon Lambert Paris Project Room, 2005","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eYvon Lambert Paris Project Room, Paris, 2005\u003cbr\u003e10 × 10 cm\u003cbr\u003eOffset print on light card stock\u003cbr\u003e10 September – 20 October 2005\u003c\/p\u003e\u003cp\u003eExhibition invitation card issued for Mario Maffei at Yvon Lambert Paris Project Room. The recto carries a childlike figurative drawing incorporating references to Paris, fascist imagery, fashion graphics, and comic-strip distortion; the verso carries exhibition details and gallery information.\u003c\/p\u003e\u003cp\u003eThe drawing operates in the awkward, intentionally unstable visual language that circulated around younger figurative and neo-outsider practices during the early 2000s: part notebook image, part graphic mascot, part social caricature. The invitation compresses exhibition, identity, and reproduction into a portable square format designed for mailing and distribution.\u003c\/p\u003e\u003cp\u003eWithin The New Rare shop\/object register, the card functions less as documentation than as retained circulation material. The exhibition survives here as paper residue: artist name, temporary dates, institutional address, and reproduced image held together as a minor administrative object. The mark of the gallery remains intact; the object remains unchanged. Its placement does not.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Light handling wear, faint corner softening, and minor age toning consistent with stored gallery ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699519480146,"sku":"MAFFEI-YVONLAMBERT-INV-2005","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Maffei_-Mario.-Show-invite-card_-Yvon-Lambert-Paris-Project-Room.-2005-front_947f91a6-a3bb-4f0a-8943-28871534bcc7.jpg?v=1781075188"},{"product_id":"mcewen-non-alignment-pact-art-concept-inv-2014","title":"Adam McEwen — Non-Alignment Pact — Exhibition Opening Card, Art : Concept, Paris, 2014","description":"\u003cp\u003eExhibition opening card\u003cbr\u003eArt : Concept, Paris, 2014\u003cbr\u003e14.5 × 22 cm\u003cbr\u003eOffset print on card, folded pamphlet format\u003cbr\u003e24 October – 6 December 2014\u003c\/p\u003e\u003cp\u003eOpening card issued for Adam McEwen’s third solo exhibition at Galerie Art : Concept, Paris, with vernissage on 23 October 2014. The exhibition included new works: \u003cem\u003eConduit\u003c\/em\u003e, \u003cem\u003eEqualizing Ramp\u003c\/em\u003e, \u003cem\u003eInstrument\u003c\/em\u003e, and \u003cem\u003eHoof Bath\u003c\/em\u003e. The recto carries a photograph of a horse with its legs placed in coloured plastic buckets; the verso carries exhibition details in clean black type on white ground.\u003c\/p\u003e\u003cp\u003eMcEwen’s practice reworks ordinary objects, materials, and cultural signs into deadpan sculptural propositions. By 2014, his work was already associated with graphite objects, obituaries, industrial forms, and a dry treatment of public language and use-value. This card sits close to that register: announcement, image, joke, object record.\u003c\/p\u003e\u003cp\u003eThe horse image — presumably connected to \u003cem\u003eHoof Bath\u003c\/em\u003e — operates as both documentation and proposition: an animal in primary-coloured buckets, somewhere between veterinary procedure and colour-field painting.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Light handling wear, minor surface marks, soft edge wear, and faint creasing consistent with printed exhibition ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699535012178,"sku":"MCEWEN-ARTCONCEPT-INV-2014","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/McEwen_Adam._Non-Alignment_Pact_Exhibition_opening_card._2014_front.jpg?v=1781073144"},{"product_id":"pondick-patricia-faure-gallery-inv-1996","title":"Rona Pondick — Exhibition Poster\/Mailer, Patricia Faure Gallery, Santa Monica, 1996","description":"\u003cp\u003eExhibition poster\/mailer\u003cbr\u003ePatricia Faure Gallery, Santa Monica\u003cbr\u003eApril 20 – May 25, 1996\u003cbr\u003e17.5 × 12.5 cm folded; opens to 25 × 35 cm\u003cbr\u003eOffset lithograph on paper\u003cbr\u003eMachine-folded twice as mailed\u003c\/p\u003e\u003cp\u003ePoster\/mailer issued for Rona Pondick at Patricia Faure Gallery, Santa Monica. Full-sheet image to interior; exterior printed with gallery return address and postal indicia. Documented example listed as mailed.\u003c\/p\u003e\u003cp\u003ePondick’s work of the 1990s developed around the body, fragmentation, teeth, mouths, beds, shoes, and psychologically charged sculptural forms. Her 1996 Patricia Faure exhibition sits within a strong period that also included \u003cem\u003eMine\u003c\/em\u003e at the Brooklyn Museum \/ BAM and shows with Susan Inglett and Howard Yezerski.\u003c\/p\u003e\u003cp\u003eA mailed support. Poster, announcement, image, address surface. The object records exhibition circulation through fold, print, and postal use.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Fold lines, light creasing, handling marks, faint surface wear and age toning.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699981082962,"sku":"PONDICK-PATRICIAFAURE-INV-1996","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Pondick_Rona._Gallery_poster_reception_Patricia_Faure_Gallery._1996_poster_full.jpg?v=1781073746"},{"product_id":"morrisroe-clampart-inv-2011","title":"Mark Morrisroe — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eClampArt, New York\u003cbr\u003e24 March – 30 April 2011\u003cbr\u003e13.5 × 21 cm\u003cbr\u003eOffset print on card stock\u003c\/p\u003e\u003cp\u003eAnnouncement card for Mark Morrisroe (1959–1989) at ClampArt, New York. Issued to coincide with \u003cem\u003eMark Morrisroe: From This Moment On\u003c\/em\u003e at Artists Space — the first comprehensive U.S. survey of Morrisroe’s work. The recto reproduces \u003cem\u003eSelf Portrait\u003c\/em\u003e, 1980\/1996, from the Ringier Collection, Fotomuseum Winterthur.\u003c\/p\u003e\u003cp\u003eMorrisroe was a key figure in the Boston School and late 1970s\/1980s queer photographic culture. His photographs, photograms, hand-worked prints, and films drew from friends, lovers, performance, illness, self-mythology, and everyday life. He died from AIDS-related illness at thirty, leaving a short but highly influential body of work.\u003c\/p\u003e\u003cp\u003eA small announcement card from the 2011 re-entry of Morrisroe’s work into wider institutional circulation. Portrait, dates, gallery address, concurrent survey. The artist compressed into a mailed support.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light surface rubbing, minor handling marks, faint age toning, and slight corner wear.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53700998988114,"sku":"MORRISROE-CLAMPART-INV-2011","price":40.0,"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_eee944d2-bb62-42d1-a96a-ebe6a24b1f0c.jpg?v=1781075429"},{"product_id":"export-1980-venice-biennale-ropac-inv-2019","title":"VALIE EXPORT — The 1980 Venice Biennale Works — Private View Card \u0026 Press Release, Galerie Thaddaeus Ropac, London, 2019","description":"\u003cp\u003ePrivate view invitation card and folded press release\u003cbr\u003eGalerie Thaddaeus Ropac, London, 2019\u003cbr\u003eInvitation: 15 × 21 cm\u003cbr\u003ePress release: 15 × 21 cm folded; 30 × 21 cm unfolded\u003cbr\u003eOffset print on card and folded paper\u003cbr\u003e29 November 2019 – 25 January 2020\u003c\/p\u003e\u003cp\u003ePrivate view invitation card and folded press release issued for VALIE EXPORT’s first solo exhibition at Galerie Thaddaeus Ropac London. The exhibition restaged works from her 1980 Austrian Pavilion presentation at the 39th Venice Biennale, originally shown alongside Maria Lassnig.\u003c\/p\u003e\u003cp\u003eThe invitation reproduces \u003cem\u003eEinkreisung \/ Encirclement\u003c\/em\u003e, 1976\/1980 — EXPORT’s body positioned against the urban pavement, enclosed by a painted red line. The press release includes exhibition text, artist biography, installation details, and images connected to the Venice Biennale works, including the \u003cem\u003eBody Configurations\u003c\/em\u003e series and the \u003cem\u003eGeburtenmadonna\u003c\/em\u003e sculpture.\u003c\/p\u003e\u003cp\u003eVALIE EXPORT was one of the central figures of postwar feminist performance, film, photography, and media art. Her work used the body as a site of language, control, exposure, and resistance — positioning her alongside Joseph Beuys and Allan Kaprow as one of the earliest performance artists. The 2019 Ropac exhibition marked a key moment in the institutional reactivation of the 1980 Venice Biennale works after decades.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Light handling wear, minor surface marks, faint creasing, and softening to edges and corners.\u003c\/p\u003e\u003cp\u003eShipping and handling included. Packed flat with archival protection.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53702053331282,"sku":"EXPORT-ROPAC-INV-2019","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Vaile_Export._Postcard_invite_1980_Venice_Biennale_works._2019_front.jpg?v=1781076941"},{"product_id":"virgins-show-family-business-inv-2012","title":"The Virgins Show — Curated by Marilyn Minter — Exhibition Invitation Card, Family Business, New York, 2012","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eFamily Business, New York\u003cbr\u003e16 February 2012\u003cbr\u003e17.5 × 13 cm\u003cbr\u003eOffset print on semi-gloss card stock, double-sided\u003c\/p\u003e\u003cp\u003eInvitation card issued for \u003cem\u003eThe Virgins Show\u003c\/em\u003e, curated by Marilyn Minter, at Family Business, New York. Family Business was a short-lived but highly influential exhibition space initiated by Maurizio Cattelan and Massimiliano Gioni in collaboration with Bard College’s Center for Curatorial Studies, operating between artist-run project space, social experiment, storefront institution, and curatorial platform.\u003c\/p\u003e\u003cp\u003eThe exhibition presented two groups: \u003cem\u003eThe Virgins\u003c\/em\u003e — Andrew Brischler, Eric Mistretta, David Mramor, Rebecca Ward, and more — and \u003cem\u003eThe Born Again Virgins\u003c\/em\u003e — Patty Chang, Kate Gilmore, Laurel Nakadate, Wangechi Mutu, Mika Rottenberg, and Aida Ruilova. The recto stages a deliberately awkward pseudo-family portrait centred around a microwave appliance; the verso reduces the exhibition to administrative typography: names, date, location, opening hours.\u003c\/p\u003e\u003cp\u003eWithin the The New Rare object-register, the card functions less as documentation than as retained circulation material from a specific moment in post-2008 New York exhibition culture: provisional, ironic, socially networked, and intentionally unstable in tone. A printed support from a project that treated the exhibition itself as a mutable social form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light surface wear, faint handling marks, minor corner softening, and light age toning consistent with circulated exhibition ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53702135644498,"sku":"FAMILYBUSINESS-VIRGINSSHOW-INV-2012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mrischler_Andrew._Mistretta_Eric._Mramor_David._Ward_Rebecca._Show_invite_The_Virgins_Show_Family_Business._2012_front.jpg?v=1781077783"},{"product_id":"basquiat-artscribe-no-47-1984","title":"Jean-Michel Basquiat — Artscribe No. 47, July–August 1984","description":"\u003cp\u003eSoftcover magazine\u003cbr\u003eLondon: Artscribe International, 1984\u003cbr\u003eApprox. 29.5 × 21 cm\u003c\/p\u003e\u003cp\u003eRare 1984 issue of \u003cem\u003eArtscribe\u003c\/em\u003e featuring a full wraparound cover by Jean-Michel Basquiat, with two interior double-page Basquiat image spreads printed inside the magazine. The cover extends across front and back, turning the periodical itself into a temporary printed support for Basquiat’s drawing language.\u003c\/p\u003e\u003cp\u003eIssued during a crucial early moment in Basquiat’s international visibility, this issue sits before the later saturation of his image through museum catalogues, merchandise, and posthumous reproduction. Here, Basquiat appears in real time, inserted into the British art press as both cover image and interior sequence.\u003c\/p\u003e\u003cp\u003eComplete copies with the wraparound cover intact and strong interior Basquiat pages are increasingly scarce. This is not a later retrospective publication, but a period object from 1984: magazine, distribution surface, and retained evidence of Basquiat’s early circulation through the European art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light toning, rubbing, edge wear, softened corners, minor creasing, and handling marks consistent with age and use. Interior Basquiat spreads remain present and strong.\u003c\/p\u003e\u003cp\u003eA sharp early Basquiat-related publication object.\u003cbr\u003e\u003cem\u003eThe magazine carried the image. The object remained.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed with protective backing.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53716302725458,"sku":"BASQUIAT-ARTSCRIBE-MAG-1984","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Issue_47_July_August_1984._Jean-Michel_Basquiat.jpg?v=1781161447"},{"product_id":"alibis-centre-pompidou-inv-1984","title":"Alibis — Exhibition Invitation Card, Centre Georges Pompidou \/ Musée national d’art moderne, Paris, 1984","description":"\u003cp\u003eExhibition invitation \/ fold-out card\u003cbr\u003eCentre Georges Pompidou \/ Musée national d’art moderne, Paris\u003cbr\u003e16 × 21 cm folded \/ 32 × 21 cm unfolded\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003eJuly–September 1984\u003c\/p\u003e\u003cp\u003eOriginal folded invitation card for \u003cem\u003eAlibis\u003c\/em\u003e, the important 1984 group exhibition at the Centre Georges Pompidou featuring Richard Artschwager, Gérard Collin-Thiébaut, Luciano Fabro, Gérard Garouste, Pierre Klossowski, Robert Longo, Carlo-Maria Mariani, Cindy Sherman, Jan Vercruysse, Didier Vermeiren, and William Wegman.\u003c\/p\u003e\u003cp\u003eThe invitation was produced during the same period that Philippe Thomas and Information Fiction Publicité were beginning to test the instability between exhibition, authorship, advertising, and administrative display structures in France. While Thomas is not directly named in the exhibition, the object sits very close to that emerging landscape: institutional graphics, image circulation, and exhibition identity treated as transferable surfaces.\u003c\/p\u003e\u003cp\u003eThe exterior reproduces a film-studio backlot image dominated by an artificial sky façade — a fitting image for an exhibition titled \u003cem\u003eAlibis\u003c\/em\u003e. Inside, the invitation opens into a blue cloud field carrying the artist list and vernissage information. The graphic structure feels unusually cinematic and self-aware for an institutional invitation of the period, hovering somewhere between exhibition support, publicity device, and conceptual image-object.\u003c\/p\u003e\u003cp\u003eSurviving examples are uncommon outside institutional archives and specialist ephemera collections, particularly in complete unfolded condition. Material from this early-1980s Pompidou moment — especially tied to post-conceptual and Pictures Generation-adjacent artists — has become increasingly difficult to locate as printed exhibition matter from the period is absorbed into archives and private collections.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light surface wear, faint handling marks, minor age toning, and soft corner wear consistent with period exhibition ephemera. The marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eA printed support from an important moment of institutional transition: photography, simulation, staging, sculpture, fiction, and identity beginning to circulate through the museum as interchangeable formats.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53718079799634,"sku":"THOMAS-POMPIDOU-INV-1984","price":240.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Thomas_Phillippe_Centre_Georges_Pompidou_1984.jpg?v=1781173754"},{"product_id":"objets-67-galerie-mathias-fels-cat-1967","title":"Objets 67 — Exhibition Catalogue, Galerie Mathias Fels et Cie., Paris, 1967","description":"\u003cp\u003eExhibition catalogue \/ gallery announcement\u003cbr\u003eGalerie Mathias Fels et Cie., 138 Boulevard Haussmann, Paris 8\u003cbr\u003eOffset-printed stapled booklet\u003cbr\u003eParis, 1967\u003c\/p\u003e\u003cp\u003eRare exhibition catalogue issued by Galerie Mathias Fels et Cie., Paris, for \u003cem\u003eObjets 67\u003c\/em\u003e in 1967. The cover features a bold red and green overlapping typographic design characteristic of late-1960s Parisian gallery graphics, associated with the postwar French object-based practices orbiting Nouveau Réalisme and kinetic and sculptural experimentation, including artists such as Arman, Adzak, and related European assemblage and object practitioners active during the period.\u003c\/p\u003e\u003cp\u003eThe publication operates less as a conventional catalogue than as exhibition infrastructure: temporary support material produced for circulation, navigation, and institutional visibility. The near-blank reverse reinforces its quality as a retained graphic surface rather than purely informational document.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, handling marks, soft creasing, minor discoloration, and age toning throughout. Evidence of storage and circulation consistent with surviving gallery ephemera from the period.\u003c\/p\u003e\u003cp\u003eA surviving fragment of postwar gallery administration where typography, exhibition design, and object culture briefly converge. The exhibition disappears; the support remains.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726352671058,"sku":"ARMAN-MATFELS-CAT-1967","price":220.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Adzak_Arman_Brusse_Mark._Objets_67_Show_catalogue._1967_0f022ea4-5808-4f12-878f-4ce4c35da733.jpg?v=1781244193"},{"product_id":"young-americans-2-saatchi-cat-1998","title":"Young Americans 2: Part Two — Exhibition Catalogue, The Saatchi Gallery, London, 1998","description":"\u003cp\u003eExhibition catalogue \/ folded announcement\u003cbr\u003eThe Saatchi Gallery, 98A Boundary Road, London NW8 0RH\u003cbr\u003eOffset print on folded lightweight stock\u003cbr\u003e10 September – 22 November 1998\u003c\/p\u003e\u003cp\u003eRare folded exhibition announcement for \u003cem\u003eYoung Americans 2: Part Two\u003c\/em\u003e, held at The Saatchi Gallery, London, 1998. Features an early institutional grouping of artists who would become central to the language of late-1990s and early-2000s contemporary art: Michael Ashkin, John Currin, Tom Friedman, Martin Kersels, Clay Ketter, Robin Lowe, Josiah McElheny, Sarah Morris, Laura Owens, Elizabeth Peyton, Monique Prieto, Brian Tolle, Sue Williams, and Lisa Yuskavage.\u003c\/p\u003e\u003cp\u003eProduced at a moment before many of these practices fully stabilised into museum and auction canon, the document functions as both exhibition support and historical index: a temporary administrative object that now reads retrospectively as an accidental inventory of emerging contemporary art mythology.\u003c\/p\u003e\u003cp\u003eMore than a checklist, the object records a transitional moment when contemporary painting, conceptual installation, abject figuration, and post-minimal sculpture briefly occupied the same institutional framework before market and historical positions became fixed.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, handling marks, soft creasing, surface rubbing, and age toning throughout. Minor signs of storage and circulation consistent with late-1990s gallery ephemera.\u003c\/p\u003e\u003cp\u003eA gallery handout retained long enough to become artifact.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726379868498,"sku":"PEYTON-SAATCHI-CAT-1998","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ashkin_Michael._Currin_John._Friedman_Tom._Peyton_Elizabeth._Young_Americans_2._1998_98baadac-27a8-4510-ae55-55f86623bc25.jpg?v=1781244998"},{"product_id":"bag-ica-miami-poster-2015","title":"Alex Bag — The Leroy Group: The Van (Redux)* — Exhibition Poster, ICA Miami, 2015","description":"\u003cp\u003eLarge-format exhibition poster\u003cbr\u003eICA Miami \/ The Leroy Leloup Corporation\u003cbr\u003eOffset print on glossy stock, folded as issued\u003cbr\u003e1 December 2015 – 31 January 2016\u003c\/p\u003e\u003cp\u003eLarge-format exhibition poster produced for \u003cem\u003eThe Van (Redux)*\u003c\/em\u003e, a 2015–2016 presentation by Alex Bag at the Institute of Contemporary Art Miami. The poster documents Bag’s long-running fictional corporate structure surrounding the character Leroy Leloup: an unstable salesman, producer, cultural entrepreneur, media drifter, and failed executive figure moving between parody, performance, television culture, and administrative language.\u003c\/p\u003e\u003cp\u003eThe exhibition is framed not simply as an artwork but as a licensed presentation by “The Leroy Leloup Corporation, a licensed subsidiary of Blood Oath Holding Company LLC,” extending Bag’s practice of collapsing entertainment branding, corporate identity, authorship, and institutional display into the same structure.\u003c\/p\u003e\u003cp\u003ePart exhibition announcement, part fictional corporate advertisement, part administrative hallucination, the poster functions as a surviving support object from a moment when contemporary art increasingly absorbed the language of branding, licensing, subsidiaries, media performance, and entertainment economies. Seen now, the work feels unexpectedly adjacent to post-internet image circulation, corporate roleplay, delegated identity, and the unstable authorship structures later intensified through platform culture and AI-generated personas.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Original fold lines throughout, light surface wear, minor handling marks, soft creasing, and light edge wear consistent with institutional poster distribution and storage.\u003c\/p\u003e\u003cp\u003eA temporary institutional surface retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726396645714,"sku":"BAG-ICAMIAMI-POST-2015","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bag_Alex._The_Leroy_Group._The_Van_Redux_._2015.jpg?v=1781245383"},{"product_id":"bainbridge-walker-viewpoints-cat-1986","title":"Eric Bainbridge — Viewpoints — Exhibition Brochure, Walker Art Center, Minneapolis, 1986","description":"\u003cp\u003eExhibition brochure \/ catalogue\u003cbr\u003eWalker Art Center, Minneapolis\u003cbr\u003eOffset print on folded lightweight stock\u003cbr\u003e1986\u003c\/p\u003e\u003cp\u003eRare exhibition brochure produced for Eric Bainbridge as part of the \u003cem\u003eViewpoints\u003c\/em\u003e series at the Walker Art Center, Minneapolis, in 1986. Features Bainbridge’s early anthropomorphic sculpture \u003cem\u003eHandle\u003c\/em\u003e (1986) on the cover: a fur-covered hybrid form positioned somewhere between cartoon mascot, damaged modernist object, stuffed animal, and post-minimal grotesque.\u003c\/p\u003e\u003cp\u003eThe publication includes biography, exhibition history, checklist, and installation documentation from a formative period in Bainbridge’s practice. Produced at a moment when British sculpture was shifting away from strict formalism toward theatricality, absurdity, synthetic materials, bodily humour, and unstable object identities, the brochure now reads as a document of transition between post-minimalism, Neo-Geo-era excess, abject sculpture, and a specifically British strain of awkward anti-monumentality.\u003c\/p\u003e\u003cp\u003eSeen now, the object feels unexpectedly contemporary. Bainbridge’s sculptures anticipate later conversations around mascot aesthetics, failed figuration, plush materiality, emotional infrastructure, low-theory object culture, and the strange psychological register later explored by artists including Mike Kelley, Paul McCarthy, Jason Rhoades, and certain post-internet sculptural practices.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, soft creasing, handling marks, and minor surface discoloration consistent with institutional circulation and archive storage.\u003c\/p\u003e\u003cp\u003eA temporary museum support object retained long enough to become sculpture-adjacent again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726429118802,"sku":"BAINBRIDGE-WALKER-CAT-1986","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bainbridge_Erica._Viewpoints_show_catalogue._1986.jpg?v=1781245892"},{"product_id":"seul-et-le-corps-galerie-du-dragon-cat-1966","title":"Seul, et le corps… — Exhibition Catalogue, Galerie du Dragon, Paris, c.1966","description":"\u003cp\u003eExhibition catalogue \/ booklet\u003cbr\u003eGalerie du Dragon, Paris\u003cbr\u003eMinimal typographic cover on matte stock, stapled\u003cbr\u003ec.1966\u003c\/p\u003e\u003cp\u003eRare exhibition catalogue issued by Galerie du Dragon, Paris, for \u003cem\u003eSeul, et le corps…\u003c\/em\u003e, a group exhibition examining the body as psychological image, symbolic structure, erotic surface, and postwar existential form. Includes works by Balthus, Hans Bellmer, César, Cremonini, Salvador Dalí, Alberto Giacometti, Hélion, Hiquily, Ipoustéguy, René Magritte, Roberto Matta, Petlin, and Rosofsky.\u003c\/p\u003e\u003cp\u003eThe title — “Alone, and the Body…” — frames the publication less as a standard exhibition checklist than as a concentrated philosophical proposition around isolation, eroticism, fragmentation, and corporeal presence during the postwar period. Seen now, the publication reads almost like a compressed genealogy for later body-centred practices ranging from Paul McCarthy and Mike Kelley to Cindy Sherman, Kiki Smith, and contemporary abject figuration.\u003c\/p\u003e\u003cp\u003eWhat initially appears restrained and administrative slowly becomes psychologically dense through the accumulation of names alone. The publication functions simultaneously as exhibition document, historical map, and condensed postwar body archive.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, softened edges, handling marks, and minor surface wear throughout consistent with archive storage and circulation.\u003c\/p\u003e\u003cp\u003eA temporary gallery structure retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726435967314,"sku":"BELLMER-GAL3PLUS2-CAT-1966","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Balthus_Bellmer_Cesar_Cremonini_Dali_Ciacometti_Helion_Hiquilt_Ipousteguy_Magritte_Matta_Petlin_Rosofsky._Seul_et_le_Corps._1966.jpg?v=1781246340"},{"product_id":"constructures-nohra-haime-cat-1985","title":"Constructures: New Perimetrics in Abstract Painting — Exhibition Catalogue, Nohra Haime Gallery, New York, c.1985","description":"\u003cp\u003eExhibition catalogue \/ booklet\u003cbr\u003eNohra Haime Gallery, 1000 Madison Avenue, New York, N.Y. 10021\u003cbr\u003eOffset print on matte stock, stapled\u003cbr\u003ec.1985\u003c\/p\u003e\u003cp\u003eRare exhibition catalogue issued by Nohra Haime Gallery, New York, for \u003cem\u003eConstructures: New Perimetrics in Abstract Painting\u003c\/em\u003e, a mid-1980s group exhibition examining geometric abstraction, shaped pictorial space, constructed surfaces, and post-minimal painting languages at a moment when abstraction was being reconsidered after conceptual art and late modernism.\u003c\/p\u003e\u003cp\u003eThe publication’s severe typographic cover design — halfway between architectural proposal, proto-digital graphics, and bureaucratic science-fiction — unexpectedly anticipates later conversations around techno-formalism, Neo-Geo aesthetics, speculative architecture, and administrative abstraction. Rather than presenting painting as purely optical, the exhibition reframes abstraction as constructed spatial logic: perimeter, edge, support, structure, system.\u003c\/p\u003e\u003cp\u003eSeen now, the document feels surprisingly close to later conversations surrounding Peter Halley, Haim Steinbach, Philippe Thomas-era display structures, graphic identity systems, and post-conceptual exhibition design.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light handling wear, edge softening, surface rubbing, age toning, and minor creasing consistent with gallery circulation and archive storage.\u003c\/p\u003e\u003cp\u003ePart exhibition document, part design artifact, part failed future-modernist proposal, the object survives less as a neutral catalogue than as a fragment from a moment when abstraction attempted to reorganise itself through systems language, architecture, and display logic.\u003c\/p\u003e\u003cp\u003eA temporary support structure retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726448419154,"sku":"BARTH-NOHRAHAIME-CAT-1985","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Barth_Frances._Katz_Mel._Constructures_New_Perimetrics_in_Abstract_Painting._1985.jpg?v=1781246742"},{"product_id":"coup-denvois-musee-de-la-poste-1989","title":"Coup d’envois ou l’art à la lettre — Press Dossier, Musée de La Poste, Paris, 1989","description":"\u003cp\u003eSpiral-bound press dossier\u003cbr\u003eMusée de La Poste, 34 boulevard de Vaugirard, Paris XVe\u003cbr\u003ePhotocopied and offset printed internal documentation\u003cbr\u003e10 January – 25 March 1989\u003c\/p\u003e\u003cp\u003eRare spiral-bound press dossier produced for \u003cem\u003eCoup d’envois ou l’art à la lettre\u003c\/em\u003e, a large-scale 1989 exhibition at the Musée de La Poste examining correspondences between mail systems, conceptual art, artist communication networks, poetry, Fluxus strategies, and postal circulation. Includes references to more than one hundred artists and writers, among them Joseph Beuys, Roland Barthes, Carl Andre, Marcel Broodthaers, On Kawara, Pablo Picasso, Andy Warhol, Jean Tinguely, Arman, and others associated with conceptual art, mail art, postwar European avant-garde networks, institutional critique, and systems-based artistic circulation.\u003c\/p\u003e\u003cp\u003eProduced as a press dossier rather than a trade publication, the object retains the administrative texture of late-1980s institutional culture: photocopied pages, spiral binding, internal distribution logic, informational formatting, and temporary documentary function. Precisely because of this, the publication now feels unusually close to contemporary conversations around networks, circulation systems, delegated authorship, archives, metadata, communication infrastructures, and post-digital artistic identity.\u003c\/p\u003e\u003cp\u003eThe title itself — “Coup d’envois” (“postal dispatch” \/ “sending strike”) — transforms the exhibition into a system of transmission rather than a fixed exhibition event.\u003c\/p\u003e\u003cp\u003eSeen now, the object feels unexpectedly adjacent to Philippe Thomas, Seth Siegelaub, Fluxus mail networks, early conceptual distribution systems, and contemporary platform-based image circulation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, handling wear, softened corners, surface rubbing, and minor institutional wear consistent with archive retention and administrative circulation.\u003c\/p\u003e\u003cp\u003eA temporary communication structure retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726687560018,"sku":"BEUYS-LAPOSTE-CAT-1989","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Beuys_Joseph._Barthes_Roland._Carl_Andre._Picasso._Warhol._Coup_d_envois_ou_l_art_a_la_lettre_1989.jpg?v=1781246951"},{"product_id":"magritte-8-sculptures-hanover-poster-1968","title":"René Magritte — The 8 Sculptures of Magritte — Exhibition Poster, Hanover Gallery, London, 1968","description":"\u003cp\u003eFolded exhibition poster\u003cbr\u003eHanover Gallery, London W1\u003cbr\u003eOffset print on thin stock, folded as issued\u003cbr\u003eJune – August 1968\u003cbr\u003ePrinted by Sergio Tosi, Milan\u003c\/p\u003e\u003cp\u003eA late-1960s London exhibition document marking the circulation of Magritte’s sculptural works through gallery, publishing, and print networks. Furniture, object, and surreal proposition collapse into a single printed surface, with the folds and handling marks remaining visible as part of the object’s passage through storage and display.\u003c\/p\u003e\u003cp\u003ePrinted in Milan by Sergio Tosi, the small experimental publisher and printer associated with postwar European avant-garde publishing, artist books, and exhibition material. The printer’s credit quietly expands the poster beyond a local gallery announcement: Belgian artist, London exhibition, Milanese production. A document moving through multiple systems of cultural circulation.\u003c\/p\u003e\u003cp\u003eThe poster no longer simply announces the exhibition. It becomes retained exhibition architecture — a surviving support structure from the movement of Surrealism through postwar Europe.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Vintage wear, fold lines, light creasing, and handling marks consistent with storage and circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726715707730,"sku":"MAGRITTE-HANOVER-POST-1968","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Magritte_12_June_2026_at_08.53.07.png?v=1781252014"},{"product_id":"testino-moss-calvin-klein-pc-2000s","title":"Mario Testino — Kate Moss for Calvin Klein Jeans — Promotional Postcard, c. late 1990s–early 2000s","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003ec. late 1990s–early 2000s\u003c\/p\u003e\u003cp\u003ePhotograph by Mario Testino featuring Kate Moss for Calvin Klein Jeans. Unused postcard reverse with printed address box and CK logo.\u003c\/p\u003e\u003cp\u003eA mass-produced fashion image that now reads less as advertisement than retained cultural support. The card compresses several late-1990s systems into a single portable surface: celebrity photography, denim branding, supermodel image culture, and the collapse between fashion editorial and contemporary art photography.\u003c\/p\u003e\u003cp\u003eWhat once functioned as promotional distribution material begins to resemble a minor photographic multiple. The image survives detached from its original campaign infrastructure — no magazine binding, no billboard scale, no retail environment — only the reduced portable card remains.\u003c\/p\u003e\u003cp\u003eThe unused reverse is important. A postcard designed for circulation that never entered the postal system. Distribution withheld. A promotional object suspended before use.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, the object sits somewhere between postcard, advertisement, and reproduced artwork. Testino’s photography helped define a moment when fashion imagery adopted the visual authority of contemporary art while simultaneously circulating through mass-market channels. Kate Moss appears here less as subject than as transferable image-form: body, brand, lifestyle, commodity.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, faint surface handling, minor corner softening consistent with circulated fashion ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727387910482,"sku":"TESTINO-CK-PC-2000","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Jeans_Advert._Unknown_2.jpg?v=1781259059"},{"product_id":"testino-moss-calvin-klein-maxracks-pc-2000","title":"Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003eDistributed through Max Racks free postcard network\u003cbr\u003ec.2000\u003c\/p\u003e\u003cp\u003ePhotograph by Mario Testino featuring Kate Moss for Calvin Klein Jeans, distributed through the Max Racks free postcard network. Unused example with printed address fields and promotional text to verso.\u003c\/p\u003e\u003cp\u003eAn advertising image already structured like a contemporary artwork. Black-and-white fashion photography, isolated figure, reduced typography, controlled emptiness. By the late 1990s, the Calvin Klein campaign had effectively absorbed the visual language of gallery photography into commercial circulation.\u003c\/p\u003e\u003cp\u003eThe Max Racks reverse matters. The postcard turns the campaign into a free distributable object: taken from cafés, clubs, bookstores, college campuses, and retail sites, then carried through informal networks of youth circulation. Fashion photography leaves the magazine page and becomes portable infrastructure.\u003c\/p\u003e\u003cp\u003eWithin The New Rare framework, the object operates less as memorabilia than as a retained unit of image distribution. The postcard records a moment when luxury branding, celebrity identity, and art-direction aesthetics collapsed into the same surface economy. Kate Moss appears here as reproduced presence rather than individual subject. The body functions simultaneously as fashion image, lifestyle proposition, and transferable media form.\u003c\/p\u003e\u003cp\u003eThe unused reverse preserves the object before activation. A postcard produced for circulation that survives in suspended form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, faint handling wear, soft corner wear.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727460950354,"sku":"TESTINO-CK-PC-2000B","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Jeans_Advert._Unknown.jpg?v=1781259565"},{"product_id":"ck-one-calvin-klein-fragrance-pc-1996","title":"CK One — Calvin Klein Fragrance Promotional Postcard, 1996","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003e1996\u003c\/p\u003e\u003cp\u003eCalvin Klein CK One fragrance campaign postcard featuring Kate Moss. Printed copyright line dated 1996 to verso. Unused postcard reverse with minimalist CK One branding.\u003c\/p\u003e\u003cp\u003eA reduced fragment from one of the defining image systems of the 1990s. CK One operated less as a conventional fragrance campaign than as a broader visual program built around neutrality, youth culture, and controlled ambiguity. Gender becomes softened, branding becomes sparse, identity becomes atmospheric rather than fixed.\u003c\/p\u003e\u003cp\u003eThe postcard preserves that transition in portable form. Fashion photography, fragrance advertising, celebrity culture, and minimalist graphic design collapse into a single distributable object. The image feels almost administrative in its restraint: white background, cropped figures, centred bottle, nearly empty space.\u003c\/p\u003e\u003cp\u003eThe phrase printed on the reverse — “a fragrance for a man or a woman” — remains historically precise. CK One entered circulation during a moment when fashion and advertising began publicly experimenting with androgyny, neutrality, and lifestyle identity as market form. Looking back, the card functions almost as a minor social document disguised as advertising material.\u003c\/p\u003e\u003cp\u003eThe unused reverse matters again here. A postcard produced for transmission that remains inactive. Communication suspended. Distribution without message.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, soft edge wear, minor surface marks consistent with stored promotional ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727596020050,"sku":"TESTINO-CK-PC-1996","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Fragrance_Advert._Unknown_1.jpg?v=1781259880"}],"url":"https:\/\/thenewrare.com\/collections\/biblioteka-art-book-fair-2026.oembed","provider":"The New Rare","version":"1.0","type":"link"}