{"title":"Conceptual Art Ephemera","description":"\u003cp\u003eFrom the mid-1960s, conceptual artists made the idea the work, and often made printed matter part of it: an invitation, a catalogue or a certificate could carry the piece itself. What was printed for these shows is often the closest thing to the work that survives. The New Rare holds that printed record and its after-lives, from Lawrence Weiner, Joseph Kosuth and Art \u0026amp; Language to Philippe Thomas and Jenny Holzer, each catalogued with its own register number and condition.\u003c\/p\u003e","products":[{"product_id":"jenny-holzer-private-property-created-crime-1984","title":"JENNY HOLZER — Private Property Created Crime, Kunsthalle Basel \/ Le Nouveau Musée, 1984","description":"\u003cp\u003eEnglish.\u003c\/p\u003e\u003cp\u003ePublished to accompany exhibitions at Kunsthalle Basel and Le Nouveau Musée, the book documents the period in which Holzer’s language circulated through posters, plaques, stickers, T-shirts, and electronic signs — establishing text as a public medium rather than a private literary form.\u003c\/p\u003e\u003cp\u003eThe photographs are arranged in discrete sequences: \u003cem\u003eTruisms\u003c\/em\u003e (1977–1983), \u003cem\u003eEssays\u003c\/em\u003e (1979–1983), \u003cem\u003eLiving\u003c\/em\u003e (1981–1983), and \u003cem\u003eSurvival\u003c\/em\u003e (1983–1984). A brief introduction by Jean-Christophe Ammann appears at the front, with a biography and bibliography at the rear.\u003c\/p\u003e\u003cp\u003eRather than functioning only as documentation, the book redistributes Holzer’s work in portable form. Street posters, Times Square signage, inscriptions, and public declarations are reorganised here as a sequence of appearances. The result sits somewhere between exhibition record, artist’s book, and distribution device.\u003c\/p\u003e\u003cp\u003eA strong early Holzer title, and an especially clear document of the years in which her texts moved through the street, the billboard, and the page.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003c\/p\u003e","brand":"Kunsthalle Basel","offers":[{"title":"Default Title","offer_id":53053620191570,"sku":"TNR-2026-0011","price":60.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JennyHolzer.PrivatePropertyCreatedCrime.Basel_Villeurbanne.198401.jpg?v=1774839269"},{"product_id":"christian-jankowski-the-holy-artwork-2002","title":"CHRISTIAN JANKOWSKI — The Holy Artwork, Revolver \/ Künstlerhaus Bethanien, 2002","description":"\u003cp\u003eEnglish.\u003c\/p\u003e\u003cp\u003eA compact publication centred on Jankowski’s \u003cem\u003eThe Holy Artwork\u003c\/em\u003e (2001), a video work filmed at Harvest Fellowship Church in San Antonio, Texas, in collaboration with Pastor Peter Spencer. In the video, Jankowski collapses at the pastor’s podium; Spencer interprets the action for the congregation and television audience as a form of holy art — merging sermon, performance, and broadcast into a single gesture.\u003c\/p\u003e\u003cp\u003eWhat makes the book especially strong is the way it preserves that transfer between institutions. Rather than simply documenting a video, it reorganises the project as a portable sequence of stills, text, sermon fragments, and mediated images — moving between televangelism, performance, video art, and printed matter. This is very much in keeping with Jankowski’s broader practice of outsourcing authorship and rerouting art through existing public formats.\u003c\/p\u003e\u003cp\u003eA sharp early-2000s title where the artist’s book functions less as support material than as a secondary site for the work itself.\u003c\/p\u003e","brand":"Revolver","offers":[{"title":"Default Title","offer_id":53053791371602,"sku":"TNR-2026-0014","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ChristianJankowski01.jpg?v=1774846143"},{"product_id":"sarkis-reserves-sans-retour-capc-bordeaux-invitation-card-1980","title":"SARKIS — Réserves sans retour, CAPC Bordeaux, 1980","description":"\u003cp\u003e\u003cstrong\u003e£40 — shipping and handling included\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA period invitation card for \u003cstrong\u003eSarkis's \u003cem\u003eRéserves sans retour\u003c\/em\u003e\u003c\/strong\u003e, issued in relation to the CAPC-organised exhibition at the \u003cstrong\u003eBase sous-marine, Bordeaux\u003c\/strong\u003e in 1980. More than an announcement, the card functions as a small operational document: part invitation, part directional device, part residue of an exhibition staged inside a former German wartime structure not yet fully absorbed into the language of culture.\u003c\/p\u003e\u003cp\u003eDeep red recto with the title set in black script: \u003cstrong\u003eSarkis \"réserves sans retour.\"\u003c\/strong\u003e The verso is given over to information and cartography: \u003cstrong\u003ecapc \/ Entrée n°7 \/ Hangar \/ quai de Bacalan \/ Tél. (56) 44.16.35 \/ Centre d'Arts Contemporains de Bordeaux\u003c\/strong\u003e, alongside a printed street map locating the \u003cstrong\u003eBase sous-marine\u003c\/strong\u003e in relation to CAPC and the city. That map is one of the more compelling features here. It situates the exhibition not simply in a venue, but within an urban and historical field. The card does not just announce a show; it diagrams access to it.\u003c\/p\u003e\u003cp\u003eThe exhibition belongs to an important moment in Sarkis's trajectory, when questions of memory, displacement, architecture, and historical charge became inseparable from the work itself. It also belongs to an early phase in the cultural reuse of the Bordeaux submarine base, before such conversions became a familiar curatorial model. In that sense, this piece registers a shift: from military infrastructure to exhibition site, from logistics to art.\u003c\/p\u003e\u003cp\u003eA spare and unusually intelligent piece of French art ephemera, with strong graphic presence and a quietly conceptual use of printed navigation. Scarce.\u003c\/p\u003e","brand":"CAPC Bordeaux","offers":[{"title":"Default Title","offer_id":53073498734930,"sku":"TNR-2026-0015","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarkis_0001_7a9e9a5e-59f7-4fed-8e2b-271d7dae5248.jpg?v=1774990937"},{"product_id":"sarkis-ma-chambre-de-la-rue-krutenau-ile-san-lazzaro-venice-1990","title":"SARKIS — Ma Chambre de la Rue Krutenau à l’Île San Lazzaro, Venice, 1990","description":"\u003cp\u003eA period invitation card for Sarkis's installation \u003cstrong\u003e\u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e\u003c\/strong\u003e, presented jointly by \u003cstrong\u003eLes Musées de la Ville de Strasbourg\u003c\/strong\u003e and \u003cstrong\u003eLe Centre National d'Art Contemporain de Grenoble, Magasin\u003c\/strong\u003e, with the collaboration of the A.F.A.A. and the Ministère des Affaires Étrangères, Paris. The exhibition was staged at the \u003cstrong\u003eCouvent des Pères Méchitaristes, Île San Lazzaro degli Armeni, Venice\u003c\/strong\u003e, opening 23 May 1990 and running through 30 September.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces a photograph of the neon installation — a luminous, biomorphic form suspended against deep black, its teal glow pooling outward. The verso carries the full institutional text in French, including vaporetto departure times from Riva Schiavoni. That logistical detail is characteristic of the work's situation: an installation accessible only by water, on an Armenian monastery island, organised through a relay of French cultural institutions. The card is itself a document of that improbable geography.\u003c\/p\u003e\n\u003cp\u003eThe work belongs to a sustained period in Sarkis's practice in which memory, displacement, and the charged specificity of place — particularly sites carrying religious, historical, or linguistic weight — became structural to the installation itself. San Lazzaro, home to the Méchitarist congregation and one of the oldest Armenian cultural centres in Europe, was not incidental to the work. It was the work's condition.\u003c\/p\u003e\n\u003cp\u003eScarce.\u003c\/p\u003e","brand":"Musées de la Ville de Strasbourg","offers":[{"title":"Default Title","offer_id":53073595728210,"sku":"TNR-2026-0016","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/SakrisGrenoble_0001.jpg?v=1774990355"},{"product_id":"olivier-mosset-galerie-rive-droite-paris-1969-exhibition-invitation","title":"OLIVIER MOSSET — Galerie Rive Droite, Paris, 1969","description":"\u003cp\u003eGalerie Rive Droite, 3 rue de Duras, Paris 8e. 5–25 December 1969. Vernissage 5 December, 18h30.\u003c\/p\u003e\u003cp\u003eThe card is almost without image. A red field. Black type. Venue, address, dates, opening time. Information replaces illustration. The object does not describe the exhibition so much as state its administrative fact — a position entirely consistent with Mosset’s practice at the end of the 1960s, when painting was being reduced to repetition, neutrality, and the refusal of expressive difference.\u003c\/p\u003e\u003cp\u003eBetween 1966 and 1974, Mosset produced his serial circle paintings: a body of work inseparable from the debates around BMPT and the broader dismantling of authorship and pictorial identity. This invitation belongs to that moment. The severe typography and unmodulated red ground read less as design than as declaration. No image, no seduction, no explanation. A card that behaves with the same restraint as the work it announces.\u003c\/p\u003e\u003cp\u003eOne of his earliest solo presentations in Paris. Galerie Rive Droite is documented in Mosset’s bibliography as the site of his first Paris exhibitions. Comparable early material from this period is seldom encountered.\u003c\/p\u003e","brand":"Galerie Rive Droite","offers":[{"title":"Default Title","offer_id":53073639866706,"sku":"TNR-2026-0017","price":160.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/OlivierMosset_0001.jpg?v=1774992246"},{"product_id":"annie-gramain-galerie-baudoin-lebon-paris-1979-exhibition-invitation","title":"ANNIE GRAMAIN — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003eGalerie Baudoin Lebon, 36 rue des Archives, 75004 Paris. 7 March – 14 April 1979. Vernissage Wednesday 7 March 1979.\u003c\/p\u003e\u003cp\u003eThe card does very little, which is part of its interest. On the front, “annie gramain” is repeated in descending diagonal lines until the name stops functioning as signature and begins to operate as form. Language becomes layout. Identity is handled as a typographic unit. On the reverse, the exhibition information runs in a single justified line at the lower edge — as if the administrative fact of the show had been reduced to a footer.\u003c\/p\u003e\u003cp\u003eName as image. Invitation as structure. Authorship as graphic repetition. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media and its attention to emerging conceptual practices. This card is a small but precise document of that context — late-1970s Paris, when the invitation was still a site where the work could continue.\u003c\/p\u003e\u003cp\u003eMore document than promotion. More proposition than souvenir.\u003c\/p\u003e","brand":"Galerie Baudoin Lebon","offers":[{"title":"Default Title","offer_id":53073745215826,"sku":"TNR-2026-0018","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AnnieGramain_0001.jpg?v=1774994517"},{"product_id":"jochen-gerz-le-depot-kulchur-piece-4-galerie-baudoin-lebon-paris-1979","title":"JOCHEN GERZ — Le Dépôt · Kulchur Pièce, 4, Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003eGalerie Baudoin Lebon, 36 rue des Archives, Paris, 1979.\u003c\/p\u003e\u003cp\u003eIssued for Jochen Gerz’s exhibition at Galerie Baudoin Lebon, 7 June – 7 July 1979, vernissage Thursday 7 June. The title corresponds to \u003cem\u003eThe Depot \/ Le Dépôt\u003c\/em\u003e, catalogued by the artist as \u003cem\u003eKulchur Pieces 4\u003c\/em\u003e, 1979 — a large-scale installation in which several tree trunks, sawed into 5-cm-thick planks and painted with photographic opaque, were stacked horizontally on wooden spacers as they would be at a sawmill, so that the outer form of each trunk remained recognisable.\u003c\/p\u003e\u003cp\u003eThe card’s colour is not incidental. The dark burgundy-brown ground matches the photographic opaque applied to the wood — the same material used to suppress the surface of the trunks in the installation. The invitation does not illustrate the work; it shares its pigment. On the recto, white type carries only the artist’s name and the work title. On the verso, the exhibition information runs at the lower edge — opening time, address, telephone, dates — reduced to administrative fact.\u003c\/p\u003e\u003cp\u003eThe word “Kulchur” retains Pound’s damaged spelling, recast by Gerz as something stored, processed, and possibly neutralised. Culture as deposit. Exhibition as filing. Art as a proposition lodged inside its own support system. The invitation extends the work’s logic without explaining it.\u003c\/p\u003e\u003cp\u003eScarce. Galerie Baudoin Lebon ephemera from this period is seldom encountered.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Baudoin Lebon","offers":[{"title":"Default Title","offer_id":53073790304594,"sku":"TNR-2026-0019","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JochenGerz_0001.jpg?v=1774996315"},{"product_id":"dessins-allemands-invitation-card-galerie-bama-paris-1975","title":"DESSINS ALLEMANDS — Invitation Card, Galerie Bama, Paris, 1975","description":"\u003cp\u003eIssued for \u003cem\u003eDessins Allemands\u003c\/em\u003e, Galerie Bama, Paris, 19 September – 30 October 1975. Featuring Joseph Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, and Voss.\u003c\/p\u003e\u003cp\u003eWhat sharpens this example is the handwritten verso, addressed to G. J. de Rook, Utrecht, Pays-Bas — linking the card to the Dutch experimental poetry and mail-art milieu around the Utrecht-based visual poet and publisher. Prepared for circulation but never sent, the card remains caught between private address and public announcement, turning a functional invitation into a compact object of intention, delay, and historical residue.\u003c\/p\u003e\u003cp\u003eIt operates both as a surviving fragment from the distribution structure of the exhibition and as a small self-contained work in its own right — a printed artifact in which typography, naming, handling, and withheld movement become the form.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Bama","offers":[{"title":"Default Title","offer_id":53157185519954,"sku":"TNR-2026-0020","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/GallerieBamaDessinsAllemands_0001.jpg?v=1775684634"},{"product_id":"gianni-piacentino-stampe-galleria-plura-milan-1980","title":"GIANNI PIACENTINO — Stampe, Galleria Plura, Milan, 1980","description":"\u003cp\u003eGalleria Plura, Milan, 1980. Original mailed exhibition postcard, 15 × 11.25 cm. Applied photographic image to recto; postmarked and stamped, handwritten address to verso.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eStampe\u003c\/em\u003e, Galleria Plura, Milan, from Thursday 16 April 1980. The recto carries a reproduction of Piacentino’s sleek engineered forms, mounted into the card rather than simply printed as image-field, giving the piece a quieter, constructed presence. Addressed on verso to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris — the Paris gallery associated with publisher and dealer Jacques Damase, known for exhibitions and publications around figures including Sonia Delaunay.\u003c\/p\u003e\u003cp\u003eA modest but unusually complete piece of gallery ephemera: part announcement, part mailed object, part distribution trace. Stamped in Milan and sent onward to Paris, it reads less as documentation than as a small exhibition object in its own right — image, address, postal handling, and gallery-to-gallery transmission held together in one surface.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, soft corner wear, minor creasing and age toning consistent with handling and postal use. Original period item.\u003c\/p\u003e","brand":"Galleria Plura","offers":[{"title":"Default Title","offer_id":53157534302546,"sku":"TNR-2026-0021","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gianni_Placentino_0001.jpg?v=1775687965"},{"product_id":"charles-ross-point-source-star-space-john-weber-susan-caldwell-new-york-1977","title":"CHARLES ROSS — Point Source \/ Star Space, John Weber Gallery \u0026 Susan Caldwell Gallery, New York, 1977","description":"\u003cp\u003eJohn Weber Gallery (420 West Broadway) and Susan Caldwell Gallery (383 West Broadway), New York, 1977. Original mailed exhibition postcard, 15.25 × 10.25 cm. Addressed to Hermann Kern, Kunstraum München, Nikolaistraße 15, Munich. New York meter mark dated 17 March 1977.\u003c\/p\u003e\u003cp\u003eIssued for Charles Ross’s two-gallery presentation \u003cem\u003ePoint Source \/ Star Space\u003c\/em\u003e, 23 March – 16 April 1977. Opening reception: Thursday 24 March, 6–9 pm.\u003c\/p\u003e\u003cp\u003eThe recto does the work in one sharp graphic gesture: star field, yellow diagonal band, a central point-source, and the paired gallery credits below. The reverse keeps the object inside the distribution system that produced it — typed label, New York meter mark, and delivery to Kunstraum München. Hermann Kern was a key figure at Kunstraum München from the early 1970s and later became director of Haus der Kunst.\u003c\/p\u003e\u003cp\u003eSeen now, it reads as more than an invitation. It is also a small record of how conceptual and post-minimal work circulated: gallery to kunstverein, New York to Munich, announcement as network document. The addressed verso gives the card an added charge, placing Ross’s cosmological abstractions back inside the practical infrastructure of the art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor surface wear, soft handling marks, and slight creasing consistent with mailing and storage. Original period item.\u003c\/p\u003e","brand":"John Weber Gallery","offers":[{"title":"Default Title","offer_id":53157747163474,"sku":"TNR-2026-0026","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Ross_0001.jpg?v=1775691094"},{"product_id":"jochen-gerz-griechische-stucke-bundner-kunstmuseum-chur-1978","title":"JOCHEN GERZ — Griechische Stücke, Bündner Kunstmuseum Chur, 1978","description":"\u003cp\u003eBündner Kunstmuseum Chur, 1978. Mailed exhibition invitation card, 21 × 14.75 cm. Printed card with photographic recto and text-heavy verso.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eGriechische Stücke\u003c\/em\u003e by Jochen Gerz, Bündner Kunstmuseum Chur, 13 March – 16 April 1978. Opening: Saturday 18 March, 17.00 Uhr.\u003c\/p\u003e\u003cp\u003eThe recto carries a black-and-white photograph — a figure prone on a parquet floor before a set of double doors, a dark mark running down the paintwork above. The verso holds the full institutional apparatus: artist biography, exhibition details, Museums-Maténée notice, and photo credit. Addressed in handwriting to Jacques Donguy, Ossun, France, with French postage stamp, rubber-stamped postal markings, and a faint Paris post office impression.\u003c\/p\u003e\u003cp\u003eA circulated exhibition document. Image on one side, institutional text on the other. The object remains indexed to its passage: addressed, stamped, received, retained.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Mailed and handled. Light creasing, edge wear, surface marking, and age toning throughout. 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The work begins in citation before any image appears.\u003c\/p\u003e\u003cp\u003eInside, the pages assemble a sequence of actions translated into print. Black-and-white plates record situations already completed: enclosed rooms, obstructed views, the body in states of endurance, suspension, or depletion. A face seen through a cut aperture. A figure seated, absorbed into a darkened interior. A body submerged, partially visible, held in material conditions rather than depicted as subject.\u003c\/p\u003e\u003cp\u003eThe Georgiana Collection operates here as a framework rather than a fixed series: an invented institutional structure derived from a domestic address, extending into sound, action, and accumulation. The catalogue does not stabilise this structure but indexes it — listing events, sites, collaborators, and fragments of activity across London, Hamburg, Coventry, Kassel.\u003c\/p\u003e\u003cp\u003eText and image remain discontinuous. Chronologies appear as numbered entries, detached from the images they might describe. Performance is held at a distance, redistributed as documentation, caption, and residue. The ICA imprint sits low on the cover; the reverse carries only the institution’s name. No image intervenes.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Institute of Contemporary Arts","offers":[{"title":"Default Title","offer_id":53289048768850,"sku":"TNR-2026-0048","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Brisley_-Stuart.-Institute-of-Contemporary-Arts_-21-April---31-May-1981-1.jpg?v=1777188647"},{"product_id":"peter-downsbrough-take-note-villa-arson-nice-1988","title":"Peter Downsbrough — Take Note, Villa Arson, Nice, 1988","description":"\u003cp\u003eArtist's book published on the occasion of \u003cem\u003eUnder the Sun \/ Sous le soleil exactement…\u003c\/em\u003e, Villa Arson, Nice, 1988. Original manuscript written in 1987. Published by Villa Arson, Nice; publishing director: Christian Bernard. Text in English.\u003c\/p\u003e\u003cp\u003ePeter Downsbrough's practice moves between sculpture, photography, architecture, typography, and the book form, using short words, lines, divisions, and spatial intervals to alter how a site or page is read. In \u003cem\u003eTake Note\u003c\/em\u003e, the book becomes an extension of placement: words such as NOTE, HELD, ENFORCE, and STATUS sit against blank space, red rules, grey blocks, and cropped photographic fragments — a printed structure for looking, reading, and positioning.\u003c\/p\u003e\u003cp\u003eThe 1988 Villa Arson publication is listed in Downsbrough's exhibition history and bibliographic records. Some references carry the title \u003cem\u003eTake Notes\u003c\/em\u003e; the object itself uses the reduced form \u003cem\u003eTake Note \/ Note\u003c\/em\u003e, consistent with Downsbrough's characteristic economy of language.\u003c\/p\u003e","brand":"Villa Arson","offers":[{"title":"Default Title","offer_id":53341804462418,"sku":"TNR-2026-0065","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Peter_Downsbrough_1988_001.jpg?v=1777968980"},{"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 dates: January 26 – February 26, 2011\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. 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Curated by Molly Donovan, the exhibition brought together profile works spanning several decades and examined one of Kruger's central formal structures: direct language confronting indirect or withdrawn imagery.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eUntitled (Love is something you fall into)\u003c\/em\u003e (1990), one of Kruger's most recognisable works. A cropped black-and-white image of a woman's profile is interrupted by a vertical red text bar carrying the phrase: \u003cem\u003eLove is something you fall into\u003c\/em\u003e. The language initially resembles advertising copy or a magazine headline, but the wording immediately destabilises itself. Rather than presenting love as aspiration or fulfilment, the phrase suggests surrender, descent, or loss of control.\u003c\/p\u003e\u003cp\u003eKruger repeatedly appropriated the visual language of consumer culture — publicity, magazines, editorial layouts — not to celebrate persuasion but to expose its mechanisms. Here romance itself becomes a manufactured proposition. Desire is packaged, delivered, and sold back to the viewer. The image remains suspended between glamour and unease, attraction and warning.\u003c\/p\u003e\u003cp\u003eThe timing of the exhibition added another register. Installed in Washington during the final months of the 2016 U.S. election cycle and presidential transition, Kruger's long-standing concerns around authority, social conditioning, and systems of persuasion acquired renewed urgency.\u003c\/p\u003e\u003cp\u003eAs an object, the postcard functions as a compressed version of Kruger's larger method: image, command, interruption. A museum support carrying forward the structure of the work itself.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"National Gallery of Art","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"TNR-2026-0106","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kruger_Barbara._Artist_postcard_from_the_exhibition_in_the_Tower_Barbara_Kruger_National_Gallery_of_Art_Washington._2017_front_95ff625c-461a-49d2-8317-34f748e5d95d.jpg?v=1782104972"},{"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\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":"Printed Matter","offers":[{"title":"Default Title","offer_id":53550083309906,"sku":"TNR-2026-0111","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\u003eMay 1973\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":"TNR-2026-0112","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":"bosser-daniel-philippe-thomas-declines-his-identity-occasional-papers-2015","title":"DANIEL BOSSER \/ PHILIPPE THOMAS — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015","description":"\u003cp\u003eISBN: 9780992903909\u003c\/p\u003e\u003cp\u003eFirst authorised English translation of \u003cem\u003ePhilippe Thomas décline son identité\u003c\/em\u003e, originally published by Galerie Claire Burrus, Paris, in 1987. The text relates to a performative lecture delivered by Philippe Thomas at the Centre Georges Pompidou in 1987 and subsequently at the Musée de Grenoble — a lecture whose gestures, pauses, and delivery were already scripted within the book itself before it was spoken aloud.\u003c\/p\u003e\u003cp\u003eThe publication is attributed to DANIEL BOSSER, the collector who acquired the work, in accordance with Thomas’s central practice: the systematic transfer of authorship from artist to owner. Under Thomas’s agency \u003cem\u003ereadymades belong to everyone®\u003c\/em\u003e (founded 1987), the buyer’s name replaced the artist’s on the work’s surface, documentation, and public record. The book enacts this displacement directly: Thomas’s name recedes; Bosser’s advances. The lecture becomes a script. The script becomes a publication. The publication becomes evidence of a transfer that has already occurred.\u003c\/p\u003e\u003cp\u003eOccasional Papers — the London-based publisher known for its rigorous programme of artist writings, translations, and critical texts — produced this edition as part of its ongoing effort to make key documents of conceptual and post-conceptual practice available in English. The translation makes Thomas’s system legible to an anglophone readership for the first time in authorised form.\u003c\/p\u003e\u003cp\u003eA small but structurally important publication within Thomas’s body of work: printed matter as script, authorship as transfer, the book as the record of an artist’s deliberate disappearance from his own name.\u003c\/p\u003e","brand":"Occasional Papers","offers":[{"title":"Default Title","offer_id":53615833252178,"sku":"TNR-2026-0152","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bosser_Daniel._Philippe_Thomas_declines_his_identity._2015_front.jpg?v=1780303759"},{"product_id":"carpenter-thomas-insights-galerie-claire-burrus-paris-1990","title":"Laura Carpenter \/ Philippe Thomas — Insights","description":"\u003cp\u003ePublished by Galerie Claire Burrus in 1990, \u003cem\u003eInsights\u003c\/em\u003e belongs to Philippe Thomas's authorial system surrounding \u003cem\u003ereadymades belong to everyone®\u003c\/em\u003e. The book is attributed to Laura Carpenter and operates simultaneously as fiction, document, and delegated authorship. The earlier New York edition was connected to the Curt Marcus Gallery exhibition \u003cem\u003eJay Chiat and Édouard Merino, Insights\u003c\/em\u003e; this Paris edition extends that structure through Galerie Claire Burrus.\u003c\/p\u003e\u003cp\u003eAn uncommon artist's book, more visible in institutional records than in regular commercial circulation. Copies are held by major research and museum libraries, while examples seldom appear on the open market.\u003c\/p\u003e\u003cp\u003eA book as delegated voice. An author as support. A fiction placed inside the administrative frame of an exhibition. The publication sits within Thomas's broader project of redistributing authorship through aliases, proxies, collectors, and fictional personae. Rather than documenting an exhibition, the book functions as part of the exhibition's structure itself.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price.\u003c\/p\u003e\u003cp\u003eSold as part of \u003ca href=\"https:\/\/thenewrare.com\/products\/james-mullord-bookshelf-publications-2026\"\u003eJames Mullord, \u003cem\u003eBookshelf, Publications\u003c\/em\u003e\u003c\/a\u003e, THE NEW RARE EDITIONS, 2026.\u003c\/p\u003e","brand":"Galerie Claire Burrus","offers":[{"title":"Default Title","offer_id":53615912026450,"sku":"TNR-2026-0153","price":300.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Carpenter_Laura_Carpenter-Thomas_Philippe._Insights._1990_front.jpg?v=1780304774"},{"product_id":"felix-gonzalez-torres-hirshhorn-museum-sculpture-garden-washington-dc-1994","title":"Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994","description":"\u003cp\u003eThe marks remain part of the record: evidence of circulation, storage, handling, and transfer. A museum publication retained long enough to change status.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of the 1994 exhibition devoted to Félix González-Torres, one of the defining figures of late twentieth-century conceptual practice. The catalogue gathers essays by Russell Ferguson, Charles Merewether, Joseph Kosuth, bell hooks, and others, positioning the artist's work within discussions of intimacy, public space, political visibility, loss, abstraction, and desire. The inclusion of bell hooks' text \u003cem\u003esubversive beauty: new modes of contestation\u003c\/em\u003e situates the publication within a broader cultural and theoretical discourse extending beyond contemporary art alone.\u003c\/p\u003e\u003cp\u003eThe publication functions simultaneously as exhibition document, theoretical reader, and historical record. Reproductions move between grids, photographs, light-based works, and installations, reflecting the unstable status of González-Torres's practice: objects that circulate, disappear, replenish themselves, and exist through repeated manifestation.\u003c\/p\u003e\u003cp\u003eAn increasingly uncommon catalogue from a pivotal moment in the artist's career. More visible in institutional collections and academic references than in regular commercial circulation.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53621408137554,"sku":"TNR-2026-0158","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gonzalez-Torres_Felix._Hirshborne_Museum_and_Sculpture_museum_Washington_DC._1994_front.jpg?v=1780347716"},{"product_id":"simon-morris-helen-sacoor-bibliomania-1998-1999","title":"Simon Morris \u0026 Helen Sacoor — Bibliomania 1998–1999, 1999","description":"\u003cp\u003eThe marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003ePublished in conjunction with \u003cem\u003eBibliomania\u003c\/em\u003e, a project that asked artists, writers, curators, and theorists to reveal the books that informed their practices. Contributions include reading lists, bibliographies, archival material, and exhibition-related documentation by figures including Mark Dion, Joseph Kosuth, Victor Burgin, Lucy Lippard, and others working around Conceptual Art, institutional critique, publishing, and information systems.\u003c\/p\u003e\u003cp\u003eThe publication operates somewhere between catalogue, library, exhibition document, and artist's book. Books become portraits. Reading becomes a form of self-description. Bibliography becomes exhibition material.\u003c\/p\u003e\u003cp\u003eParticularly notable are the reproduced reading lists of Mark Dion and Joseph Kosuth, alongside Michael Farion's unrealised exhibition furniture drawings, which extend the project beyond documentation into the design of how knowledge itself might be stored, displayed, and circulated.\u003c\/p\u003e\u003cp\u003eA publication about books, but also about the systems that organise them. The artist appears indirectly: through references, influences, annotations, and selection. Identity arrives as a shelf.\u003c\/p\u003e\u003cp\u003eAn uncommon publication, more visible in institutional holdings than in regular commercial circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53624733106514,"sku":"TNR-2026-0160","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Harrison_Wood._Art_in_Theory_1900-1990._1999_front.jpg?v=1780373004"},{"product_id":"in-deed-certificates-of-authenticity-in-art-hapgood-lauf-roma-publications-2011","title":"In Deed: Certificates of Authenticity in Art, ed. Hapgood \u0026 Lauf, ROMA Publications, 2011","description":"\u003cp\u003ePublished by ROMA Publications \/ De Vleeshal, 2011.\u003c\/p\u003e\u003cp\u003ePublished in conjunction with the travelling exhibition \u003cem\u003eIn Deed: Certificates of Authenticity in Art\u003c\/em\u003e, this volume gathers artists for whom the certificate, instruction, contract, receipt, signature, declaration, and administrative document become inseparable from the artwork itself.\u003c\/p\u003e\u003cp\u003eIncludes Marcel Duchamp, Yves Klein, Piero Manzoni, George Brecht, Dan Flavin, Daniel Buren, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, Adrian Piper, Felix Gonzalez-Torres, Yoko Ono, Robert Barry, Seth Siegelaub, Carey Young, Andrea Fraser, Liam Gillick, Maria Eichhorn, Rirkrit Tiravanija, and others.\u003c\/p\u003e\u003cp\u003eThe book describes works that depend on documents for their status. A certificate authorizes an object, replaces an object, transfers an object, or becomes the object. Authorship and ownership appear through paper, signature, instruction, edition, and record.\u003c\/p\u003e\u003cp\u003eHere, the publication enters a related chain. It documents certificates while becoming another document of transfer: retained, priced, described, and placed back into circulation. The catalogue does not only explain the movement of artworks through administrative forms; it now participates in that movement.\u003c\/p\u003e\u003cp\u003eA key title on conceptual art, dematerialized practice, and the legal and poetic life of the artwork after production. Increasingly elusive in the trade.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"ROMA Publications","offers":[{"title":"Default Title","offer_id":53625786433874,"sku":"TNR-2026-0169","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lauf_Cornelia_Hapgood_Susan._In_Deed_Certificates_of_Authenticity_in_Art._2011_cover.jpg?v=1780391892"},{"product_id":"lebovici-the-name-of-philippe-thomas-sternberg-press-kunsthalle-bern-2008","title":"Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press \/ Kunsthalle Bern, 2008","description":"\u003cp\u003eISBN: 978-3-956794-31-5.\u003c\/p\u003e\u003cp\u003eFrench critic and historian Élisabeth Lebovici examines the work of Philippe Thomas (1951–1995), the artist who spent much of his career attempting to dissolve conventional ideas of authorship. Through projects such as \u003cem\u003ereadymades belong to everyone®\u003c\/em\u003e, Thomas transferred ownership, attribution, and even artistic identity to collectors and participants, turning the artwork into a social and contractual structure rather than a stable object.\u003c\/p\u003e\u003cp\u003eA compact but significant publication. Less a conventional monograph than a study of a name that repeatedly attempted to disappear. Thomas remains a key figure for anyone interested in conceptual strategies, delegated authorship, fictional identities, and the unstable relationship between artist, collector, institution, and object.\u003c\/p\u003e\u003cp\u003eThe artwork appears not as a singular thing but as a transfer mechanism. The book functions similarly — a small printed support carrying a larger set of questions: who owns a work, who authors it, and what remains when a name becomes part of the medium itself.\u003c\/p\u003e\u003cp\u003eShipping and handling included. Carefully packed and shipped flat.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":53632258048338,"sku":"TNR-2026-0170","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lebovici_Elisabeth._The_name_of_Philippe_Thomas._2008_front.jpg?v=1780399263"},{"product_id":"oppenheim-arc-paris-projects-78-79-inv-1979","title":"Dennis Oppenheim — Projects 78\/79, ARC Paris, 1979–1980","description":"\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\u003eThe 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":"ARC \/ Musée d’Art Moderne de la Ville de Paris","offers":[{"title":"Default Title","offer_id":53699226403154,"sku":"TNR-2026-0173","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":"alibis-centre-pompidou-inv-1984","title":"Alibis — Exhibition Invitation Card, Centre Georges Pompidou \/ Musée national d’art moderne, Paris, 1984","description":"\u003cp\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\u003eThe 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":"Centre Georges Pompidou","offers":[{"title":"Default Title","offer_id":53718079799634,"sku":"TNR-2026-0186","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":"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\u003eMusée de La Poste, 34 boulevard de Vaugirard, Paris XVe\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\u003eA temporary communication structure retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Musée de La Poste","offers":[{"title":"Default Title","offer_id":53726687560018,"sku":"TNR-2026-0193","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":"wool-prankster-card-1980s","title":"Christopher Wool — Prankster Card, c. late 1980s–early 1990s","description":"\u003cp\u003eGraphic card reproducing Christopher Wool’s \u003cem\u003ePrankster\u003c\/em\u003e stencil work, likely produced in connection with an exhibition, publication, or promotional circulation surrounding his early text-based practice. The fractured black typography aligns with Wool’s late-1980s language works, where words are compressed into image, surface, and obstruction.\u003c\/p\u003e\u003cp\u003eThe piece can also be loosely situated within a lineage extending from Concrete Poetry and experimental typography into post-minimal and conceptual painting. Language here is treated less as readable text than as physical arrangement: letters become structure, rhythm, interruption, and graphic mass. The word remains legible while simultaneously collapsing into abstraction.\u003c\/p\u003e\u003cp\u003eThe blank reverse suggests the object may have functioned as a tipped-in publication plate, loose catalogue insert, or retained promotional support rather than a standard mailed invitation. Detached from its original system, the card now operates somewhere between reproduction, fragment, and autonomous printed object.\u003c\/p\u003e\u003cp\u003eA minor but exact piece of Wool-related ephemera. Language reduced to graphic structure. Paper retained long enough to change status.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53751019503954,"sku":"TNR-2026-0198","price":50.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wool_Christopher._Prankster_card_unique_ephemera._Unsigned.jpg?v=1781500582"},{"product_id":"bismuth-one-size-fits-all-inv-2007","title":"Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery \/ Mary Boone Gallery, New York, 2007","description":"\u003cp\u003eTeam Gallery \/ Mary Boone Gallery, New York\u003cbr\u003e24 March – 28 April 2007\u003c\/p\u003e\u003cp\u003eIssued for Pierre Bismuth’s 2007 New York exhibition \u003cem\u003eOne Size Fits All\u003c\/em\u003e, presented across Mary Boone Gallery’s Fifth Avenue and Chelsea spaces in conjunction with Team Gallery — described as Bismuth’s first solo exhibition in the United States.\u003c\/p\u003e\u003cp\u003eThis invitation is especially strong as a graphic object: a square folded format opening into a 54 cm horizontal strip, with near-blank red and green monochrome panels functioning almost like portable exhibition walls. The design turns gallery information into colour, spacing, and institutional placement. The typographic interior — with its title shifting mid-word between uppercase and lowercase — enacts the same logic as Bismuth’s practice: systems of recognition made slightly unstable.\u003c\/p\u003e\u003cp\u003eBismuth’s practice works through appropriation, displacement, cinema, authorship, and systems of cultural recognition. He is also known for his conceptual contribution to Michel Gondry’s \u003cem\u003eEternal Sunshine of the Spotless Mind\u003c\/em\u003e (2004), for which he shared the Academy Award for Best Original Screenplay.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Team Gallery \/ Mary Boone Gallery","offers":[{"title":"Default Title","offer_id":53751544545618,"sku":"TNR-2026-0200","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bismuth_Pierre._Team_Gallery_show_invite._2007_front.jpg?v=1781503188"},{"product_id":"boucher-lair-pauvre-aliscans-inv-1971","title":"Monique Boucher — L’air pauvre — Exhibition \/ Literary Event Invitation, Les Aliscans Librairie, Paris, 1971","description":"\u003cp\u003eLibrairie Les Aliscans, 57 rue de Rennes, Paris\u003cbr\u003eFriday 19 November 1971, 18h–21h\u003c\/p\u003e\u003cp\u003eRare surviving invitation issued for a November 1971 event at Librairie Les Aliscans, Paris, announcing \u003cem\u003eL’air pauvre\u003c\/em\u003e, with texts by Monique Boucher and imagery credited to Abdallah Benanteur. The typography and compressed graphic layout place the piece somewhere between poetry announcement, small-press avant-garde printing, and Left Bank countercultural ephemera.\u003c\/p\u003e\u003cp\u003eThe object carries a distinctly early-1970s Paris literary-art atmosphere: independent bookstore infrastructure, experimental publishing culture, and artist-designed printed matter produced outside larger institutional systems. The stark black graphic band and warped typography give the card a proto-conceptual, near concrete-poetry sensibility, closer to artist publication culture than a conventional invitation.\u003c\/p\u003e\u003cp\u003eAbdallah Benanteur’s involvement adds another layer of interest. The Algerian-born painter and printmaker moved within overlapping literary and artistic circles in Paris during this period, often collaborating with poets and small presses. Here the invitation functions less as advertisement than as a compact printed event-object.\u003c\/p\u003e\u003cp\u003eThe wear remains part of the object’s circulation history.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Librairie Les Aliscans","offers":[{"title":"Default Title","offer_id":53751885922642,"sku":"TNR-2026-0202","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Boucher_Monique._Show_invite_texts_of_Monique_Boucher._1971_front_9a2ed2f2-ff3e-40a0-8d1e-56e12f1bb9d1.jpg?v=1781504654"},{"product_id":"young-zazeela-composition-1960-13-lithograph-1962","title":"La Monte Young \/ Marian Zazeela — Composition 1960 #13, Performance 10 20 62 — Offset Lithograph, New York, 1962","description":"\u003cp\u003eOriginal 1962 offset lithograph produced in connection with a performance of La Monte Young’s \u003cem\u003eComposition 1960 #13\u003c\/em\u003e with Marian Zazeela. The work combines a reduced typewritten announcement with a dense black abstract image field — later described by The Museum of Modern Art as Marian Zazeela’s graphic realization connected to Dennis Johnson’s indeterminate composition \u003cem\u003eLISTEN\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eProduced during the formative years of Young’s \u003cem\u003eComposition 1960\u003c\/em\u003e series and the wider downtown New York experimental music milieu surrounding John Cage, Richard Maxfield, and Yoko Ono’s loft concerts, the print exists between score, performance document, conceptual instruction piece, and autonomous graphic work.\u003c\/p\u003e\u003cp\u003eUnlike later reproductions or conventional exhibition ephemera, the piece retains the unstable character of early 1960s experimental print culture: temporary, informational, and highly formal at the same time. Very scarce.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53755971404114,"sku":"TNR-2026-0205","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Young_La_Monte_Performance_13_196201.jpg?v=1781534764"},{"product_id":"alys-athens-postcard-2003","title":"Francis Alÿs — Athens, Oct 2003 — Artist Postcard","description":"\u003cp\u003eAthens, October 2003\u003c\/p\u003e\u003cp\u003ePostcard documenting a conceptual action by Francis Alÿs produced in Athens in October 2003. Captioned in Greek and English: \u003cem\u003e“a man traces a line as he walks through the city of Athens shooting a flare every 30 steps.”\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe work condenses several recurring Alÿs concerns into postcard form: walking as drawing, the city as surface, repetition as measure, and the temporary gesture translated into portable documentation. The aerial image of Athens reads almost like static until interrupted by the text beneath it — action reduced to a single typed sentence.\u003c\/p\u003e\u003cp\u003eThe reverse remains nearly empty apart from the artist’s name and date. Not an invitation and not exactly a conventional artwork reproduction either. More a dispersed support: a minor printed object carrying an action through circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53756722413906,"sku":"TNR-2026-0206","price":45.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alys_Francis_Athens_Postcard_2003_01.jpg?v=1781542175"},{"product_id":"prince-panama-pavilion-venice-postcard-2007","title":"Richard Prince — Panama Pavilion, Venezia, June–July 2007 — Exhibition Postcard","description":"\u003cp\u003ePanama Pavilion, 52nd Venice Biennale, Venezia\u003cbr\u003eJune–July 2007\u003cbr\u003ePublished by Gebr. König Postkarten Verlag, Köln\u003c\/p\u003e\u003cp\u003eIssued alongside Richard Prince’s semi-fictional Panama Pavilion intervention staged during the 2007 Venice Biennale. Rather than representing an official national pavilion, Prince effectively invented one — inserting himself into the language and prestige structure of the Biennale through posters, postcards, books, and promotional material that mimicked the administrative surface of a legitimate state presentation.\u003c\/p\u003e\u003cp\u003eThe gesture operates on several levels. Prince had long claimed, half-seriously, that he was born in the Panama Canal Zone, allowing the fictional pavilion to function as both autobiographical myth and institutional prank. Like much of his work surrounding jokes, cowboys, nurses, and appropriated Americana, the truth-status remains deliberately unstable. The pavilion becomes another authored fiction: part self-invention, part critique of national representation, part branding exercise.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eYoung Nurses\u003c\/em\u003e imagery connects the postcard to Prince’s nurse paintings — by 2007 already one of his most recognizable and controversial series. Filtered pulp-paperback fantasies transformed into large-scale paintings oscillating between desire, anonymity, fetish, and reproduction.\u003c\/p\u003e\u003cp\u003eCompared to the larger Panama Pavilion posters, postcards from the project appear significantly less common on the secondary market. They were never the “main” artwork, which paradoxically makes surviving examples more compelling within a contemporary ephemera context.\u003c\/p\u003e\u003cp\u003eA printed support for a pavilion that did not officially exist. Institutional parody reduced to postcard scale.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Gebr. König Postkarten Verlag","offers":[{"title":"Default Title","offer_id":53757680648530,"sku":"TNR-2026-0210","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_Richard_Panama_Pavillion_200701.jpg?v=1781547984"},{"product_id":"de-biasi-spheres-donguy-inv-1982","title":"Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. \u0026 J. Donguy, Paris, c.1982","description":"\u003cp\u003ePrinted invitation for Pierre-Marc de Biasi’s \u003cem\u003eSphères Sphères\u003c\/em\u003e exhibition at Galerie J. \u0026amp; J. Donguy — a small but important Paris space tied to experimental poetry, visual language, conceptual print culture, and artist publishing during the late 1970s and early 1980s. The gallery operated within a wider network connecting concrete poetry, mail art, artist books, Fluxus-adjacent practices, and post-minimal graphic experimentation circulating through France at the time.\u003c\/p\u003e\u003cp\u003eThe invitation functions less as straightforward promotional material and more as a compressed graphic proposition. The repeated spheres, numerical fragments, and monochrome photographic field place the card somewhere between exhibition support, conceptual score, and visual poem. Its typography and stripped layout carry the atmosphere of independent artist publishing from the period — closer to small-run experimental print culture than commercial gallery ephemera.\u003c\/p\u003e\u003cp\u003eDe Biasi later became widely known as a literary scholar and specialist on Flaubert manuscripts, giving the object an additional retrospective layer: a document from a moment where writing, systems, image structures, and conceptual art still overlapped fluidly in the Parisian avant-garde.\u003c\/p\u003e\u003cp\u003eThe stronger interest is likely to come from collectors of conceptual printed matter, concrete poetry ephemera, French artist-run spaces, and experimental publishing history — a field where Galerie Donguy material remains comparatively scarce outside institutional archives and specialist collections. Survival rates for these smaller gallery invitations are low, particularly examples retaining strong contrast and clean surfaces.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Galerie J. \u0026 J. Donguy","offers":[{"title":"Default Title","offer_id":53760957382994,"sku":"TNR-2026-0215","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/De_Biasi_Pierre_Marc._Show_invite_Galerie_J_J_Donguy._1982.jpg?v=1781587654"},{"product_id":"ulrich-ruckriem-erganzungsstucke-kunstraum-munchen-1974","title":"Ulrich Rückriem — Ergänzungsstücke, Kunstraum München e.V., 1974","description":"\u003cp\u003eHerausgeber: KUNSTRAUM München e.V., 8 München 40, Nikolaistraße 15. Redaktion: Dr. Hermann Kern. Druck: Weber Offset KG, München.\u003c\/p\u003e\u003cp\u003eOriginal exhibition guide published for Ulrich Rückriem, Kunstraum München e.V., 21.3.1974 – 5.5.1974. The publication combines an essay by Hermann Kern (\u003cem\u003eErgänzung zu den Ergänzungsstücken von Ulrich Rückriem\u003c\/em\u003e), a floor plan of the Kunstraum, a checklist of six exhibited works, and an announcement of the accompanying edition of 27 offset prints (\u003cem\u003eKUNSTRAUM-Grundriß\u003c\/em\u003e), loose in a linen cassette, signed in the imprint, edition of 110, format 42 × 29.7 cm, price DM 110, available to KUNSTRAUM members only.\u003c\/p\u003e\u003cp\u003eThe cover reproduces the Kunstraum floor plan — Vorplatz, Zi.A, Zi.B, Eingang — in architectural line drawing, reflecting Rückriem’s precise engagement with space, geometry, and placement. The back cover reproduces a partial floor plan showing Zi.C and Bad, one of the drawings exhibited as \u003cem\u003eErgänzungsstück\u003c\/em\u003e to the gallery’s own architecture.\u003c\/p\u003e\u003cp\u003eIssued when Rückriem was establishing the sculptural language that would define his career, this guide documents his early \u003cem\u003eErgänzungsstücke\u003c\/em\u003e — works in which found stone or steel elements were completed through carefully measured interventions. The six exhibited works include forged steel bars (Galerio Paul Maenz, Köln), a found steel ring completed into a disc, and a found steel plate (Dr. Heiner Oettli, Fislisbach) completed into a rectangle. Produced just before his international breakthrough, the guide captures a formative moment in post-Minimal and Conceptual sculpture when process, material, and site became inseparable.\u003c\/p\u003e\u003cp\u003eRather than functioning solely as documentation, the booklet records the exhibition as a spatial proposition. Floor plan, checklist, essay, and publication data remain together as a printed support for an exhibition that no longer exists.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Carefully packed in an archival sleeve with rigid protective backing.\u003c\/p\u003e","brand":"Kunstraum München e.V.","offers":[{"title":"Default Title","offer_id":53806929084754,"sku":"TNR-2026-0271","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ruckriem_Ulrich._Exhibition_guide._1974.jpg?v=1782029125"},{"product_id":"giorgio-sadotti-100-balls-for-sale-1992-2025","title":"Giorgio Sadotti — 100 Balls (For Sale), 1992\/2025","description":"\u003cp\u003eSelf-published exhibition announcement card issued in conjunction with Giorgio Sadotti, \u003cem\u003e100 Balls (For Sale)\u003c\/em\u003e, 1992\/2025.\u003c\/p\u003e\u003cp\u003eThe reverse outlines the original proposition in full: the sculpture was first made for the exhibition \u003cem\u003eIl Mistero Dei 100 Dollari Scomparsi\u003c\/em\u003e at Gió Marconi Gallery in 1992. Ten people are invited to buy ten different balls of their choice, looking for as large a variety of colour, size, and material as possible. Each of the one hundred balls is priced separately for sale. The asking price is a figure calculated to be exactly ten times the original cost of each ball, marked boldly and directly onto the surface of the corresponding ball using a felt-tip permanent marker pen. Any existing price marking on a ball is left whenever possible.\u003c\/p\u003e\u003cp\u003eRather than reproducing the sculpture, the card circulates its instructions, allowing the work to persist as language, transaction, and invitation. Printed more than three decades after the original installation, it reflects Sadotti’s longstanding interest in modest gestures, value systems, and the movement between artwork and everyday object. Like much of his practice, it quietly questions where a work resides — in the object itself, in its exchange, or in the act of describing it.\u003c\/p\u003e\u003cp\u003eA concise printed support that functions simultaneously as exhibition ephemera, artist statement, and conceptual proposition. Its economy of means mirrors the work it announces.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Giorgio Sadotti","offers":[{"title":"Default Title","offer_id":53806970143058,"sku":"TNR-2026-0273","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sadotti_Giorgio._100_balls_for_sale_show_invite._2025_front.jpg?v=1782030580"},{"product_id":"philippe-thomas-distriart-nv-art-share-ostend-1994","title":"PHILIPPE THOMAS — Distriart N.V. Art Share, Ostend, 1994","description":"\u003cp\u003eIssued by Distriart N.V. as an artist-designed company share operating simultaneously as financial document, printed multiple and collectible object. Thomas's design enlarges a commercial barcode into the certificate's principal image, placing product identification, serial production and ownership within the same administrative surface.\u003c\/p\u003e\u003cp\u003ePhilippe Thomas established readymades belong to everyone® in New York in 1987. Structured as an agency rather than a conventional artistic identity, the project enabled purchasers to occupy the position of attributed author. The certificate extends that proposition into a financial instrument: authorship and ownership are processed through registration, numbering, signatures and transfer.\u003c\/p\u003e\u003cp\u003eThe certificate is numbered 041. Published accounts describe the Distriart designs as planned or stated in editions of 1,000 examples per artist. The numbering system appears consistent with that structure, but no primary production record has been located confirming that all 1,000 examples of the Thomas design were physically printed and circulated. It is therefore described as a numbered example from a stated or intended edition of 1,000.\u003c\/p\u003e\u003cp\u003eThe sheet is not signed by Philippe Thomas. Two signature-like marks appear beneath the corporate designation \"Een Bestuurder\" — \"a director\" — and relate to Distriart's company authorisation. It cannot be determined from the object alone whether these are handwritten signatures or printed facsimiles.\u003c\/p\u003e","brand":"Distriart N.V.","offers":[{"title":"Default Title","offer_id":53813296333138,"sku":"TNR-2026-0279","price":1225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Thomas_Philippe._Readymades_belong_to_Everybody._1994_front_162582ec-93db-43ec-a7fe-9dacdbdb5018.jpg?v=1782122148"},{"product_id":"gilbert-and-george-photo-pieces-1971-80-whitechapel-art-gallery-london-1981","title":"GILBERT \u0026 GEORGE — Photo-Pieces 1971–80, Whitechapel Art Gallery, London, 1981","description":"\u003cp\u003eUnsigned; the printed signature and date belong to the reproduced image. Edition size unknown.\u003c\/p\u003e\u003cp\u003eIssued for Gilbert \u0026amp; George's exhibition at the Whitechapel Art Gallery, 3 July–16 August 1981. The poster reproduces \u003cem\u003eRose Hole\u003c\/em\u003e, 1980, surrounded by the operational information of the institution: admission, dates, opening hours, telephone number and Underground station.\u003c\/p\u003e\u003cp\u003ePhoto-Pieces 1971–80 surveyed the decade in which Gilbert \u0026amp; George moved from the actions and documentation of their “Living Sculpture” period towards the large, gridded photographic pictures that established their mature visual language. Early black-and-white arrangements expanded into mural-scale structures, with red introduced as an increasingly forceful element. The artists remained inside the image, treating their bodies, their neighbourhood and public life as material.\u003c\/p\u003e\u003cp\u003eHere, a picture measuring more than three metres across is reduced to a single portable sheet. The photographic grid remains visible, while two physical fold lines divide it again. Image and distribution use the same structure.\u003c\/p\u003e\u003cp\u003eThe poster exists between artwork and administration. \u003cem\u003eRose Hole\u003c\/em\u003e becomes date, timetable, telephone number and public address. A monumental picture is reformatted for temporary circulation through the gallery and the city. What remains is the retained announcement.\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53819023524178,"sku":"TNR-2026-0280","price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gilbert_George._Whitechapel_Gallery_poster_invite_photo_pieces._1981.jpg?v=1782193459"},{"product_id":"matias-faldbakken-search-suche-documenta-13-100-notes-035-hatje-cantz-2011","title":"MATIAS FALDBAKKEN — Search \/ Suche, dOCUMENTA (13): 100 Notes – 100 Thoughts, No. 035, Hatje Cantz, 2011","description":"\u003cp\u003eEnglish and German text; monochrome illustrations. Published by Hatje Cantz, 2011, in preparation for dOCUMENTA (13), Kassel, June–September 2012.\u003c\/p\u003e\u003cp\u003eFor \u003cem\u003eSearch \/ Suche\u003c\/em\u003e, Faldbakken retrieved portions of the Google search histories stored across several of his hard drives. The phrases are reproduced chronologically, preserving the order in which they entered the search box. Many originated as image searches and therefore reveal the verbal material underlying his visual research: part studio note, part private index, part accidental writing. Hatje Cantz describes the resulting text as occupying a position between his visual and literary production, approaching automatic writing and concrete poetry.\u003c\/p\u003e\u003cp\u003e“Oslo Police Christmas Party,” “Wehrmachtskanister,” “Rachel Whiteread Family,” “Grit Ass Tattoo.” The terms move without hierarchy from politics and art history to popular culture, technical questions, film scripts and stray personal associations. The search engine becomes both writing instrument and filing system. Meaning is generated through proximity rather than explanation.\u003c\/p\u003e\u003cp\u003eFaldbakken’s wider practice similarly extracts and repositions material from advertising, literature, art history and mass culture, often interfering with familiar objects until their original function becomes unstable. At dOCUMENTA (13), his related \u003cem\u003eBook Sculpture\u003c\/em\u003e intervention disrupted the ordering systems of Kassel’s public libraries by displacing books from their shelves. This booklet can be read as its quieter counterpart: not the destruction of a library arrangement, but the publication of an unstable digital one.\u003c\/p\u003e\u003cp\u003eThe design remains deliberately administrative. A pale typographic wrapper identifies artist, title and serial number. Beneath it, a grainy monochrome image operates as an inner cover; a portrait of Henry Ford interrupts the textual sequence. The spare lists and bilingual editorial pages give the publication the appearance of a report whose data has ceased to serve its original purpose.\u003c\/p\u003e\u003cp\u003eNot a catalogue of completed works. 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Curated by Arden Sherman and María Elena Ortiz.\u003c\/p\u003e\u003cp\u003eArtists include José Bento, Papo Colo, Donna Conlon \u0026amp; Jonathan Harker, Donald Evans, Radamés “Juni” Figueroa, Sarah Hotchkiss, Glendalys Medina, Hélio Oiticica, Rodolfo Peraza, Kenny Rivero, Betye Saar, Edra Soto \u0026amp; Dan Sullivan, Donald Sultan, Tafa, Ana Maria Tavares, Talwst, Erika Verzutti, Nari Ward and Lawrence Weiner.\u003c\/p\u003e\u003cp\u003eThe catalogue considers dominoes as both a visual system and a social structure: black and white, sequence and interruption, strategy and chance. Developed in direct relation to East Harlem and communities with strong Caribbean ties, the exhibition moved between formal abstraction, political history and the communal life surrounding the domino table. 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Photography by Peter Muscato. Designed by William Julien at Arum. Printed by Spiderweb, UK.\u003c\/p\u003e\u003cp\u003eStructured like a product brochure, service manual, and exhibition document simultaneously, \u003cem\u003eThe A-Z Bed Book\u003c\/em\u003e presents sleeping units — The Small Bed, The Carpet Bed, The Fled, The Ottoman — as both functional furniture and conceptual propositions. Each unit is described through staged photographs, product-description language, and testimonial letters from users. The A-Z stamp logo, sparse typographic layout, and booklet format mimic commercial catalogue material while remaining entirely inside an art context.\u003c\/p\u003e\u003cp\u003eZittel’s practice in the early 1990s collapsed art, design, shelter, clothing, and daily routine into a single operating system. Rather than treating domestic life as background, she made it the site of experiment. Beds, trailers, uniforms, and storage units became tools for testing freedom, limitation, comfort, and control.\u003c\/p\u003e\u003cp\u003eThis booklet is not only documentation of an exhibition. It is a printed extension of A-Z Administrative Services: a paper showroom, a sales device, a user guide, and an artwork’s portable administrative surface. Authorship is distributed through artist, company name, testimonial, gallery, biennial, publisher, and object. The bed moves from furniture to artwork to printed matter, becoming legible through circulation.\u003c\/p\u003e","brand":"A-Z Administrative Services","offers":[{"title":"Default Title","offer_id":53879491920210,"sku":"TNR-2026-0311","price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Zittel_Andrea._Selected_Sleeping_Arrangements_The_A_-_Z_Bed_Book._1995.jpg?v=1782797374"},{"product_id":"b-wurtz-daily-life-1970-1993-feature-new-york-1993","title":"B. 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It is a second support through which the work becomes legible: image, interview, chronology, bibliography, gallery name, object record. Published by Feature, the catalogue also carries the trace of Hudson’s gallery as a specific system of circulation — one that brought modest, resistant, difficult-to-classify practices into view without smoothing them into market polish.\u003c\/p\u003e\u003cp\u003eHere Wurtz’s work passes from sculpture into printed matter, from daily object into exhibition, from exhibition into archive. A small catalogue, but exact in its terms: ordinary materials reclassified; authorship distributed through conversation, chronology, and display; daily life made available as an art-historical category.\u003c\/p\u003e","brand":"Feature Inc.,","offers":[{"title":"Default Title","offer_id":53880303321426,"sku":"TNR-2026-0312","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wurtz_B._Daily_Life_1970-1993._1993.jpg?v=1782801841"},{"product_id":"lawrence-weiner-so-weiter-altonaer-museum-hamburg-1991","title":"LAWRENCE WEINER — (\u0026) so weiter, Altonaer Museum, Hamburg, 1991","description":"\u003cp\u003eClipped corners, three punched holes, minimal front text, publisher details to verso. Printed in Germany. Best.-Nr.: 193\/08.\u003c\/p\u003e\u003cp\u003eThe card turns Weiner’s language work into a small handled object: text, absence, spacing, and institutional circulation all held on one surface. Original shaped design — the die-cut form and punched holes are part of the work’s proposition, not incidental to it.\u003c\/p\u003e\u003cp\u003eLawrence Weiner was one of the central figures of Conceptual Art, using language as his primary material from the late 1960s onward. His works often moved between wall, book, poster, postcard, and public site, allowing text to function as both proposition and object. This small Altonaer Museum card belongs to that wider field of circulation: not simply an invitation, but a portable Weiner work in printed form.\u003c\/p\u003e\u003cp\u003eShips flat and well protected; international shipping available.\u003c\/p\u003e","brand":"Altonaer Museum Hamburg \/ Gebr. 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Haacke's work of this period addressed sponsorship, labour, political complicity and the systems through which institutions present themselves.\u003c\/p\u003e\u003cp\u003eThe poster does more than announce the exhibition. It carries the structure of the work: corporate language becomes source material, institutional critique becomes exhibition, exhibition becomes printed circulation. What remains is a surviving support from that chain of transfer.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eScarcity note: no comparable copy currently found in ordinary online circulation.\u003c\/em\u003e\u003c\/p\u003e","brand":"Van Abbemuseum","offers":[{"title":"Default Title","offer_id":53951240241490,"sku":"TNR-2026-0353","price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Haacke_Hans._Show_poster_Van_Abbemuseum._1979_e656b883-2ab9-45c3-bc06-08e6017bf5a5.jpg?v=1783458706"},{"product_id":"joseph-kosuth-consciousness-of-self-imschoot-rotterdam-1991","title":"Joseph Kosuth — Consciousness of Self, Imschoot \/ The Archives, Rotterdam, 1991","description":"\u003cp\u003eLarge poster designed by Joseph Kosuth for \u003cem\u003eBooks by Artists\u003c\/em\u003e, an Imschoot, Uitgevers presentation at The Archives, Art Information Center, Rotterdam, 8 September – 25 October 1991. Silkscreen printed in yellow and blue on black paper.\u003c\/p\u003e\u003cp\u003eThe work carries a quotation from Hegel’s \u003cem\u003ePhenomenology of Mind\u003c\/em\u003e across the surface: “Consciousness of self is in itself and for itself when and because it is in itself and for itself for another consciousness of self; in other words it is only by being recognized.” Kosuth places philosophical language into the format of an exhibition announcement. The poster does not illustrate the event so much as perform its terms: book, text, authorship, recognition, institution.\u003c\/p\u003e\u003cp\u003eImschoot, founded in Ghent as a specialist artist-book publisher, became known for distinctive limited artist publications, often giving artists freedom to design the book as part of the work itself. Its circle included major Conceptual and Minimal figures including John Baldessari, Robert Barry, Lawrence Weiner and Peter Downsbrough.\u003c\/p\u003e\u003cp\u003eA poster for artists’ books, by an artist whose medium is language. The support announces a publishing event, but also folds that event back into Kosuth’s own system: quotation, display, context, proposition. 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Visitors are asked to locate their position within the machinery of the Biennale: producer, intermediary, consumer, professional, public, insider, outsider. The exhibition is presented as a system of access, language, labour and cultural hierarchy. Three paths are proposed: Percorso 1 for art-world professionals (critics, curators, dealers, artists); Percorso 2 for artists, filmmakers, architects, dancers, photographers, writers, designers, musicians; Percorso 3 for the public. The maze in the centre of the sheet is the Biennale itself.\u003c\/p\u003e\u003cp\u003eIts return in 2026 places a 1970s conceptual poster back into circulation at the exact site of its original problem: Venice as exhibition, marketplace, international stage and maze. A printed work made to question orientation becomes orientation again.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53969411309906,"sku":"TNR-2026-0364","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kosuth_Joseph._Exhibition_poster_-_A_CHE_PUNTO_SEI_Where_are_you_at_._2026_520b05ee-96c0-41a3-a734-bedc876b1e3b.jpg?v=1783670655"},{"product_id":"laura-carpenter-philippe-thomas-insights-galerie-claire-burrus-paris-1990-invitation","title":"LAURA CARPENTER \/ PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]","description":"\u003cp\u003eGalerie Claire Burrus, Paris, 10–17 March 1990. 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Photograph by George Segal.\u003c\/p\u003e\u003cp\u003e\u003cem\u003ePhotonotations\u003c\/em\u003e assembled photographs by artists working across sculpture, painting, Minimalism and Conceptual art, including Arman, Bochner, LeWitt, the Mangolds, Pindell, Rockburne, Segal and Smithson. The exhibition belongs to a period in which the camera was increasingly used by artists not simply to produce photographs, but to document temporary actions, stage propositions and carry broader artistic ideas. Rosa Esman Gallery returned to the subject with \u003cem\u003ePhotonotations II\u003c\/em\u003e the following year.\u003c\/p\u003e\u003cp\u003eSegal's image already performs the title: a figure works across an illuminated theatre marquee, interrupting its letters and leaving the message temporarily unreadable. 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Repeated photographic image to recto; formal invitation text, institutional credits and sponsor marks to verso.\u003c\/p\u003e\u003cp\u003eThe exhibition gathered nearly three decades of Art \u0026amp; Language’s work within the formal structure of a national museum retrospective. The invitation places the collective behind the glass frontage of the institution: repeated figures, reflections and architectural divisions partially obscure the image while the museum’s name passes vertically across it.\u003c\/p\u003e\u003cp\u003eThe reverse returns the exhibition to its administrative form — ministerial invitation, opening hours, admission instructions, institutional support and photographic credit. Image on one side; conditions of entry on the other.\u003c\/p\u003e\u003cp\u003eTwenty years later, the Jeu de Paume revisited the 1993 exhibition without reinstalling its artworks. 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