{"title":"Exhibition Invitation Cards","description":"\u003cp\u003eInvitation and announcement cards were printed to open an exhibition and mailed to a gallery's list, made to be read once and put aside. The ones that survive record who showed where and when, and many carry an image chosen for the show. The New Rare holds cards from galleries and museums in Paris, London, New York and beyond, from 1922 to now, each catalogued with its own register number and condition.\u003c\/p\u003e","products":[{"product_id":"urs-luthi-exhibition-invitation-galerie-isy-brachot-brussels-1975","title":"URS LÜTHI — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975","description":"\u003cp\u003e\u003cstrong\u003eURS LÜTHI\u003c\/strong\u003e\u003cbr\u003eGalerie Isy Brachot, Brussels\u003cbr\u003eNovember 12, 1975 – January 8, 1976\u003cbr\u003eOpening: November 10, 19h\u003c\/p\u003e\u003cp\u003eOriginal invitation for Urs Lüthi's 1975 solo exhibition at Galerie Isy Brachot, a key moment in the development of self-performance and gender-fluid identity in postwar European art. The invitation is a bifolded card with two loose inserts, measuring 29.7 × 21.0 cm unfolded, and features stark black-and-white photographs of the artist staging his own body — sometimes disguised, sometimes vulnerable, always deliberately composed.\u003c\/p\u003e\u003cp\u003eEmerging from the 1970s conceptual wave, Lüthi's work blended performance, photography, and personal mythology. He rejected the neutral stance of much conceptual art in favour of something more intimate, melancholic, and theatrical. The images shown here — posed, exposed, and occasionally erased — point to early preoccupations with the self as both object and illusion.\u003c\/p\u003e\u003cp\u003eThis exhibition came at a time when Lüthi was establishing his visual lexicon: the reclining body, the play with androgyny, the subtle references to artifice and autobiography. Surviving ephemera from this period is exceptionally scarce, and this invitation offers both historical significance and stark formal beauty.\u003c\/p\u003e","brand":"Galerie Isy Brachot","offers":[{"title":"Default Title","offer_id":53039877456210,"sku":"TNR-2026-0003","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/UrsLuthi01.jpg?v=1774601935"},{"product_id":"hans-bellmer-67-photographies-inedites-galerie-francois-petit-1983-84","title":"HANS BELLMER — 67 photographies inédites, Galerie François Petit, Paris, 1983–84","description":"\u003cp\u003eGalerie François Petit, 196 boulevard Saint-Germain, Paris, 1983–84. French text.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eHans Bellmer — 67 photographies inédites\u003c\/em\u003e, 20 December 1983 – 25 February 1984. The recto carries a black-and-white photographic image: face, hand, obstruction, gaze. The verso reduces the exhibition to script, dates, address, and gallery placement.\u003c\/p\u003e\u003cp\u003eBellmer’s work moved through Surrealism by way of the constructed body, the doll, the erotic fragment, and the image as psychological apparatus. By the early 1980s, his photographic practice was being re-entered into circulation through exhibitions, catalogues, and specialist gallery contexts in Paris. This card belongs to that moment of re-entry.\u003c\/p\u003e\u003cp\u003eLess commonly encountered than the related exhibition catalogue, the invitation survives as a lighter administrative fragment from the same exhibition structure. Produced for short-term circulation, examples appear infrequently on the secondary market. As object, it sits between announcement and retained support — made to pass briefly through the gallery system and disappear. Its survival gives it a second condition: invitation, document, and secondary photographic object.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie François Petit","offers":[{"title":"Default Title","offer_id":53053706830162,"sku":"TNR-2026-0012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans._Show_invite_67_photographies_inedites_._1983.jpg?v=1779946086"},{"product_id":"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":"a-francois-petit-paris-surrealist-group-exhibition-invitation-1965","title":"A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965","description":"\u003cp\u003eOriginal printed invitation card for an exhibition of selected works at A. François Petit, 122 boulevard Haussmann, Paris 8e, December 1965.\u003c\/p\u003e\u003cp\u003eThe card lists eleven artists: Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen.\u003c\/p\u003e\u003cp\u003eA small and unusually elegant piece of mid-1960s Paris gallery ephemera. No image, no reproduction — just names, and the names do the work. The card condenses an entire Surrealist afterlife into a discreet printed square: Bellmer, Dalí, Ernst, Lam, Magritte, Tanguy, Toyen. Seen now, it reads less as a simple invitation than as a compact index of market formation, taste, and historical positioning in postwar Paris.\u003c\/p\u003e\u003cp\u003eThe address is worth noting. André-François Petit ran his gallery from 122 boulevard Haussmann and became known as a committed dealer in Surrealism, handling figures including Dalí, Bellmer, Ernst, Magritte, and others from the movement's wider orbit.\u003c\/p\u003e\u003cp\u003eA minimal object, but a dense one: a private invitation, a dealer's calling card, and a quiet administrative fragment from the secondary life of Surrealism.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"A. François Petit","offers":[{"title":"Default Title","offer_id":53157598691666,"sku":"TNR-2026-0022","price":100.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/A._Francois_Petit_Gallery_0001.jpg?v=1775688835"},{"product_id":"gregor-schneider-die-familie-schneider-konrad-fischer-galerie-berlin-2014","title":"GREGOR SCHNEIDER — Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014","description":"\u003cp\u003eIssued for Gregor Schneider’s solo show \u003cem\u003eDie Familie Schneider\u003c\/em\u003e, Konrad Fischer Galerie, Berlin, 14 November 2014 – 10 January 2015. Opening: Friday 14 November 2014, 18–21 Uhr.\u003c\/p\u003e\u003cp\u003eThe front is almost disarmingly soft — decorative wallpaper, the title set in script — but that domestic surface is exactly where Schneider’s work tends to become unstable. \u003cem\u003eDie Familie Schneider\u003c\/em\u003e belongs to the artist’s longer investigation of duplicated rooms, family structures, enclosure, and the psychological charge of ordinary interiors. Schneider’s earlier project of the same title turned two near-identical houses in London into a deeply disorienting encounter, making the family home feel doubled, staged, and faintly threatening.\u003c\/p\u003e\u003cp\u003eThe card compresses one of Schneider’s key moves into a small printed object: the home as façade, pattern as cover, decoration as unease. A modest Konrad Fischer announcement that carries the full emotional temperature of the work.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Konrad Fischer Galerie","offers":[{"title":"Default Title","offer_id":53157606588754,"sku":"TNR-2026-0023","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gregor_Schneider_0001.jpg?v=1775689478"},{"product_id":"man-ray-kunsthalle-basel-1980","title":"MAN RAY — Kunsthalle Basel, 1980","description":"\u003cp\u003eKunsthalle Basel, Steinenberg 7, 1980.\u003c\/p\u003e\u003cp\u003eIssued for Man Ray at Kunsthalle Basel, opening Saturday 19 January 1980, 18 Uhr, running through 24 February 1980. Recto reproduces \u003cem\u003eViolon d’Ingres\u003c\/em\u003e (1924); verso carries full exhibition, catalogue, and film-screening details.\u003c\/p\u003e\u003cp\u003eThe front reproduces one of Man Ray’s most recognisable images — the nude back with f-holes drawn in, the body as instrument. The reverse is where the card becomes especially useful: opening details, a 210-page catalogue (162 black-and-white illustrations, 15 colour plates) with texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, and H. Molderings, and a film programme including \u003cem\u003eRetour à la raison\u003c\/em\u003e (1923), \u003cem\u003eEmak Bakia\u003c\/em\u003e (1926), \u003cem\u003eL’Étoile de mer\u003c\/em\u003e (1927), and \u003cem\u003eMystère du château du dé\u003c\/em\u003e (1928).\u003c\/p\u003e\u003cp\u003ePart of the wider 1978–1980 touring exhibition \u003cem\u003eMan Ray: Inventionen und Interpretationen\u003c\/em\u003e. The card reads not just as an invitation but as a compact institutional script for how Man Ray was being framed in German-speaking Europe at the start of the 1980s — the familiar Surrealist image on one side, the machinery of exhibition-making on the other.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Kunsthalle Basel","offers":[{"title":"Default Title","offer_id":53157707907410,"sku":"TNR-2026-0025","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Man_Ray_1980_0001.jpg?v=1775690555"},{"product_id":"charles-ross-point-source-star-space-john-weber-susan-caldwell-new-york-1977","title":"CHARLES ROSS — Point Source \/ Star Space, John Weber Gallery \u0026 Susan Caldwell Gallery, New York, 1977","description":"\u003cp\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":"richard-prince-de-kooning-gagosian-gallery-paris-2011","title":"RICHARD PRINCE — de Kooning, Gagosian Gallery, Paris, 2011","description":"\u003cp\u003eFolded exhibition invitation for Richard Prince’s \u003cem\u003ede Kooning\u003c\/em\u003e exhibition at Gagosian Gallery, Paris, held 30 March–21 May 2011. Opening reception: Tuesday 29 March, 5–8 pm.\u003c\/p\u003e\u003cp\u003eOversized card, printed in colour on card stock and folded once, with a full image spread across the interior and exhibition details set on a vertical white panel. Dimensions: 21 × 25.5 cm folded; 25.5 × 37 cm unfolded.\u003c\/p\u003e\u003cp\u003eThe front presents a cropped reproduction from Prince’s de Kooning series against a warm peach ground, already staging the collision the works depend on: quotation, distortion, repainting, and the unstable return of a canonical image through another artist’s hand. Opened out, the card expands into a near full-bleed detail, intensifying the abrasive facture and unstable figuration associated with the series. The reverse is nearly blank, carrying only the work caption in small type: \u003cem\u003eUntitled (de Kooning)\u003c\/em\u003e, 2009, inkjet and acrylic on canvas.\u003c\/p\u003e\u003cp\u003eWhat circulates here is not only an announcement but a compressed statement of method. Prince’s de Kooning paintings rework Willem de Kooning’s already volatile women into a second-order image economy of reproduction, collage, and repainting. In invitation form, that logic becomes especially clear: the card itself operates through cropping, folding, enlargement, and redistribution. A work about appropriation is encountered through another act of appropriation.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear and minor corner and edge rubbing consistent with age and storage; structurally sound and clean overall.\u003c\/p\u003e","brand":"Gagosian Gallery","offers":[{"title":"Default Title","offer_id":53185586790738,"sku":"TNR-2026-0032","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2011_0001.jpg?v=1776061946"},{"product_id":"isa-genzken-window-hauser-wirth-london-2020","title":"Isa Genzken — Window","description":"\u003cp\u003eOpening reception: Thursday 6 February 2020, 6–8 pm\u003cbr\u003eExhibition dates: 7 February – 2 May 2020\u003cbr\u003eHauser \u0026amp; Wirth, 23 Savile Row, London W1S 2ET\u003c\/p\u003e\u003cp\u003eImage: \u003cem\u003eUntitled\u003c\/em\u003e (detail), 2018. 15 airplane window panels with wood and metal mounting; 3 airplane bench seats. Installation dimensions variable.\u003cbr\u003eCourtesy the artist, Hauser \u0026amp; Wirth and Galerie Buchholz, Cologne \/ Berlin \/ New York. Photo: Todd White Art Photography.\u003c\/p\u003e\u003cp\u003eInvitation issued for \u003cem\u003eWindow\u003c\/em\u003e, Isa Genzken’s 2020 exhibition at Hauser \u0026amp; Wirth, London. The printed image reproduces an installation of aircraft window panels and economy-class seating. A structure of transit is moved into the gallery. Window, seat, wall, and support become detached architectural units.\u003c\/p\u003e\u003cp\u003eThe invitation operates as a minor exhibition record. It carries the image, the address, the date, the opening time, and the institutional credit line. A temporary exhibition is reduced to a card. The card remains after the room has been cleared.\u003c\/p\u003e\u003cp\u003eGenzken’s practice has long moved through architecture, display, urban material, and damaged modernist form. Here, the window is not simply a view. It is a frame, a surface, a limit, and a system for looking.\u003c\/p\u003e\u003cp\u003eThe invitation remains an invitation.\u003cbr\u003eThe exhibition has closed. The card has not.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Hauser \u0026 Wirth","offers":[{"title":"Default Title","offer_id":53425645125970,"sku":"TNR-2026-0074","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Isa_Genzken_2020_0001_c0f5f87b-2a0f-40f8-93fb-3d95beb83e74.jpg?v=1778687382"},{"product_id":"ryan-mcginley-vertical-color-of-sound-perrotin-hong-kong-2014","title":"Ryan McGinley — Vertical Color of Sound","description":"\u003cp\u003eText in English and Chinese\u003cbr\u003eRecto image: \u003cem\u003eHay Hop\u003c\/em\u003e, 2014\u003cbr\u003eVerso with exhibition details, opening reception, bilingual text, and Galerie Perrotin Hong Kong address\u003c\/p\u003e\u003cp\u003eIssued for Ryan McGinley’s \u003cem\u003eVertical Color of Sound\u003c\/em\u003e, held at Galerie Perrotin, Hong Kong, 13 May–21 June 2014. The exhibition marked McGinley’s first solo presentation in China and gathered large-scale photographic works from his summer road-trip series: bodies in motion, open landscapes, artificial freedom, and colour as atmosphere.\u003c\/p\u003e\u003cp\u003eThe invitation reduces one of those images to a square paper support. A figure suspended above field and sky; exhibition information held on the reverse. The photograph is made portable, folded into the distribution system of the gallery.\u003c\/p\u003e\u003cp\u003eBy 2014, McGinley’s work had moved from the diaristic energy of downtown New York youth culture toward a more staged and cinematic image-world. The card belongs to that later circulation: Perrotin, Hong Kong, bilingual text, image as announcement, gallery object as residue.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"Galerie Perrotin","offers":[{"title":"Default Title","offer_id":53441311441234,"sku":"TNR-2026-0077","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/McGinley_-Ryan.-Vertical-Colour-of-Sound_-show-invite-2014-front.jpg?v=1778778385"},{"product_id":"damien-hirst-medicine-cabinets-lm-arts-2010","title":"Damien Hirst — Medicine Cabinets","description":"\u003cp\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\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":"TNR-2026-0078","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\u003eIssued for \u003cem\u003eHeroes of Birth\u003c\/em\u003e, Luhring Augustine, Chelsea, New York, 11 September – 16 October 2010\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":"TNR-2026-0080","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":"richard-prince-spiritual-america-guggenheim-2007","title":"Richard Prince — Spiritual America","description":"\u003cp\u003eExhibition dates: 28 September 2007 – 9 January 2008\u003c\/p\u003e\u003cp\u003eOriginal postcard issued for \u003cem\u003eRichard Prince: Spiritual America\u003c\/em\u003e at the Solomon R. Guggenheim Museum, New York. The exhibition was Prince’s first comprehensive retrospective since 1992 and brought together photography, painting, sculpture, and works on paper across the Cowboys, Jokes, Girlfriends, Nurses, Hoods, and related series.\u003c\/p\u003e\u003cp\u003eThe recto reproduces one of Prince’s nurse images: a pulp-fiction figure isolated, masked, and reprocessed through the museum postcard. The card functions as a small institutional relay for a practice built around repetition, appropriation, American image culture, and the conversion of already-circulating material into art. Prince’s Nurse paintings began in 2002, using enlarged pulp medical-romance covers, overpainting, and surgical masks to turn the nurse figure into something both seductive and threatening.\u003c\/p\u003e\u003cp\u003eA minor Guggenheim support object.\u003cbr\u003eImage, title, museum, sponsor, address field.\u003cbr\u003eA work about circulation returned to circulation as card.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53441647771986,"sku":"TNR-2026-0081","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-_Spiritual-America_-exhibition-announcement.-2007-front_e91007a2-0963-454b-9a4f-6800aba8a8f0.jpg?v=1778786721"},{"product_id":"anton-corbijn-still-lives-torch-gallery-amsterdam-2000","title":"ANTON CORBIJN — Still Lives (Björk, Reykjavik, 1999), TORCH Gallery, Amsterdam, 2000","description":"\u003cp\u003eOpening: 15 April 2000, 17.00–19.00 hrs\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":"TORCH Gallery","offers":[{"title":"Default Title","offer_id":53441869250898,"sku":"TNR-2026-0082","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":"richard-hamilton-private-view-invitation-serpentine-gallery-1975","title":"Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975","description":"\u003cp\u003ePrivate view: Friday 3 October 1975, 5–8 pm\u003cbr\u003eExhibition dates: 4 October – 2 November 1975\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":"TNR-2026-0085","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\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\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":"Galerie Daniel Templon","offers":[{"title":"Default Title","offer_id":53458585157970,"sku":"TNR-2026-0086","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-wishing-tree-shoshana-wayne-gallery-santa-monica-1996","title":"RACHEL LACHOWICZ \/ YOKO ONO — Wishing Tree, Shoshana Wayne Gallery, Santa Monica, 1996","description":"\u003cp\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\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":"Shoshana Wayne Gallery","offers":[{"title":"Default Title","offer_id":53459413795154,"sku":"TNR-2026-0087","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":"jean-clareboudt-oblique-haute-credac-ivry-sur-seine-1990","title":"Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990","description":"\u003cp\u003eVernissage: Wednesday 24 January 1990, 18h–21h\u003cbr\u003eExhibition dates: 24 January – 25 March 1990\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for Jean Clareboudt’s 1990 exhibition \u003cem\u003eOblique Haute\u003c\/em\u003e at CREDAC, Ivry-sur-Seine, produced in connection with the installation of the monumental work \u003cem\u003eOrme au Chat\u003c\/em\u003e on Boulevard Brandenbourg. The invitation was issued under the name of Jacques Laloë, Mayor of Ivry, marking the civic dimension of the commission.\u003c\/p\u003e\u003cp\u003eThe front image carries much of the object’s force: a suspended mass, a crane, a public site, and the artist’s name in red. Clareboudt’s sculpture often worked through weight, tension, industrial material, and open space. Here those concerns remain in reduced form, held by the card itself.\u003c\/p\u003e\u003cp\u003eA strong printed trace of a temporary sculptural event. Small format, large object behind it.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective archival packaging.\u003c\/p\u003e","brand":"CREDAC","offers":[{"title":"Default Title","offer_id":53459481985362,"sku":"TNR-2026-0089","price":90.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Clareboudt_Jean._Oblique_Haute_Centre_of_Contemporary_Art_Invite._1990_front_3f04453f-1fbe-4d4c-9822-b7a082eb7c43.jpg?v=1778909039"},{"product_id":"dan-colen-the-sorcerers-apprentice-greenberg-gallery-2013","title":"DAN COLEN — The Sorcerer's Apprentice, The Greenberg Gallery, 2013","description":"\u003cp\u003eWork illustrated: \u003cem\u003eThe Sorcerer's Apprentice\u003c\/em\u003e, 2013, oil and pigment on panel, 39½ × 60 in.\u003c\/p\u003e\u003cp\u003eSmall-format gallery card reproducing Dan Colen's \u003cem\u003eThe Sorcerer's Apprentice\u003c\/em\u003e, a 2013 painting from the period in which the artist moved from the abject materials and downtown mythology of his earlier work toward more refined, process-based image-making. The work draws on the visual residue of Disney's \u003cem\u003eFantasia\u003c\/em\u003e, converting a mass-cultural image into a dark, particulate field of oil, pigment, and atmosphere.\u003c\/p\u003e\u003cp\u003eThe reverse is almost as useful as the image: a direct request to join The Greenberg Gallery's email list. As an object, the card sits at the edge of two systems — the printed gallery announcement and the emerging digital mailing list. Physical card, digital future.\u003c\/p\u003e\u003cp\u003eA compact survivor from the early-2010s contemporary art market, when Colen's work moved between downtown legend, blue-chip circulation, and process-based abstraction.\u003c\/p\u003e","brand":"The Greenberg Gallery","offers":[{"title":"Default Title","offer_id":53459499549010,"sku":"TNR-2026-0090","price":70.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Colen_Dan._The_Greenberg_Gallery_artist_card._2013_front_75fa47a9-eecc-4d9f-ba69-9c8cb9f896da.jpg?v=1778910444"},{"product_id":"paul-klee-12-aquarelles-galerie-berggruen-paris-1964","title":"Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964","description":"\u003cp\u003eGalerie Berggruen, 70 Rue de l’Université, Paris VII\u003cbr\u003eImage after \u003cem\u003ePerspective — Raum Clu\u003c\/em\u003e, 1928\/29\u003cbr\u003eExhibition dates: 5 October – 30 November 1964\u003c\/p\u003e\u003cp\u003eOriginal invitation issued to coincide with the publication of \u003cem\u003ePaul Klee — 12 Aquarelles\u003c\/em\u003e, a Berggruen portfolio project circulating Klee’s works on paper through a postwar Paris market. The printed image reproduces a perspective drawing from 1928\/29 — part of Klee’s ‘ghost chamber’ works, where perspective is treated as unstable structure: interior space reduced to a skeletal, almost theatrical diagram.\u003c\/p\u003e\u003cp\u003eBy the 1960s, Klee’s position had shifted from Bauhaus-era experimenter to canonised modernist. Berggruen’s programme played a key role in this transition, distributing his work through albums, exhibitions, and printed matter that functioned as both documentation and extension of the work itself. This card sits precisely in that space: a small-format support where reproduction, publication, and exhibition converge.\u003c\/p\u003e\u003cp\u003eA minor but exact object — paper carrying the afterlife of a 1920s drawing into 1964 Paris circulation.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"Galerie Berggruen","offers":[{"title":"Default Title","offer_id":53465081446738,"sku":"TNR-2026-0092","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul.GalerieBerggruenexhibitioncard.19641-sunbleachedfront.jpg?v=1778993110"},{"product_id":"paul-klee-12-aquarelles-galerie-berggruen-paris-1964-ii","title":"Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]","description":"\u003cp\u003eGalerie Berggruen, 70 Rue de l’Université, Paris VII\u003cbr\u003eOriginal folded exhibition invitation card\u003cbr\u003eOrange folded card; black printed text and line drawing to recto; exhibition text to interior\u003cbr\u003eImage after \u003cem\u003ePerspective — Raum Clu\u003c\/em\u003e, 1928\/29\u003cbr\u003eExhibition dates: 5 October – 30 November 1964\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and minor surface marks consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued to coincide with the publication of \u003cem\u003ePaul Klee — 12 Aquarelles\u003c\/em\u003e, a Berggruen portfolio project circulating Klee’s works on paper through a postwar Paris market. The printed image reproduces a perspective drawing from 1928\/29 — part of Klee’s ‘ghost chamber’ works, where perspective is treated as unstable structure: interior space reduced to a skeletal, almost theatrical diagram.\u003c\/p\u003e\u003cp\u003eThe card is orange throughout. Not as ground for text or image, but as field — a single chromatic decision that holds the drawing, the typography, and the blank interior panel inside the same vivid plane. The colour does not illustrate the work. It is the work’s first condition.\u003c\/p\u003e\u003cp\u003eBerggruen’s programme played a key role in Klee’s postwar canonisation, distributing his work through albums, exhibitions, and printed matter that functioned as both documentation and extension of the work itself. This card sits precisely in that space: a small-format support where reproduction, publication, and exhibition converge.\u003c\/p\u003e\u003cp\u003eA minor but exact object — paper carrying the afterlife of a 1920s drawing into 1964 Paris circulation.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"Galerie Berggruen","offers":[{"title":"Default Title","offer_id":53465256132946,"sku":"TNR-2026-0093","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul.GalerieBerggruenexhibitioncard.19642-goodcopyfront.jpg?v=1778994432"},{"product_id":"paul-klee-musee-national-art-moderne-paris-1969","title":"Paul Klee — Musée National d’Art Moderne, Paris, 1969","description":"\u003cp\u003eInauguration: Tuesday 25 November 1969, 15h–20h\u003cbr\u003eMusée National d’Art Moderne, 13 avenue du Président Wilson, Paris 16\u003cbr\u003eInvitation valid for two persons\u003c\/p\u003e\u003cp\u003eOfficial invitation issued under the authority of the French Ministry of Cultural Affairs for a major retrospective of Paul Klee at the Musée National d’Art Moderne, Paris. The card is printed on high-quality laid paper bearing a blind-embossed manufacturer’s mark (‘LES MANUFACTURES D’ANSONS’), situating it within a tradition of refined French art publishing and state-issued cultural material.\u003c\/p\u003e\u003cp\u003eThe recto reproduces Klee’s 1924 drawing \u003cem\u003eIn der Segel-von-Taschen-Klip-Klap-Anstalt\u003c\/em\u003e, produced during his Bauhaus years. The work stages a mechanical, quasi-architectural fiction — part satire, part diagram — reflecting Klee’s resistance to rigid functionalism and his insistence on intuition within structured systems.\u003c\/p\u003e\u003cp\u003eThe interior text formalises the invitation through Monsieur Edmond Michelet, then Minister of State for Cultural Affairs, marking the exhibition as a state-level cultural event. The card operates less as a simple announcement and more as an administrative object: a controlled document issued to a limited network of officials, collectors, and institutional figures.\u003c\/p\u003e\u003cp\u003ePrinted support for the alignment of artist, state, and institution. A minor document carrying the consolidation of Klee within postwar French cultural policy.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"Musée National d’Art Moderne","offers":[{"title":"Default Title","offer_id":53465970213202,"sku":"TNR-2026-0094","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul._National_Museum_of_Modern_Art_Paris._Show_invitation._1969_front.jpg?v=1778995207"},{"product_id":"georg-baselitz-devotion-invitation-alan-cristea-gallery-2019","title":"Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019","description":"\u003cp\u003eIssued for Georg Baselitz's \u003cem\u003eDevotion\u003c\/em\u003e exhibition at \u003ca href=\"https:\/\/www.alancristea.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAlan Cristea Gallery\u003c\/a\u003e, London, presented in May–June 2019. The invitation adopts a notably restrained format: generous white space, centered serif typography, and sparse institutional information offset against a reproduction from Baselitz's print practice. Rather than functioning as a graphic statement, it remains close to a threshold object — an announcement structure carrying date, access, and placement.\u003c\/p\u003e\u003cp\u003eBy 2019 Baselitz had moved through several distinct phases of production: the fractured and raw figurative paintings of the 1960s, the inverted figures that became synonymous with his practice from 1969 onward, and increasingly direct engagement with printmaking as a space for experimentation. The title \u003cem\u003eDevotion\u003c\/em\u003e introduces a quieter register, where gesture and image begin to feel less declarative and more reflective.\u003c\/p\u003e\u003cp\u003eWithin a New Rare object logic, the invitation sits somewhere between exhibition residue and administrative support. The exhibition concludes, the object remains. A small printed document retaining the coordinates of a temporary event.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Alan Cristea Gallery","offers":[{"title":"Default Title","offer_id":53547742593362,"sku":"TNR-2026-0102","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Baselitz_Georg._Devotion_invitation._2019_front.jpg?v=1779596810"},{"product_id":"david-hammons-invitation-postcard-lm-arts-new-york-2011","title":"David Hammons — Exhibition Invitation Card, L\u0026M Arts, New York, 2011","description":"\u003cp\u003eExhibition 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. 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":"TNR-2026-0103","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 dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\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":"TNR-2026-0104","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"pierre-klossowski-lenonce-a-nouveau-denonce-galerie-beaubourg-vence-1999","title":"Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999","description":"\u003cp\u003eExhibition dates: 3 April – 12 June 1999\u003c\/p\u003e\u003cp\u003ePrinted for a solo exhibition by Pierre Klossowski titled \u003cem\u003el’énoncé à nouveau dénoncé\u003c\/em\u003e (“the statement denounced again”), held at the Château Notre-Dame des Fleurs in Vence under the direction of Marianne and Pierre Nahon. Issued late in Klossowski’s life, the exhibition gathered paintings and sculptures around a body of work that continuously moved between literature, philosophy, theatre, and image.\u003c\/p\u003e\u003cp\u003eThe front reproduces Klossowski’s \u003cem\u003eRoberte aux barres parallèles\u003c\/em\u003e (1990), a polychrome sculpture executed in painted synthetic resin, metal, and wood. The work animates characters from \u003cem\u003eThe Laws of Hospitality\u003c\/em\u003e, the avant-garde trilogy through which Klossowski developed the figure of Roberte — part fictional protagonist, part philosophical device, part recurring image-system. Across these texts and later visual works, desire becomes staged rather than narrated: roles are performed, exchanged, repeated, and observed.\u003c\/p\u003e\u003cp\u003eThe sculpture itself sits between mannequin, theatre prop, and philosophical proposition. The figures appear suspended in an ambiguous scene somewhere between choreography and ritual. As with much of Klossowski’s work, the image resists a stable reading; narrative and enactment begin to overlap.\u003c\/p\u003e\u003cp\u003eAs a printed object the card performs a similar reduction. Complex literary and philosophical structures are compressed into a portable support: title, image, date, place. The exhibition passes; the scenario remains.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Beaubourg","offers":[{"title":"Default Title","offer_id":53548089246034,"sku":"TNR-2026-0105","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klossowski_Pierre._Sculpture_and_painting_show_announcement_Galerie_Beubourg._1999_front.jpg?v=1779599409"},{"product_id":"barbara-kruger-untitled-love-is-something-you-fall-into-national-gallery-of-art-washington-2016-2017","title":"BARBARA KRUGER — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017","description":"\u003cp\u003ePostcard published for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, presented at the National Gallery of Art, Washington, following the reopening of the museum's East Building Tower Gallery after a major architectural renovation. Curated by Molly Donovan, the exhibition brought together profile works spanning several decades and examined one of Kruger's central formal structures: direct language confronting indirect or withdrawn imagery.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eUntitled (Love is something you fall into)\u003c\/em\u003e (1990), one of Kruger's most recognisable works. A cropped black-and-white image of a woman's profile is interrupted by a vertical red text bar carrying the phrase: \u003cem\u003eLove is something you fall into\u003c\/em\u003e. The language initially resembles advertising copy or a magazine headline, but the wording immediately destabilises itself. Rather than presenting love as aspiration or fulfilment, the phrase suggests surrender, descent, or loss of control.\u003c\/p\u003e\u003cp\u003eKruger repeatedly appropriated the visual language of consumer culture — publicity, magazines, editorial layouts — not to celebrate persuasion but to expose its mechanisms. Here romance itself becomes a manufactured proposition. Desire is packaged, delivered, and sold back to the viewer. The image remains suspended between glamour and unease, attraction and warning.\u003c\/p\u003e\u003cp\u003eThe timing of the exhibition added another register. Installed in Washington during the final months of the 2016 U.S. election cycle and presidential transition, Kruger's long-standing concerns around authority, social conditioning, and systems of persuasion acquired renewed urgency.\u003c\/p\u003e\u003cp\u003eAs an object, the postcard functions as a compressed version of Kruger's larger method: image, command, interruption. A museum support carrying forward the structure of the work itself.\u003c\/p\u003e\u003cp\u003eOriginal period item.\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":"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 dates: 2 November – 16 December 2017\u003c\/p\u003e\n\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\n\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\n\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\n\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\n\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","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"TNR-2026-0107","price":35.0,"currency_code":"GBP","in_stock":false}],"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-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition dates: 4 October – 18 November 2017\u003c\/p\u003e\u003cp\u003eIssued for a solo exhibition by Sherrie Levine at David Zwirner, London. The card reproduces a detail from \u003cem\u003eAfter Russell Lee: 1–60\u003c\/em\u003e (2016), Levine’s reworking of historic documentary photographs originally made by Russell Lee during his work for the Farm Security Administration in the 1940s.\u003c\/p\u003e\u003cp\u003eThe image depicts Faro and Doris Caudill in Pie Town, New Mexico, photographed in October 1940. In Levine’s version, the original documentary image re-enters circulation as a new object: digitally translated, enlarged, and repositioned within the context of contemporary art. Rather than producing an image from nothing, Levine works through transfer, repetition, and displacement.\u003c\/p\u003e\u003cp\u003eSince the late 1970s Levine has repeatedly questioned the stability of authorship and originality through acts of appropriation. Existing images are not simply reused but placed under pressure. Ownership, historical authority, and artistic identity become unstable categories. The gesture is small and direct: take an image already embedded in culture and ask what changes when it appears again.\u003c\/p\u003e\u003cp\u003eWithin a New Rare register the invitation performs a similar operation. One image passes through multiple systems — documentary record, archive, artwork, exhibition support, printed card. Authorship remains active but temporarily unsettled.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53549335314770,"sku":"TNR-2026-0108","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Pie_Town_exhibition_card._David_Zwirner_London._2017_front.jpg?v=1779601142"},{"product_id":"mark-morrisroe-1959-1989-clampart-new-york-2011","title":"Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition dates: 24 March – 30 April 2011\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition dedicated to Mark Morrisroe at ClampArt in New York, produced simultaneously with the major survey \u003cem\u003eMark Morrisroe: From This Moment On\u003c\/em\u003e at Artists Space. Together the two exhibitions contributed to a broader re-examination of Morrisroe's short but influential career and his position within late twentieth-century photography.\u003c\/p\u003e\u003cp\u003eThe card reproduces \u003cem\u003eSelf Portrait\u003c\/em\u003e (1980 \/ photogravure edition printed 1996), an image that condenses much of Morrisroe's practice into a single frame: intimacy, performance, vulnerability, and self-invention. Rather than presenting portraiture as stable documentation, Morrisroe treated the photograph as a mutable surface — manipulated through layered negatives, reprinting, and darkroom intervention. His images frequently move between autobiography and fiction.\u003c\/p\u003e\u003cp\u003eAssociated with the Boston School alongside figures such as Nan Goldin and David Armstrong, Morrisroe photographed friends, lovers, and underground communities with an immediacy that resisted polished documentary conventions. The work sits between diaristic record and constructed persona, preserving both closeness and instability.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory this card functions as a secondary record of a second life: a contemporary exhibition built around posthumous circulation, where the image continues to move through archive, institution, estate, and print support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"ClampArt","offers":[{"title":"Default Title","offer_id":53549988446546,"sku":"TNR-2026-0110","price":135.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Morrisroe_Mark._Clamp_Art_opening_reception_invite._2011_front.jpg?v=1779605198"},{"product_id":"thomas-rentmeister-centre-art-contemporain-vassiviere-limousin-1997","title":"Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997","description":"\u003cp\u003eIssued for Thomas Rentmeister’s solo exhibition at the Centre d’art contemporain de Vassivière en Limousin, held from 26 April – 29 June 1997. The exhibition occupied the institution’s main nave and study spaces and reproduces \u003cem\u003eUntitled (Sans titre)\u003c\/em\u003e (1997), a polyester sculpture measuring 38 × 124 × 97 cm.\u003c\/p\u003e\u003cp\u003eProduced during Rentmeister’s early sculptural period, the reproduced work belongs to a group of highly polished synthetic forms positioned between industrial finish and organic association. The object precedes later installations employing supermarket and domestic materials, but already introduces a movement between Minimalist surface logic and softer bodily or material references.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a secondary exhibition object: notice, image support, and retained document from an early point within Rentmeister’s practice.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Centre d’art contemporain de Vassivière en Limousin","offers":[{"title":"Default Title","offer_id":53550675984722,"sku":"TNR-2026-0113","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rentmeister_Thomas._Show_invite_Centre_d_art_contemporain_de_Vassivere_en_Limousin._1997_front.jpg?v=1779607177"},{"product_id":"etienne-sandorfi-galerie-3-3-paris-1970","title":"Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970","description":"\u003cp\u003eExhibition dates: 17 November – 16 December 1970\u003c\/p\u003e\u003cp\u003eIssued for an exhibition by Étienne Sandorfi at Galerie 3+3, Paris, held from 17 November – 16 December 1970. The folded invitation reproduces a psychologically charged image characteristic of Sandorfi’s early period: a fragmented doll-like head interrupted by wires, mechanical elements, and surgical associations. The interior includes exhibition details alongside a short contemporary text describing the work through detachment, repetition, and a restrained form of violence.\u003c\/p\u003e\u003cp\u003eProduced during an early moment in Sandorfi’s practice, the invitation already suggests themes that would later remain central to his work: psychological tension, constructed bodies, precision, and the unstable boundary between figuration and disturbance. The image sits somewhere between portrait, object, and staged condition.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a retained exhibition document from a particular Paris moment. Exhibition notice, image support, and secondary object.\u003c\/p\u003e\u003cp\u003eOriginal period item. 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The reproduced work presents a small crucifix suspended within an illuminated field of amber-red colour. Detached from its original scale and exhibition setting, the image shifts from photographic work to portable support and circulation object.\u003c\/p\u003e\u003cp\u003eOver time \u003cem\u003ePiss Christ\u003c\/em\u003e became one of the most publicly debated artworks of the late twentieth century, moving repeatedly through disputes concerning religion, public funding, censorship, and image circulation. This postcard retains that larger history in condensed form: exhibition material functioning simultaneously as document, reproduction, and residual carrier of a widely circulated image.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551086109010,"sku":"TNR-2026-0115","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Serrano_Andres._Artist_Postcard._Galerie_Natalie_Obadia_Paris___Brussels._2025_front.jpg?v=1779738186"},{"product_id":"cindy-sherman-untitled-317-retrospective-museum-of-contemporary-art-chicago-1998","title":"Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998","description":"\u003cp\u003eExhibition dates: 21 February – 31 May 1998\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCindy Sherman: Retrospective\u003c\/em\u003e, presented at the Museum of Contemporary Art, Chicago from 21 February – 31 May 1998 and jointly organised with the Museum of Contemporary Art, Los Angeles. The card reproduces \u003cem\u003eUntitled #317\u003c\/em\u003e (1995), a work from Sherman's mid-1990s \u003cem\u003eMasks\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe reproduced image belongs to a body of work in which Sherman shifted from earlier self-performative roles toward prosthetic surfaces, mannequins, masks, and constructed identities. The tightly framed gold face produces an uncertain register somewhere between portrait, disguise, mannequin, and theatrical object. Identity appears less as revelation than as a manufactured surface.\u003c\/p\u003e\u003cp\u003eThe reverse retains traces of its original function. Alongside exhibition information, museum text, and a membership campaign offer, the object records a particular moment when institutional promotion, mass circulation, and a major retrospective converged. The postcard becomes both advertisement and residual exhibition material.\u003c\/p\u003e\u003cp\u003eOriginal period item. 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Her work belongs to a post-war British sculptural field in which industrial material, teaching, public collections, and gallery visibility became part of the work's wider structure.\u003c\/p\u003e\u003cp\u003eThis card records a 1974 exhibition at Annely Juda Fine Art, before the gallery's later Cork Street history. Image to one side, biography and exhibition data to the other. The artist is shown with the sculpture; the sculpture is reduced to photographic evidence; the exhibition is reduced to a portable printed support.\u003c\/p\u003e\u003cp\u003eNot an Artist Placement Group object, but adjacent to a broader British context of art, labour, material systems, and institutional circulation.\u003c\/p\u003e\u003cp\u003eRetained exhibition material linking artist, sculpture, gallery, photographer, address, and date.\u003c\/p\u003e\u003cp\u003eA precise fragment in a larger map.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. 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Loose insert announcing the cocktail reception of 27 March 1990, with entry code and floor designation intact.\u003c\/p\u003e\u003cp\u003eCover image reproduced from Georges Hugnet's \u003cem\u003eLe Sphinx du Moulin Vert\u003c\/em\u003e, 1934: aerial Paris interrupted by a single inserted eye. A Surrealist image already functioning through montage, displacement, and re-entry.\u003c\/p\u003e\u003cp\u003eThe invitation reduces the exhibition into a portable administrative unit. Names, dates, address, access instructions, reception time. Surrealism translated into circulation form.\u003c\/p\u003e\u003cp\u003eNot a reproduction. Not a later document. A surviving exhibition support, complete with insert, held outside the institutional archive. As far as currently known, no other example has been traced in public circulation.\u003c\/p\u003e\u003cp\u003eOriginal period item. 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Just Bellmer placed into circulation by the French contemporary art system.\u003c\/p\u003e\u003cp\u003eBellmer’s work had moved from Surrealist disturbance into institutional history by this point. His dolls, drawings, photographs and erotic anatomical distortions were no longer only scandalous private images; they were being absorbed into museum and archive structures. This card records that transfer. It is not the catalogue, not the exhibition, not the artwork — but the paper threshold through which the exhibition entered public time.\u003c\/p\u003e\u003cp\u003eAs object: a minor printed support, scarce in survival, holding the movement from announcement to retained document.\u003c\/p\u003e\u003cp\u003eShipping included in the listed price. 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The card brings together a temporary Paris address, a Situationist command, and a group of artists whose work touches refusal, action, violence, labour, image, and institutional drift. Less a souvenir than a minor printed support for a short-lived exhibition structure.\u003c\/p\u003e\u003cp\u003eA small document of circulation.\u003cbr\u003eThe work has ended.\u003cbr\u003eThe card remains.\u003c\/p\u003e\u003cp\u003eUK shipping included. 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The card reproduces a detail from \u003cem\u003eUntitled\u003c\/em\u003e, 2013 — colored pencil and pencil on paper, 33¼ × 23⅞ inches — compressing Abts’s precise spatial constructions into a portable printed support.\u003c\/p\u003e\u003cp\u003eIssued during a significant mid-career moment following Abts’s 2006 Turner Prize win, and concurrent with her \u003cem\u003eMainly Drawings\u003c\/em\u003e presentation at the Aspen Art Museum. The object sits between gallery announcement and reduced exhibition fragment: drawing translated into crop, crop translated into circulation material.\u003c\/p\u003e\u003cp\u003eTypical of David Zwirner’s restrained printed matter from the period — minimal typography, generous white space, administrative clarity. A retained document from the circulation system surrounding contemporary abstraction in the 2010s.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53594280558930,"sku":"TNR-2026-0134","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abts_-Tomma.-David-Zwirner-show-invite.-2014-front.jpg?v=1780006003"},{"product_id":"adel-abdessemed-rio-david-zwirner-new-york-2009","title":"Adel Abdessemed — Rio, David Zwirner, New York, 2009","description":"\u003cp\u003eDavid Zwirner, 519 \u0026amp; 525 \u0026amp; 533 West 19th Street, New York, NY 10011\u003cbr\u003e3 April – 9 May 2009\u003c\/p\u003e\u003cp\u003eThe traces remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eRio\u003c\/em\u003e, Adel Abdessemed’s 2009 exhibition at David Zwirner in New York. The cover reproduces a detail from \u003cem\u003eLincoln\u003c\/em\u003e (2009), a large-scale C-print depicting the artist reclining across a seated figure based on the Lincoln Memorial. The work belongs to a period in which Abdessemed repeatedly reactivated historical, political, and cultural symbols through direct physical intervention, staging encounters between contemporary bodies and collective monuments.\u003c\/p\u003e\u003cp\u003eBorn in Algeria in 1971 and based between Europe and the United States, Adel Abdessemed emerged during the 2000s as one of the most discussed artists of his generation. His work frequently combines sculpture, photography, film, drawing, and installation, addressing violence, representation, power, memory, and resistance. By the time of \u003cem\u003eRio\u003c\/em\u003e, he had already exhibited internationally at major institutions including the Venice Biennale, positioning the exhibition as part of his rapid ascent within the global contemporary art circuit.\u003c\/p\u003e\u003cp\u003eAs an object, the card records a specific moment in the expansion of David Zwirner’s Chelsea programme during the late 2000s. The image operates simultaneously as artwork, announcement, and distribution device. Folded, mailed, retained, and later separated from its original function, the invitation remains as a compact record of how contemporary art entered circulation before social media became the dominant exhibition platform.\u003c\/p\u003e\u003cp\u003eA gallery announcement retained long enough to change status.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53595710816594,"sku":"TNR-2026-0135","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abdessemed_-Adel.-David-Zwirner-show-invite.-2009-front.jpg?v=1780028782"},{"product_id":"bernard-aubertin-le-feu-de-la-couleur-espace-de-lart-concret-1994","title":"Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994","description":"\u003cp\u003eEspace de l’Art Concret, Château de Mouans, Mouans-Sartoux\u003cbr\u003e3 July – 20 November 1994\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eLe feu de la couleur\u003c\/em\u003e, an homage to Bernard Aubertin with friends of the ZERO movement. The recto carries the institutional text in red throughout — invitation, dates, address, logo. The verso repeats “Bernard Aubertin” across the entire surface in dense red rows. Name becomes pattern. Artist becomes surface. Announcement becomes typographic monochrome.\u003c\/p\u003e\u003cp\u003eAubertin’s practice centred on red, fire, combustion, and monochrome surfaces. Red was not decorative; it operated as energy and material event. His work sits within the postwar ZERO movement alongside Yves Klein, Heinz Mack, Otto Piene, and Günther Uecker.\u003c\/p\u003e\u003cp\u003eA retained exhibition object from the afterlife of ZERO. Shipping included.\u003c\/p\u003e","brand":"Espace de l’Art Concret","offers":[{"title":"Default Title","offer_id":53595785888082,"sku":"TNR-2026-0136","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Aubertin_Bernard._Show_invite_le_feu_de_la_couleur_the_fire_of_colour_._1994.jpg?v=1780030286"},{"product_id":"bernard-aubertin-rebus-galleria-florence-1977","title":"Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977","description":"\u003cp\u003eRebus Galleria d’Arte Contemporanea, Via della Fortezza 9\/r, Florence\u003cbr\u003eOpening: 16 December 1977, 21:30\u003c\/p\u003e\u003cp\u003eThe marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for a solo exhibition by Bernard Aubertin at Rebus Galleria d’Arte Contemporanea, Florence, opening 16 December 1977 at 21:30. The card announces the artist’s presence at the opening and notes that a catalogue would be available through the gallery.\u003c\/p\u003e\u003cp\u003eThere is no image, no reproduction, no attempt to explain the work. Only a name, a date, a gallery, a city. The invitation functions almost as an administrative monochrome: red text on cream paper, reduced to the minimum information required for an exhibition to occur. The handmade-style paper and letterpress-like red typography give the card a fine-press quality, placing it closer to a small printed object than a disposable gallery notice. Red becomes both information and field.\u003c\/p\u003e\u003cp\u003eBy 1977, Aubertin’s work was already established within the broader history of European monochrome, post-minimal, and ZERO-related practice — in dialogue with Yves Klein, Otto Piene, and the wider postwar movement toward reduction as both image and event.\u003c\/p\u003e\u003cp\u003eRebus Gallery material appears infrequently on the secondary market, and Aubertin ephemera from the 1970s surfaces far less often than later catalogues and publications. A retained exhibition object from a specific event in Florence, never intended to survive beyond its immediate function.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"Rebus Galleria d’Arte Contemporanea","offers":[{"title":"Default Title","offer_id":53595811283282,"sku":"TNR-2026-0137","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Aubertin_Bernard._Show_invite._1977.jpg?v=1780031876"},{"product_id":"enki-bilal-inbox-fondazione-giorgio-cini-venice-2015","title":"Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015","description":"\u003cp\u003eFondazione Giorgio Cini, Isola di San Giorgio Maggiore, Venice\u003cbr\u003e8 May – 2 August 2015\u003c\/p\u003e\u003cp\u003eThe marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eThe front reproduces a detail from \u003cem\u003eInbox\u003c\/em\u003e: two spectral, blue-toned faces rendered in Bilal’s characteristic science-fiction palette, suspended somewhere between painting, cinema still, and hallucinated image. The reverse functions as an administrative support, carrying exhibition information, opening dates, institutional logos, and postal fields. Image on one side, distribution mechanism on the other.\u003c\/p\u003e\u003cp\u003eIssued for Enki Bilal’s installation \u003cem\u003eInbox\u003c\/em\u003e, presented during the 56th Venice Biennale at the Fondazione Giorgio Cini. Supported by Artcurial, the project marked Bilal’s first major exhibition within the Biennale context and extended his long-standing movement between comic art, painting, cinema, and immersive installation.\u003c\/p\u003e\u003cp\u003eBilal occupies a singular position within late twentieth- and early twenty-first-century image culture. Emerging from the Franco-Belgian comics tradition before moving into painting, film, and installation, he developed a visual language of post-industrial bodies, political dystopias, synthetic skin, and damaged memory. His figures often appear as if passing between analogue and digital states.\u003c\/p\u003e\u003cp\u003eA minor document from a major international art context. Retained evidence of passage through the Biennale economy. Shipping and handling included.\u003c\/p\u003e","brand":"Fondazione Giorgio Cini","offers":[{"title":"Default Title","offer_id":53596585230674,"sku":"TNR-2026-0139","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bilal_Enki._Show_invite_Fondazione_Giorgio_Cini._2015_front_1048afbc-b5b7-4150-9021-11e6d703159c.jpg?v=1780039026"},{"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. 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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\u003eShipping and handling included.\u003c\/p\u003e","brand":"Riflemaker","offers":[{"title":"Default Title","offer_id":53699360817490,"sku":"TNR-2026-0175","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":"perkovic-baltz-desire-gallery-ram-inv-1995","title":"Slavica Perković with Lewis Baltz — Desire — Exhibition Postcard, Gallery RAM, Santa Monica, 1995","description":"\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\u003eShipping and handling included.\u003c\/p\u003e","brand":"Gallery RAM","offers":[{"title":"Default Title","offer_id":53699478651218,"sku":"TNR-2026-0179","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\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. 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