{"title":"Glue Book Fair 2026","description":"\u003cp\u003eThe New Rare at Glue Book Fair 2026, ICA London, 12–13 September 2026.\u003c\/p\u003e\u003cp\u003eICA's annual book fair brings together over 90 publishers for a weekend celebrating independent and artist publishing, alongside talks, workshops, book launches and an exhibition spotlighting the artist-led networks that sustain creative publishing today.\u003c\/p\u003e","products":[{"product_id":"jenny-holzer-venice-installation-albright-knox-1990","title":"Jenny Holzer — The Venice Installation, Albright-Knox Art Gallery, 1990","description":"\u003cp\u003ePublished by the Albright-Knox Art Gallery, Buffalo, to accompany Jenny Holzer's presentation at the United States Pavilion during the 44th Venice Biennale, 1990. Softcover, 50 pages, 14 × 21.5 cm.\u003c\/p\u003e\u003cp\u003eIn Venice, Holzer moved her texts from posters and electronic signs into architecture. Four darkened rooms combined scrolling LED displays with inscribed marble floors and stone benches, giving statements about power, violence, grief and survival the physical authority of a monument. It was the first solo presentation by a woman at the US Pavilion; the pavilion received the Golden Lion for Best National Presentation.\u003c\/p\u003e\u003cp\u003eThe book performs the reverse operation. It removes the language from stone, light and institutional spectacle and returns it to the portable page. Texts including Holzer's Truisms (1977–79) can be read without glare or interruption, arranged as language rather than installation.\u003c\/p\u003e\u003cp\u003eIts design retains something of the original tension: textured charcoal-grey wrappers, deep red lettering, black-and-white interiors and a pink-and-grey diamond-patterned title page. Part stone sample, part instruction manual. The pavilion was built to surround the body. The book makes it circulate.\u003c\/p\u003e\u003cp\u003eCondition: Very good vintage condition, with light edge and shelf wear and a small crease to the lower corner of the rear wrapper.\u003c\/p\u003e","brand":"Albright-Knox Art Gallery","offers":[{"title":"Default Title","offer_id":54249064202578,"sku":"HOLZER-BASEL-CAT-1990","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Holzer_Jenny._The_Venice_installation._1990.jpg?v=1786588965"},{"product_id":"max-ernst-estampes-livres-illustres-bibliotheque-nationale-1975","title":"Max Ernst — Estampes et Livres Illustrés, Bibliothèque Nationale, 1975","description":"\u003cp\u003eFirst edition exhibition catalogue published by the Bibliothèque Nationale, Paris, for the retrospective of Max Ernst's graphic work, 25 June – September 1975. Softcover, 20.5 × 20.5 cm, xiv + 13 pp. followed by 54 full-page black-and-white plates. Catalogue of 194 exhibited works. Text in French. With contributions by Jean Adhémar and Mariel Frèrebeau and a preface by Étienne Dennery, Administrateur général de la Bibliothèque nationale. ISBN 2-7177-1249-X.\u003c\/p\u003e\u003cp\u003eParis divided Max Ernst in two during the summer of 1975. The Grand Palais presented the major survey of his painting; the Bibliothèque Nationale, almost simultaneously, exhibited the engraver, collage-maker and illustrator. The division was institutionally tidy. Ernst's practice was not.\u003c\/p\u003e\u003cp\u003eThe BnF exhibition traced a graphic career begun in 1911 and extending to more than 600 works. This catalogue condenses that largely bibliophilic history into 194 entries and 54 plates, moving between prints, photographic collages, frontispieces and illustrated books — the part of Ernst's output least visible to the public and most legible to the first Surrealist collectors for whom it was made. It also became an unintended late-career summation: the exhibition closed in September 1975, and Ernst died in Paris the following April, one night before his eighty-fifth birthday. Published as a retrospective, it became, rather quickly, a final record.\u003c\/p\u003e\u003cp\u003eThis uncommon copy retains the original two-sided Bibliothèque Nationale press communiqué — a single folded sheet designed to be temporary and discarded. It supplies everything the catalogue leaves out: admission at six francs, opening hours, Métro and bus routes, arrangements for group visits, and notice of the library's next exhibition. It also announces a catalogue illustrated with 50 plates; the finished publication contains 54. The historical record grew by four images between publicity and binding. Catalogues preserve the exhibition; the communiqué preserves how it reached its first audience. Together they record both the art and its circulation.\u003c\/p\u003e","brand":"Bibliothèque Nationale","offers":[{"title":"Default Title","offer_id":54249229320530,"sku":"ERNST-BN-CAT-1975","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ernst_Max.Estampesetlivresillustres.1975letter.jpg?v=1786591681"},{"product_id":"tilson-winner-siebdruck-workshop-haus-am-waldsee-berlin-1970","title":"JOE TILSON \/ GERD WINNER — Siebdruck + Workshop, Haus am Waldsee, Berlin, 1970","description":"\u003cp\u003eExhibition catalogue published for the joint show of Joe Tilson and Gerd Winner at Haus am Waldsee, Berlin, 31 October–29 November 1970. Softcover with black card covers and a narrow red cloth spine, 36 pages, 20 × 18.5 cm. Contains a foreword by Pat Gilmour and Thomas Kempas, an introduction to screenprinting, artist biographies and exhibition histories, and 16 illustrations including two screenprints. German language.\u003c\/p\u003e\u003cp\u003eThe book has the authority of a workshop manual. Inside, Rolls-Royces, refuse trucks, road markings and political halftones briefly occupy the same industrial register. At the turn of the 1970s, Tilson was moving beyond the metropolitan polish of British Pop toward politics, landscape and myth. Winner, a German artist working closely with London’s urban machinery, translated lorries, docks and municipal systems into sharply controlled photographic screenprints. Here, their practices meet just before pulling decisively apart.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition, with light handling wear consistent with age.\u003c\/p\u003e","brand":"Haus am Waldsee","offers":[{"title":"Default Title","offer_id":54249802727762,"sku":"TILSON-WINNER-WALDSEE-CAT-1970","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Tilson_Joe.Winner_Gerd.Showcatalogue.1976.jpg?v=1786608646"},{"product_id":"terry-winters-field-notes-pace-prints-new-york-1992","title":"TERRY WINTERS — Field Notes, Pace Prints, New York, 1992","description":"\u003cp\u003eCatalogue published by Pace Prints, New York, 1992, to accompany \u003cem\u003eField Notes\u003c\/em\u003e, a portfolio of 25 etchings made in collaboration with master printer Aldo Crommelynck. The plates were produced in Paris in 1990–91 — Winters and Crommelynck’s second collaboration — using the full intaglio range: etching, aquatint, open-bite, spitbite and sugarlift. Seeds, cells, shells and anatomical diagrams loosen progressively into abstraction, as if natural history had developed a nervous system.\u003c\/p\u003e\u003cp\u003eThe catalogue appeared in the same year as Winters’s mid-career retrospective, which had opened at MOCA Los Angeles in 1991 and travelled to the Whitney in 1992. Staple-bound softcover, 26 pages with 25 numbered plates, 15 × 20.5 cm. Textured charcoal wrappers printed in silver. Black-and-white illustrations throughout, moving from faint clinical lines to Crommelynck’s deep mineral blacks.\u003c\/p\u003e\u003cp\u003eThe complete \u003cem\u003eField Notes\u003c\/em\u003e portfolio subsequently entered the collections of the Met, Tate, New York Public Library and Detroit Institute of Arts. This is the catalogue — the beautifully reduced record of the moment Winters’s private morphology met museum scale.\u003c\/p\u003e\u003cp\u003eCondition: Very good vintage condition, with gentle page toning and minimal edge wear.\u003c\/p\u003e","brand":"Pace Prints","offers":[{"title":"Default Title","offer_id":54249975316818,"sku":"WINTERS-PACE-CAT-1992","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/WintersTerry.FieldNotes.1992.jpg?v=1786609870"},{"product_id":"hans-bellmer-la-poupee-1936-centre-georges-pompidou-postcard-1983","title":"HANS BELLMER — La poupée, 1936 — Centre Georges Pompidou Postcard, c. 1983","description":"\u003cp\u003eMuseum postcard reproducing Hans Bellmer’s \u003cem\u003eLa poupée\u003c\/em\u003e, 1936, published by Éditions Mille for the Centre Georges Pompidou, Paris, c. 1983. Reference MP 8236-1-. Colour-printed; unused postal verso. 18 × 12 cm.\u003c\/p\u003e\u003cp\u003eBellmer began constructing and photographing his articulated dolls in the 1930s, turning the body into something divisible, reversible and endlessly recombinable. The photographs moved from the privately published \u003cem\u003eDie Puppe\u003c\/em\u003e of 1934 to the French \u003cem\u003eLa Poupée\u003c\/em\u003e in 1936, \u003cem\u003eLes Jeux de la Poupée\u003c\/em\u003e in 1949 and, eventually, the museum. The Centre Pompidou acquired the corresponding 1949 print in 1983 and opened \u003cem\u003eHans Bellmer, photographe\u003c\/em\u003e later that year — an exhibition that consolidated Bellmer’s standing specifically as a photographer. This postcard belongs to that final movement: the doll as institutional object.\u003c\/p\u003e\u003cp\u003eCondition: Very good vintage condition, with light age toning and a few minor specks.\u003c\/p\u003e","brand":"Centre Georges Pompidou","offers":[{"title":"Default Title","offer_id":54257380000082,"sku":"BELLMER-CGP-PC-1983","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans.Artistpostcard_lapoupee_1936.jpg?v=1786674318"},{"product_id":"salvador-dali-ma-revolution-culturelle-dali-paris-hallucination-partielle-les-livres-de-nulle-part","title":"SALVADOR DALÍ \/ RAYMOND ROUSSEL — Ma révolution culturelle suivi de Dalí à Paris: hallucination partielle, six apparitions en vitrines, c. 1990–93","description":"\u003cp\u003eStaple-bound illustrated booklet, 20 pages, 14.5 × 10.5 cm. Black-and-white printing on pale cream stock. Edition 81\/100, numbered in the publisher’s purple ink stamp. Les Livres de Nulle Part, c. 1990–93.\u003c\/p\u003e\u003cp\u003eThe object begins with the eyes. One enormous Dalí eye fills the front cover; the other sits on the reverse. Open the booklet flat and the two fragments reconnect across the staples into a single grainy stare — Dalí literally reconstructed through the handling of the book.\u003c\/p\u003e\u003cp\u003eInside, the chronology moves backwards before moving forward. A facsimile reproduces a 1932 letter from Raymond Roussel to Dalí, sent after receiving Dalí’s screenplay \u003cem\u003eBabaouo\u003c\/em\u003e. Roussel is not an incidental literary name: his systems, repetitions and deliberately manufactured forms of hallucination were fundamental to the wider Surrealist imagination. Dalí’s fascination endured for decades, eventually surfacing again in his film \u003cem\u003eImpressions de la Haute Mongolie, Hommage à Raymond Roussel\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThen comes another Dalí: Paris, 18 May 1968. At the height of the student revolt, Dalí issued \u003cem\u003eMa révolution culturelle\u003c\/em\u003e. While Paris was collectively inventing a new revolutionary visual language, Dalí characteristically inserted his own name into it. Politics, publicity and self-mythology collapse into the same printed gesture.\u003c\/p\u003e\u003cp\u003eThe final section brings the story back onto the street. \u003cem\u003eDalí à Paris: hallucination partielle, six apparitions en vitrines\u003c\/em\u003e documents six appearances of Dalí exhibition posters in Parisian shop windows — caught among signage, merchandise, reflections and pedestrians. The title riffs on his 1931 work \u003cem\u003eHallucination partielle. Six images de Lénine sur un piano\u003c\/em\u003e. Lenin has disappeared. In his place: Dalí himself, repeatedly reappearing behind glass.\u003c\/p\u003e\u003cp\u003ePainting becomes poster. Poster becomes shop-window apparition. Shop window becomes photograph. Photograph becomes book. The subject is no longer simply Dalí — it is what happens to Dalí once Dalí becomes an image in circulation.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition, with light age toning, handling and minor edge wear consistent with age and format; complete and staple-bound.\u003c\/p\u003e","brand":"Les Livres de Nulle Part","offers":[{"title":"Default Title","offer_id":54257545412946,"sku":"DALI-LLNP-CAT-1990","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dali_Salvador.MyculturalrevolutionfollowedbyDaliinParispartialhallucination_sixappearancesinshopwindows.1990unfolded.jpg?v=1786678071"},{"product_id":"pol-bury-librairie-tschann-paris-1988","title":"POL BURY — Librairie Tschann, Paris, 1988","description":"\u003cp\u003eIssued on 8 December 1988 to announce a meeting with Pol Bury at Librairie Tschann, 84 boulevard du Montparnasse, Paris, on the occasion of two new publications: \u003cem\u003eLe Syndrome de Pontier ou l'inspiration surveillée\u003c\/em\u003e (L'Échoppe) and \u003cem\u003eGuide des musées de l'art inopiné\u003c\/em\u003e (Daily-Bul). Single printed card, 10.5 × 14.5 cm; black ink on cream stock; verso blank.\u003c\/p\u003e\u003cp\u003eBy 1988 Bury was internationally established as one of the great artists of slow movement — from Belgian Surrealism and CoBrA into kinetic sculpture, then the polished steel spheres and fountains for which he became famous. This card belongs to his other practice: the writer, publisher, satirist and persistent irritant of the machinery surrounding art.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLe Syndrome de Pontier\u003c\/em\u003e takes its name from Henri Pontier, the former curator of the museum in Aix-en-Provence who notoriously declared that no Cézanne would enter the museum while he was alive. Bury turns Pontier into a syndrome: the recurring condition in which institutions, critics, dealers and markets acquire the authority to judge, rank and assign value to what artists produce. The book is short, funny and viciously precise about the strange distance between artistic value and \u003cem\u003ela cote\u003c\/em\u003e — the market rating that can rise or collapse around an artist. The timing gives the joke an especially satisfying afterlife: in 1984, only four years before this invitation, the French state finally deposited eight works by Cézanne at the Musée Granet — the very institution Pontier had once determined to keep Cézanne out of.\u003c\/p\u003e\u003cp\u003eBeside it came \u003cem\u003eGuide des musées de l'art inopiné\u003c\/em\u003e, published by Daily-Bul, the irreverent Belgian publishing project Bury had founded with André Balthazar in the 1950s. Daily-Bul grew out of the territory around Belgian Surrealism and CoBrA but developed its own wonderfully unserious seriousness: aphorisms, bogus institutions, détourned criticism, artist publications and jokes aimed squarely at the solemnity with which the art world explained itself. Bury had been developing his idea of \u003cem\u003eart inopiné\u003c\/em\u003e — unforeseen art — for decades: from the \u003cem\u003eCatalogue inopiné du musée imaginaire de la ville de Binche\u003c\/em\u003e with Pierre Alechinsky in 1967, through \u003cem\u003eL'Art inopiné dans les collections publiques\u003c\/em\u003e in 1982, to this \u003cem\u003eGuide des musées\u003c\/em\u003e in 1988. The joke keeps acquiring infrastructure.\u003c\/p\u003e\u003cp\u003eThe pairing on the invitation is sharp. One book attacks the authority that determines what art is worth. The other invents institutions for art that was never waiting for institutional permission in the first place. Pontier guards the museum door. Bury simply invents another museum.\u003c\/p\u003e\u003cp\u003eThe object itself could hardly be less theatrical. Warm cream card, centred serif typography, generous empty space, Bury's name enlarged but still restrained. Beneath the date sits a small line drawing of a reclining figure sprawled across a cushion — a quiet interruption in an otherwise almost bureaucratic announcement. The verso is completely blank. No gallery branding, no reproduction of a kinetic sculpture, no grand retrospective language. Just a Paris bookshop, two books and an invitation to come meet the artist.\u003c\/p\u003e\u003cp\u003eThis is not secondary material advertising the real work somewhere else. It records the moment when Bury's sculpture, writing, publishing, humour and institutional criticism occupy the same practice. The artist famous for making objects move very slowly was also spending decades quietly moving the definitions around them.\u003c\/p\u003e\u003cp\u003eCondition: very good vintage; gentle overall age toning and light handling consistent with age. Verso clean and unmarked. Securely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Librairie Tschann","offers":[{"title":"Default Title","offer_id":54257642111314,"sku":"BURY-TSCHANN-INV-1988","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bury_Pol.ShowinvitelaLibrairieTschann.1988.jpg?v=1786702934"},{"product_id":"marcel-duchamp-please-touch-thaddaeus-ropac-london-2021","title":"MARCEL DUCHAMP — Please Touch: Marcel Duchamp and the Fetish, Thaddaeus Ropac, London, 2021","description":"\u003cp\u003eIssued for Thaddaeus Ropac's London exhibition \u003cem\u003ePlease Touch: Marcel Duchamp and the Fetish\u003c\/em\u003e, Ely House, 37 Dover Street, London, 13 October–13 November 2021, with private view on 12 October. Single printed invitation card, 14.5 × 20.5 cm; colour reproduction to recto, exhibition details to verso.\u003c\/p\u003e\u003cp\u003eThis invitation belongs to a surprisingly late correction in the way Duchamp had been received. For decades, the familiar genealogy ran neatly through the readymade: Duchamp removes the artist's hand, privileges the idea, and opens the door to Conceptual Art. Curator Paul B. Franklin — a leading Duchamp scholar, former editor of \u003cem\u003eÉtant donné Marcel Duchamp\u003c\/em\u003e and longtime collaborator with the artist's estate — went looking underneath that story. \u003cem\u003ePlease Touch\u003c\/em\u003e was the first exhibition devoted specifically to the role of fetishism in Duchamp's practice. His argument was simple but destabilising: the cool cerebral Duchamp was never actually that cool. Eroticism, touch, substitution, bodily fragments, gender play, charged materials and obsessive reproduction were there all along.\u003c\/p\u003e\u003cp\u003eThe invitation gives us the evidence before we even enter the gallery. On its front is \u003cem\u003eL.H.O.O.Q.\u003c\/em\u003e, Duchamp's 1919 intervention into a cheap reproduction of Leonardo's Mona Lisa: moustache, goatee, five letters and one of the twentieth century's most efficient acts of artistic sabotage. The version reproduced here relates to Duchamp's 1964 re-edition, when he returned to the image decades later and authorised it again as an edition. Original, copy, masterpiece, mass reproduction, gender and desire are already hopelessly entangled.\u003c\/p\u003e\u003cp\u003eThen comes the title: \u003cem\u003ePlease Touch\u003c\/em\u003e. That phrase reaches back to 1947, when Duchamp made \u003cem\u003ePrière de toucher\u003c\/em\u003e for the catalogue of the International Surrealist Exhibition in Paris — a foam-rubber breast mounted on black velvet and placed directly on the cover. Where museums ordinarily say do not touch, Duchamp gave the viewer an instruction to do precisely the opposite. Franklin borrowed the title because it concentrates the exhibition's argument perfectly: Duchamp's work was not simply about looking differently. It repeatedly brought vision into contact with desire, tactility and possession.\u003c\/p\u003e\u003cp\u003eThe 2021 exhibition gathered more than thirty works around five connected ideas: the readymade as fetish object; reproduction and miniature as fetish; gender play; erotically charged materials including leather, vinyl, foam rubber and fur; and Duchamp's multiplication of himself through identities such as Rrose Sélavy. Rather than replacing the conceptual Duchamp, the exhibition makes him considerably stranger.\u003c\/p\u003e\u003cp\u003eRopac could have illustrated the invitation with a Bottle Rack or another image that confirms the Duchamp everyone already knows. Instead, the front gives us the Mona Lisa with facial hair — a found reproduction altered through desire, gender and possession — while the reverse calmly supplies the administrative information of a London private view. Fetish on one side. Logistics on the other. Following the London presentation, \u003cem\u003ePlease Touch\u003c\/em\u003e moved to Ropac's Paris Marais gallery from November 2021 into February 2022, returning the argument to the city in which so many of Duchamp's original acts of displacement had begun.\u003c\/p\u003e\u003cp\u003eMore than a century after Duchamp drew a moustache onto somebody else's masterpiece, the invitation asks us to look again — and this time, perhaps, to get a little closer. The readymade changed what art could be. \u003cem\u003ePlease Touch\u003c\/em\u003e reminds us that Duchamp also cared about what art could do to the body.\u003c\/p\u003e\u003cp\u003eCondition: very good; light handling consistent with its original function as exhibition ephemera. Securely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Thaddaeus Ropac","offers":[{"title":"Default Title","offer_id":54257656594770,"sku":"DUCHAMP-ROPAC-INV-2021","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Duchamp_Marcel.Showinvite_pleasetouch_MarcelDuchampandthefetish_.2021.jpg?v=1786682507"},{"product_id":"karen-finley-1-900-all-karen-creative-time-1998","title":"KAREN FINLEY — 1-900-ALL-KAREN, Creative Time, 1998","description":"\u003cp\u003eOffset-printed artist postcard, 10.5 × 15 cm; colour image to recto, project information and postal format to verso. Issued by Creative Time and distributed through Max Racks Freecards to advertise \u003cem\u003e1-900-ALL-KAREN\u003c\/em\u003e, launched on Presidents' Day, 16 February 1998.\u003c\/p\u003e\u003cp\u003eThe project turned Karen Finley herself into a telephone service. Dial the number and, every day for six months, a new recorded performance appeared: news, social injustice, motherhood, daily life, whatever Finley needed to say that day. The first minute cost $1.75; every additional minute, $1.25. Creative Time described it as a national public-art project built around the peculiar intimacy of the 900 number — a technology then associated with phone sex, psychics and paid companionship.\u003c\/p\u003e\u003cp\u003eThe timing is the charge. Eight years earlier, Finley had become one of the NEA Four, after grants recommended for her, Holly Hughes, John Fleck and Tim Miller were denied amid the American culture wars over obscenity and public arts funding. By the time this card entered circulation in February 1998, that fight had reached the United States Supreme Court. \u003cem\u003eNEA v. Finley\u003c\/em\u003e was argued on 31 March 1998 and decided on 25 June — while \u003cem\u003e1-900-ALL-KAREN\u003c\/em\u003e was still running. Creative Time was explicit about the connection: the phone line would also give Finley a place to speak about the case as it unfolded.\u003c\/p\u003e\u003cp\u003eThe sequence becomes unusually tight. In 1990, an institution decides whether Finley's speech deserves funding. In 1998, Finley turns speech itself into the artwork — and distributes it nationally by telephone. No gallery required. No application panel between artist and listener. Just a number, a voice and the meter running.\u003c\/p\u003e\u003cp\u003eThe recto makes the proposition visible. A receiver hangs against a black field while language curls around it like a telephone cord, smoke or a voice refusing to stay in a straight line: \u003cem\u003eWe are your holding hand… your warm pillow… your cuddly toy.\u003c\/em\u003e The image is part hotline advertisement, part late-night seduction, part promise of emotional support — knowingly borrowing the commercial language surrounding the very technology Finley was appropriating. The verso makes the distribution system visible: Creative Time beside the project details; below it a dense strip of partner institutions stretching across the United States, including MOCA Los Angeles, Yerba Buena, the Aldrich and DiverseWorks. Creative Time organised the project with twelve arts organisations, making the telephone line a kind of invisible national exhibition space.\u003c\/p\u003e\u003cp\u003eThen comes Max Racks. The project was advertised through its free postcard racks in restaurants and bars, as well as on matchbooks. That makes this format unusually right for the work: designed to be picked up casually, carried away, mailed, left on a table or slipped into a pocket — a free object whose job was to move you toward a paid, immaterial encounter with the artist's voice. In 1998, before the feed, the story, the podcast or the daily notification became ordinary cultural forms, Finley had already built a daily artist transmission. And she placed its access code on a free card.\u003c\/p\u003e\u003cp\u003eNot simply promotional material for a performance, but part of the performance's delivery system. The card carried the number. The number carried the voice. The voice carried the work.\u003c\/p\u003e\u003cp\u003eCondition: very good vintage; light handling consistent with its original free-distribution format. Securely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Creative Time","offers":[{"title":"Default Title","offer_id":54257724883282,"sku":"FINLEY-CREATIVETIME-PC-1998","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Finley_Karen.Artistpostcard_1-900-ALLKAREN.jpg?v=1786685276"},{"product_id":"irene-jacob-exposition-galerie-furstenberg-paris-1959","title":"IRÈNE JACOB — Exposition, Galerie Furstenberg, Paris, 1959","description":"\u003cp\u003eIssued for Irène Jacob's exhibition at Galerie Furstenberg, 4 rue Furstenberg, Paris VIe, opening 22 April 1959. Original folded exhibition invitation and checklist, 11 × 13.5 cm folded, 11 × 27 cm unfolded; black typography on cream paper, printed checklist to interior.\u003c\/p\u003e\u003cp\u003eTwenty-one works, and titles that read almost like a poem: \u003cem\u003eLa mémoire du sable, Le désir du dévorant, Le doigt de la Sorcière, La Nymphe arc-en-ciel, La caresse de la glace, Le rideau de la Méduse, Le boudoir de la baleine blanche, La sirène noire, Les nœuds du bois sacré.\u003c\/em\u003e No reproductions. No explanation. The paintings disappear; the language survives.\u003c\/p\u003e\u003cp\u003eJacob had already exhibited at Furstenberg by 1956, when \u003cem\u003eLe Monde\u003c\/em\u003e described paintings populated by suggestions of insects, minerals and algae moving through dense, labyrinthine structures. She occupied an interesting threshold: formally close to post-war abstraction, yet retaining the dream logic, metamorphosis and charged natural imagery of Surrealism.\u003c\/p\u003e\u003cp\u003eThe address sharpens the picture. Galerie Furstenberg was run during this period by Simone Collinet, formerly Simone Breton and a participant in Surrealism from its earliest years. Under Collinet, the gallery became one of the places where Surrealist networks continued to circulate through 1950s Paris, alongside the increasingly dominant languages of abstraction. Its programme included figures such as Man Ray, Toyen, E.L.T. Mesens and Endre Rozsda.\u003c\/p\u003e\u003cp\u003eJacob's 1959 exhibition therefore sits in an unusually fertile in-between: not quite historical Surrealism, not simply abstraction, but a later continuation in which witches, nymphs, Medusas, sirens, sacred woods and strange marine forms could still operate inside contemporary painting. Closed, the invitation offers little more than artist, date, gallery, address. Unfolded to 27 cm, the object doubles in width and the exhibition turns into a sequence of titles. A small surviving document from Simone Collinet's Furstenberg programme, and from an artist whose position within the post-war Parisian avant-garde deserves considerably more attention.\u003c\/p\u003e\u003cp\u003eCondition: very good; light age toning and minor handling consistent with age. Original fold retained. Securely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Galerie Furstenberg","offers":[{"title":"Default Title","offer_id":54265249956178,"sku":"JACOB-FURSTENBERG-INV-1959","price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Jacob_Irene.Showinvite_GalerieFurstenberg.1959.jpg?v=1786739557"},{"product_id":"die-puppe-aspekte-zum-bild-der-frau-bellmer-warhol-jones-1971","title":"HANS BELLMER, ANDY WARHOL, ALLEN JONES et al. — Die Puppe: Aspekte zum Bild der Frau, Haus am Waldsee \/ Schloss Morsbroich \/ Frankfurter Kunstverein, 1971","description":"\u003cp\u003ePublished for the travelling 1971 exhibition \u003cem\u003eDie Puppe: Aspekte zum Bild der Frau\u003c\/em\u003e (The Doll: Aspects of the Image of Woman), moving from Haus am Waldsee in Berlin to Schloss Morsbroich and the Frankfurter Kunstverein, this compact catalogue gathers a remarkably heterogeneous field around one increasingly unstable subject: the manufactured image of woman.\u003c\/p\u003e\u003cp\u003eThe exhibition brought together Werner Berges, Saskia de Boer, KP Brehmer, Bob Graham, Richard Hamilton, Paul van Hoeydonck, Allen Jones, Harro Jacob, Dieter Lötsch, Male, Siegfried Neuenhausen, Mel Ramos, Bernard Schultze, URSULA (Ursula Schultze-Bluhm), Andy Warhol, Günter Weseler and Tom Wesselmann, while the catalogue also invokes Hans Bellmer, whose disarticulated dolls of the 1930s provide an unavoidable historical prehistory to its subject.\u003c\/p\u003e\u003cp\u003eThat breadth is precisely what makes \u003cem\u003eDie Puppe\u003c\/em\u003e interesting. This isn’t a tidy Pop exhibition. Bellmer’s psychologically charged doll collides with Hamilton and Warhol’s world of reproduced images; Jones, Ramos and Wesselmann push the eroticised female body toward commodity and sign; Berges and Brehmer expose the mechanics of mass-media reproduction; while artists including URSULA, Bernard Schultze, Neuenhausen and Weseler pull the subject elsewhere into object, fantasy, assemblage and physical form.\u003c\/p\u003e\u003cp\u003eOne spread makes the entire proposition unusually visible. Werner Berges’s \u003cem\u003eThree Beauties\u003c\/em\u003e (1969) sits opposite the commercial advertisement from which its figures were derived, followed through successive reductions into cut-out silhouettes and sculptural objects.\u003c\/p\u003e\u003cp\u003eWoman → advertisement → image → outline → object.\u003c\/p\u003e\u003cp\u003eAnd 1971 matters. The exhibition appeared precisely as the politics surrounding who produced images of women, for whom and under whose gaze were becoming impossible to keep outside the museum. \u003cem\u003eDie Puppe\u003c\/em\u003e does not arrive as a resolved feminist critique; its contradictions are more historically useful than that. A predominantly male field examines femininity as an image just as that image itself is becoming contested territory.\u003c\/p\u003e\u003cp\u003eSeen fifty-five years later, the catalogue therefore reads almost like a document caught between two histories: the Surrealist woman as projection and the coming feminist critique of representation.\u003c\/p\u003e\u003cp\u003eThe physical object carries that tension beautifully. Its off-white cover reduces a woman’s face to a circular photographic fragment above two enormous abstracted bodily forms, interrupted only by painted lips. Inside, artworks appear beside advertising photographs and source imagery, allowing artwork and visual culture to contaminate one another.\u003c\/p\u003e\u003cp\u003eA modest exhibition catalogue from a moment when the question was quietly changing from how to depict a woman to who constructs the image of woman in the first place.\u003c\/p\u003e\u003cp\u003e19 × 20 cm. 64 unnumbered pages; 32 black-and-white illustrations. Original paper-covered boards with black cloth spine.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. General age toning and surface marking to the pale covers, with light handling, edge and corner wear; black cloth spine intact. Interior clean and well preserved overall. Wear consistent with more than fifty years of circulation.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Haus am Waldsee \/ Städtisches Museum Schloss Morsbroich \/ Frankfurter Kunstverein","offers":[{"title":"Default Title","offer_id":54267938013522,"sku":"BELLMER-HAUSWALDSEE-CAT-1971","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans.Warhol_Andy.Jones_AllanetalDiePuppe1971.jpg?v=1786769670"},{"product_id":"balthus-cantini-marseille-1973","title":"BALTHUS — Balthus \/ Cantini, Musée Cantini, Marseille, 1973","description":"\u003cp\u003ePublished for Balthus’s summer 1973 exhibition at the Musée Cantini in Marseille, this compact square catalogue surveys a practice that had spent four decades refusing almost every convenient account of twentieth-century painting. The publication reproduces 73 works and includes texts by Gaston Defferre, Jean Leymarie and Albert Camus.\u003c\/p\u003e\u003cp\u003eBy 1973, Balthus no longer required introduction. His international position had been secured through exhibitions including his 1956 presentation at the Museum of Modern Art in New York and the major Tate Gallery retrospective of 1968. At the same time, he was twelve years into his tenure as Director of the French Academy in Rome at the Villa Medici, a position André Malraux had appointed him to in 1961 and which he would retain until 1977.\u003c\/p\u003e\u003cp\u003eThat timing gives the Cantini catalogue its particular charge. In an art world moving through Conceptualism, performance, Arte Povera and increasingly dematerialised practices, Balthus continued to construct interiors, landscapes and figures through an intentionally slow language of observation, memory and historical painting. His refusal to appear contemporary increasingly became the thing that made him contemporary.\u003c\/p\u003e\u003cp\u003eThe catalogue quietly moves backwards through that position. One of its strongest spreads reproduces \u003cem\u003eGrand paysage aux arbres\u003c\/em\u003e of 1955, made during Balthus’s years at the Château de Chassy. The landscape belongs to a period in which the architecture and surrounding countryside of Chassy allowed him to rethink scale, viewpoint and the spatial construction of landscape; the work was subsequently included in the 1973 Cantini exhibition as catalogue number 28.\u003c\/p\u003e\u003cp\u003eElsewhere, dense colour plates are followed by drawings reduced almost to disappearance: paintings carrying the weight of fresco and old-master composition beside faint graphite marks barely holding themselves to the page. The modest production sharpens the contrast. A washed blue photographic cover, near-blank reverse and restrained square format give the publication none of the monumentality normally associated with a retrospective.\u003c\/p\u003e\u003cp\u003eThat is precisely what makes it good.\u003c\/p\u003e\u003cp\u003eBalthus at the point where an individual visual language has become an historical position: after the retrospective, during the Villa Medici years, but before the major institutional reassessments that would follow in the 1980s. The catalogue catches that history while it was still being assembled.\u003c\/p\u003e\u003cp\u003eA small Marseille exhibition catalogue containing a painter very consciously moving at his own speed.\u003c\/p\u003e\u003cp\u003e16.5 × 16.5 cm. 88 pages; 73 works illustrated and annotated. Original illustrated wrappers; colour and black-and-white reproductions.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. Light toning, rubbing and handling to wrappers with minor edge and corner wear; slight surface marking to the predominantly pale covers. Internally well preserved with expected age toning. Binding sound.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":54268150546770,"sku":"BALTHUS-CANTINI-CAT-1973","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Balthus.Balthus_Cantini.MarseilleJuillet-Septembre.1973.jpg?v=1786775492"},{"product_id":"monica-bonvicini-platz-machen-berlin-1994","title":"MONICA BONVICINI — Platz machen, Goldrausch Frauennetzwerk, Berlin, 1994","description":"\u003cp\u003ePublished in Berlin in 1994, \u003cem\u003ePlatz machen\u003c\/em\u003e — literally making space, or more pointedly make room — is one of the earliest publications of Monica Bonvicini’s career. Produced through the Goldrausch Frauennetzwerk’s Künstlerinnenprojekt Ohne Kompromiß, it belongs to Bonvicini’s 1993\/94 participation in a programme established specifically to give women artists the professional infrastructure and visibility routinely denied them within the art world. Individual artist publications were central to Goldrausch’s model: not documentation after the fact, but objects designed to put an artist and her work into circulation.\u003c\/p\u003e\u003cp\u003eFor Bonvicini, the timing is unusually good. She had studied in Berlin and at CalArts and was only beginning to exhibit internationally; her first Berlin Biennale appearance would come in 1998, followed a year later by the Golden Lion at the 1999 Venice Biennale. \u003cem\u003ePlatz machen\u003c\/em\u003e therefore catches the work before institutional recognition hardened into reputation.\u003c\/p\u003e\u003cp\u003eAnd the vocabulary is already there.\u003c\/p\u003e\u003cp\u003eThe book reproduces \u003cem\u003eI Muri 1\u003c\/em\u003e and \u003cem\u003eI Muri 2\u003c\/em\u003e, made at CalArts in 1992: false walls, doors, partitions and architectural interventions that turn supposedly neutral space into something obstructed, controlled and psychologically loaded. Other photographs move through commercial interiors and advertising architecture, including a Marlboro-branded environment where corporate image, wall and exhibition structure begin slipping into one another.\u003c\/p\u003e\u003cp\u003eWhat later became central to Bonvicini’s practice — architecture as an instrument of power; the politics of who occupies space; construction materials, gender, labour and institutional behaviour — is already being worked through here in remarkably direct form.\u003c\/p\u003e\u003cp\u003eThat makes the title feel almost like a manifesto in retrospect. \u003cem\u003ePlatz machen\u003c\/em\u003e. Make room. Clear the space. In 1994, it describes both what the work physically does and the conditions surrounding its production: a young woman artist entering an architectural and institutional field still overwhelmingly structured by men.\u003c\/p\u003e\u003cp\u003eGoldrausch sharpens that reading. The programme described its early objective as developing strategies of professional self-assertion for women artists, while its artist publications functioned as portable introductions to practices beyond Berlin. Bonvicini’s book is therefore both an early document of the work and part of the machinery through which that work began travelling.\u003c\/p\u003e\u003cp\u003eThe object itself is beautifully restrained: small format, spare typography, generous white space and photographs treated almost like architectural evidence. The aerial photograph on the cover turns the city into plan and surface; inside, walls, doors and rooms repeatedly interrupt the page.\u003c\/p\u003e\u003cp\u003ePublished five years before Venice made Bonvicini internationally visible, \u003cem\u003ePlatz machen\u003c\/em\u003e catches the proposition while it was still being built.\u003c\/p\u003e\u003cp\u003e13 × 15.5 cm. 48 pages; 23 illustrations. Softcover. Text by Harald Fricke.\u003c\/p\u003e\u003cp\u003eCondition: Very good vintage condition. Light handling and minor age-related wear to covers and edges; interior clean and well preserved overall.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Goldrausch Frauennetzwerk Berlin e.V.","offers":[{"title":"Default Title","offer_id":54268202221906,"sku":"BONVICINI-GOLDRAUSCH-CAT-1994","price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bonvicini_Monica.Platzmachen.1994.jpg?v=1786776461"},{"product_id":"couldnt-get-ahead-independent-art-space-london-1995","title":"ANDREA BOWERS, SAM DURANT, BOB \u0026 ROBERTA SMITH, GEORGINA STARR ET AL. — Couldn’t Get Ahead, Independent Art Space, London, 1995","description":"\u003cp\u003ePublished for Adam McEwen’s 1995 exhibition at Independent Art Space, London, \u003cem\u003eCouldn’t Get Ahead\u003c\/em\u003e brought together Andrea Bowers, Sam Durant, Robert Gunderman, Bob \u0026amp; Roberta Smith and Georgina Starr at a moment when none of their later trajectories were secure — and when appearing not to have everything under control was very much part of the point.\u003c\/p\u003e\u003cp\u003eMcEwen’s reproduced press release reads almost like anti-publicity. Rather than polishing five emerging artists into professional biographies, it introduces them through embarrassment, damaged goods, procrastination, difficult dealers, self-help, crying and music. Bob \u0026amp; Roberta Smith has problems with gallery people; Durant reads self-help books; Bowers is drawn to damaged and discarded things; Starr turns awkward personal memory into fiction; Gunderman’s frustrations with the art world become material in their own right.\u003c\/p\u003e\u003cp\u003eThe title lands accordingly. \u003cem\u003eCouldn’t Get Ahead\u003c\/em\u003e is self-deprecating, but not defeatist. Failure is being used against polish. Its echo of The Fall’s 1985 song of the same name feels particularly apt in an exhibition already threaded through with music, DIY culture and Bob \u0026amp; Roberta Smith’s imagined collision between Mike Kelley and Mark E. Smith.\u003c\/p\u003e\u003cp\u003eThe work behaves similarly. Durant’s deliberately rough architectural models undermine the authority of “Good Design”; Starr’s homemade special effects leave their seams visible; Bowers looks toward damaged and rejected material. What ties the exhibition together is less incompetence than refusal: things are not supposed to come out quite right.\u003c\/p\u003e\u003cp\u003eAnd then hindsight changes the joke.\u003c\/p\u003e\u003cp\u003eBowers and Durant would build major international practices; Starr and Bob \u0026amp; Roberta Smith would become established figures in British contemporary art; McEwen himself would move from curating into an internationally recognised artistic career. Thirty-one years later, \u003cem\u003eCouldn’t Get Ahead\u003c\/em\u003e has become exactly the sort of early-career document its own press release seems determined not to manufacture.\u003c\/p\u003e\u003cp\u003eThe original CD is integral to the object. Contributions include Sam Durant’s \u003cem\u003eProcrastination Breakdown\u003c\/em\u003e, material connected to Georgina Starr’s \u003cem\u003eVisit to a Small Planet\u003c\/em\u003e, Andrea Bowers-associated recordings and Robert Gunderman’s \u003cem\u003eHappy Song\u003c\/em\u003e. The exhibition moves from gallery to page to sound: catalogue becomes compilation album, and the show becomes portable.\u003c\/p\u003e\u003cp\u003ePhysically, it keeps the same anti-polish attitude. Raised green lettering sits against a coarse, pavement-like cover; the translucent green CD is fixed at the rear; typewritten material, drawings and photographs move between black-and-white and colour with little concern for conventional catalogue elegance.\u003c\/p\u003e\u003cp\u003ePart exhibition catalogue, part fanzine, part compilation, part evidence file.\u003c\/p\u003e\u003cp\u003ePublished in an edition of 500 copies and retaining its original CD, \u003cem\u003eCouldn’t Get Ahead\u003c\/em\u003e catches a transatlantic group of artists — and Adam McEwen as curator — at the useful moment before institutional recognition tidied the story.\u003c\/p\u003e\u003cp\u003e15 × 21.2 cm. 48 pages; black-and-white and colour illustrations. Softcover with original audio CD mounted to rear. Edition of 500 copies.\u003c\/p\u003e\u003cp\u003eCondition: Good. Light handling, rubbing and age-related wear to covers and edges; internally well preserved. Complete with original CD mounted to rear.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Independent Art Space","offers":[{"title":"Default Title","offer_id":54268320481618,"sku":"IAS-COULDNT-GET-AHEAD-1995","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bowers_Andrea.Durant_Robert.Gunderman_Robert.Smith_Bob_Roberta.Starr_Georgina.Showcatalogue_Couldn_tGetAhead.1995.jpg?v=1786778408"},{"product_id":"rei-kawakubo-comme-des-garcons-universe-of-fashion-1998","title":"REI KAWAKUBO \/ COMME DES GARÇONS — Universe of Fashion, France Grand, Universe Publishing, New York, 1998","description":"\u003cp\u003eUniverse Publishing \/ The Vendome Press, New York, 1998. Text by France Grand; foreword by Grace Mirabella. Hardcover with illustrated dust jacket; colour and black-and-white photography throughout. 16 × 22.5 cm, 80 pages. ISBN 0-7893-0202-0.\u003c\/p\u003e\u003cp\u003eA small book arriving immediately after Comme des Garçons had once again made the body itself negotiable.\u003c\/p\u003e\u003cp\u003eBy 1998, Rei Kawakubo no longer needed an introduction. Her first Paris runway in 1981 had helped overturn the prevailing vocabulary of Western fashion; asymmetry, holes, unfinished surfaces and displaced volumes became part of a language that other designers would spend the following decades absorbing. Then came Spring\/Summer 1997: \u003cem\u003eBody Meets Dress, Dress Meets Body\u003c\/em\u003e, with padded forms inserted between garment and wearer, pushing the question beyond what clothing should look like to where a body might begin or end.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eUniverse of Fashion\u003c\/em\u003e appeared the following year. That timing gives this compact monograph considerably more charge than its modest format suggests: it catches Comme des Garçons after nearly two decades of disruption in Paris, but directly after Kawakubo had proved she was still capable of destabilising the system that had already learned to celebrate her.\u003c\/p\u003e\u003cp\u003eAnd then there is Grace Mirabella. The former \u003cem\u003eVogue\u003c\/em\u003e editor-in-chief—1971 to 1988, associated with a more pragmatic and pared-back vision of American fashion—provides the foreword. The pairing is unusually good: establishment fashion publishing attempting to frame a designer whose practice had repeatedly refused its definitions.\u003c\/p\u003e\u003cp\u003eThe object behaves accordingly. The jacket gives almost everything over to white space, blunt typography and a laughing face cropped into the lower corner; inside, runway photographs, advertising imagery and aggressively scaled graphics interrupt one another rather than settling into polite chronology. It feels less like a retrospective than a compressed piece of the Comme des Garçons image machine.\u003c\/p\u003e\u003cp\u003eThe radical position, reduced to 80 pages and made portable.\u003c\/p\u003e\u003cp\u003eCondition: very good. Light rubbing and handling to jacket; minor edge and corner wear consistent with age. Internally clean.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Universe Publishing \/ The Vendome Press","offers":[{"title":"Default Title","offer_id":54274207514962,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/CommedesGarcons.UniverseofFashion_ForewordbyGraceMirabellaFranceGrandauthor.1998.jpg?v=1786857469"},{"product_id":"steven-barber-tokyo-vertigo-creation-books-2001","title":"STEVEN BARBER — Tokyo Vertigo, Nobuyoshi Araki, Eikoh Hosoe, Romain Slocombe, Creation Books, 2001","description":"\u003cp\u003eCreation Books, London, 2001. Photographs by Nobuyoshi Araki, Eikoh Hosoe and Romain Slocombe. Softcover with photographic wrappers; black-and-white and colour photography throughout. 21 × 28 cm, 160 pages.\u003c\/p\u003e\u003cp\u003eTokyo, caught at the moment the city begins to look less like a place than an image-generating system.\u003c\/p\u003e\u003cp\u003ePublished in 2001, \u003cem\u003eTokyo Vertigo\u003c\/em\u003e arrives with one foot in twentieth-century photographic Tokyo and the other already inside the accelerated visual culture that would define the next one. Steven Barber moves through Shinjuku, the Imperial Palace, arcades, railway stations, streets and nightlife, but the city he describes is never presented as a stable geography. Screens, surveillance, advertisements, crowds, transport systems and bodies continually break it apart and assemble it again.\u003c\/p\u003e\u003cp\u003eThe book builds its own genealogy backwards: the devastation of the 1923 earthquake, the firebombing of 1945, then the political and cultural upheavals of the late 1960s. By 2001, those histories have been covered by another city—electronic, commercial, densely mediated and seemingly capable of replacing itself overnight.\u003c\/p\u003e\u003cp\u003eThe photographs make that instability physical. Eikoh Hosoe, whose radical collaborations and psychologically charged photography helped remake the Japanese image in the post-war period, sits beside Nobuyoshi Araki, for whom Tokyo became an inexhaustible theatre of intimacy, sex, death and everyday life. Romain Slocombe extends the sequence into a younger, street-level city. Three photographic positions; one urban apparatus.\u003c\/p\u003e\u003cp\u003eBarber is named as author. Araki, Hosoe and Slocombe supply images. Tokyo supplies almost everything else. Authorship is distributed across streets, cameras, historical events, advertisements, bodies and publishing. The book does not simply represent Tokyo; it processes Tokyo through another system and returns it as an object.\u003c\/p\u003e\u003cp\u003eIts design understands this. Full-bleed photographs collide with dense columns of text, oversized typography and vertical Japanese characters. Images cross the gutter. Bodies are caught moving through ticket barriers, taxis, crossings and illuminated streets. Reading begins to resemble navigating: interruption, compression, acceleration, another image.\u003c\/p\u003e\u003cp\u003eA travel book, technically. But also a record of a city becoming increasingly difficult to separate from its own representations.\u003c\/p\u003e\u003cp\u003eCondition: very good. Light rubbing and handling to covers; minor edge and corner wear consistent with age.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Creation Books","offers":[{"title":"Default Title","offer_id":54274321875282,"sku":null,"price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Araki_Nobuyoshi.Hosoe_Eikoh.Slocombe_Romain.TokyoVertigo_authorBarber_Steven.2001.jpg?v=1786861056"},{"product_id":"salvador-dali-dali-by-dali-abrams-1970","title":"SALVADOR DALÍ — Dali by Dali, Harry N. Abrams, New York, 1970","description":"\u003cp\u003eHarry N. Abrams, Inc., New York, 1970. Translated from the French by Eleanor R. Morse. Hardcover. 156 pages, 14 × 20 cm. Inscribed on the front free endpaper: \u003cem\u003eAngus, Happy Birthday, Love from Anne + Ricky.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003ePublished in 1970, at the point when Dalí was beginning to formalise the Theatre-Museum in Figueres, \u003cem\u003eDali by Dali\u003c\/em\u003e is a self-portrait presented as an indexing system. Dalí appears here as author, subject, historian, archivist and approving authority. The work is divided into five operational categories: The Planetarian Dalí, The Molecular Dalí, The Monarchical Dalí, The Hallucinogenic Dalí, The Futuristic Dalí. One artist. Multiple departments.\u003c\/p\u003e\u003cp\u003eThe book does not so much document a career as reorganise it in advance. Paintings, photographs, statements, scientific references and historical material are absorbed into a structure controlled by the person being described. By 1970, the retrospective has started to behave like an institution.\u003c\/p\u003e\u003cp\u003eThe English edition adds another layer. Eleanor R. Morse, the translator, was not external to the Dalí network. With A. Reynolds Morse, she assembled one of the major American collections of his work, later forming the basis of the Dalí Museum in St Petersburg, Florida. Author. Collector. Translator. Museum. The usual distance between these positions becomes unusually small.\u003c\/p\u003e\u003cp\u003eDalí states the procedure himself: \u003cem\u003eInstead of writing a history of Art, I am writing the art of History.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe title is even more efficient. DALI BY DALI. Attribution completed before the book is opened.\u003c\/p\u003e\u003cp\u003eThe copy later enters another system altogether. Angus. Happy Birthday. Love from Anne + Ricky. No institutional context supplied. The monument becomes a gift. The gift becomes an object. The object remains available for reassignment.\u003c\/p\u003e\u003cp\u003eCondition: very good. Securely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Harry N. Abrams","offers":[{"title":"Default Title","offer_id":54280314683730,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dali.DalibyDali.1970.jpg?v=1786902424"},{"product_id":"jeremy-deller-the-klf-2k-k-the-millennium-blast-first-1997","title":"JEREMY DELLER \/ THE KLF (2K) — ***K The Millennium, Blast First \/ Mute Records, 1997","description":"\u003cp\u003eBlast First \/ Mute Records, UK, 1997. Catalogue no. BFFP 146 K. Audio cassette single in clear plastic case; black-and-white printed fold-out J-card. Includes ***K The Millennium (Radio Edit) and Acid Brass \/ What Time Is Love? (Version K).\u003c\/p\u003e\u003cp\u003eA Jeremy Deller work hiding in the pop charts.\u003c\/p\u003e\u003cp\u003eIn 1997 Deller’s Acid Brass put the Williams Fairey Brass Band to work on acid-house anthems, collapsing two apparently separate British musical histories into the same repertoire. Among them was The KLF’s What Time Is Love? Deller describes the project as growing directly from the connections mapped in The History of the World.\u003c\/p\u003e\u003cp\u003eThen the circuit reversed. Bill Drummond and Jimmy Cauty returned as 2K, taking the Acid Brass version of their own record back into ***K The Millennium. The commercial release consequently arrives under the wonderfully unstable credit “Jeremy Deller Presents 2K,” while the sleeve identifies its producers as “the artists formerly known as The Justified Ancients of Mu Mu.” Deller’s artwork had entered pop music and come back out as a cassette single.\u003c\/p\u003e\u003cp\u003eThat makes this modest object particularly exact: not documentation of Acid Brass but evidence of what happened after the idea began circulating. Artist, band, cover version, original recording and commercial commodity fold into one another until authorship becomes difficult to locate.\u003c\/p\u003e\u003cp\u003eThe artwork makes something happen. The thing that happens becomes another object.\u003c\/p\u003e\u003cp\u003eCondition: good to very good. Visible surface rubbing and scuffing to clear case; light handling to printed insert. Playback not tested.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Blast First \/ Mute Records","offers":[{"title":"Default Title","offer_id":54280630567250,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Deller_Jeremy.TheKLF._KtheMillennium.1997.jpg?v=1786903714"},{"product_id":"marcel-duchamp-duchamp-bailly-hazan-paris-1984","title":"MARCEL DUCHAMP — Duchamp, Jean-Christophe Bailly, Fernand Hazan, Paris, 1984","description":"\u003cp\u003eFernand Hazan, Paris, 1984. Text by Jean-Christophe Bailly. Graphic design by Roman Cieslewicz. Masters of Art series. Original French edition. Softcover, 119 pages, 16 × 18 cm. Colour and black-and-white reproductions throughout. Original Flammarion retail price label retained to rear wrapper, priced 65 F and dated 5\/88.\u003c\/p\u003e\u003cp\u003ePublished in Paris in 1984, Jean-Christophe Bailly’s compact monograph arrives after Duchamp’s transformation from difficult historical presence into one of contemporary art’s organising figures. The readymade had already shifted attention from manufacture towards selection, naming and placement; by the 1980s, Duchamp himself was being reproduced, catalogued and circulated through precisely the systems his work had helped destabilise.\u003c\/p\u003e\u003cp\u003eRoman Cieslewicz’s graphic design makes the object particularly sharp. Duchamp’s famously altered profile dominates the cover; biography, reproductions and chronology follow inside. On the rear, a photograph of Duchamp sits above the proposition that the viewers make the pictures.\u003c\/p\u003e\u003cp\u003eThe surviving Flammarion 65-franc price label, dated 5\/88, records this copy continuing through the French book trade four years after publication. Retail information that would ordinarily be removed has become part of the object’s biography: publisher, shop, price, date, owner, retention.\u003c\/p\u003e\u003cp\u003eA mass-produced book about the artist who changed what an object could become. This copy has subsequently acquired its own small history of placement. The object remains unchanged. Its placement does not.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible handling, light edge and corner wear, surface marks and age toning consistent with use.\u003c\/p\u003e","brand":"Fernand Hazan","offers":[{"title":"Default Title","offer_id":54281033187666,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Duchamp_Marcel.Duchamp_MastersofArtS._Jean-ChristopheBailly_Author_J.Brenton_Translator_.19862.jpg?v=1786905513"},{"product_id":"jenny-holzer-kunst-heute-nr-9-kiepenheuer-witsch-1993","title":"JENNY HOLZER — Kunst Heute Nr. 9, Kiepenheuer \u0026 Witsch, Cologne, 1993","description":"\u003cp\u003eKiepenheuer \u0026amp; Witsch, Cologne, 1993. First edition. Jenny Holzer im Gespräch mit Noemi Smolik, edited by Wilfried Dickhoff. Softcover, 96 pages, 16 × 23 cm. Black-and-white illustrations throughout. German language. ISBN 3-462-02297-0.\u003c\/p\u003e\u003cp\u003ePublished in 1993 as the ninth volume of Kunst Heute: Gespräche mit zeitgenössischen Künstlern, this book records an extended conversation between Jenny Holzer and critic Noemi Smolik, edited by Wilfried Dickhoff. The date is the thing. Holzer had begun with the anonymous street posters of Truisms in 1977–79, moved language onto electronic signs and billboards through the 1980s, filled the Guggenheim with LEDs in 1989, and in 1990 became the first woman to represent the United States at the Venice Biennale with a solo presentation, winning the Golden Lion. By 1992–93 the work was turning toward increasingly explicit accounts of war, violence and the body: War followed the Gulf conflict, while Lustmord began in 1993 in response to sexual violence during the war in Bosnia.\u003c\/p\u003e\u003cp\u003eKunst Heute Nr. 9 sits directly inside that transition. The images make the genealogy visible: one spread returns to Holzer’s public billboards — “It is man’s fate to outsmart himself” occupying an ordinary urban streetscape; another reproduces Lady Pink wearing a 1983 T-shirt carrying the Truisms line “ABUSE OF POWER COMES AS NO SURPRISE.” Street, body, clothing, billboard, electronic sign: language repeatedly leaves the page and finds another support.\u003c\/p\u003e\u003cp\u003eOn the rear cover Holzer makes the politics unusually explicit, arguing that the most daring art of the previous decade had come from women, whose work she considered psychologically more extreme than men’s. Smolik would return to Holzer only three years later as editor of Jenny Holzer: Writing \/ Schriften, making this smaller 1993 interview an earlier point in an important critical relationship.\u003c\/p\u003e\u003cp\u003eThe words begin on paper. The work begins when they leave it.\u003c\/p\u003e\u003cp\u003eCondition: very good. Light handling and minor edge wear consistent with age.\u003c\/p\u003e","brand":"Kiepenheuer \u0026 Witsch","offers":[{"title":"Default Title","offer_id":54281115009362,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Holzer_Jenny.Kunstheute_Nr.9.1993.jpg?v=1786906703"},{"product_id":"arnulf-rainer-museum-des-20-jahrhunderts-vienna-1968","title":"ARNULF RAINER — Museum des 20. Jahrhunderts, Vienna, 1968","description":"\u003cp\u003eMuseum des 20. Jahrhunderts, Vienna, 1968. Text by Werner Hofmann with writings and documentary material by Arnulf Rainer. Softcover, 94 pages, 23 × 22 cm. Colour photographic wrappers; extensively illustrated in colour and black and white.\u003c\/p\u003e\u003cp\u003ePublished for Arnulf Rainer’s 1968 retrospective at Vienna’s Museum des 20. Jahrhunderts, this catalogue catches the artist at an unusually productive point of contradiction: the Austrian outsider being formally entered into the institution while his work was becoming increasingly difficult to contain within painting.\u003c\/p\u003e\u003cp\u003eNine years earlier, Rainer had founded the Pintorarium with Friedensreich Hundertwasser and Ernst Fuchs, conceived as an alternative to academic culture and its systems of instruction. The history remains conspicuously present here: the catalogue reproduces the Pintorarium manifesto alongside photographs of the group, folding an earlier act of refusal into the administrative structure of the retrospective.\u003c\/p\u003e\u003cp\u003eBut 1968 is also a beginning. Rainer’s overpaintings had already made cancellation, covering and attack into methods of image-making; now the pressure moves onto the artist himself. Photographs of Selbstbemalung, 1968 show his face marked, obscured and repeatedly reconfigured, anticipating the photographic and bodily works that would become central to the following decade.\u003c\/p\u003e\u003cp\u003eThe cover compresses the Viennese scene particularly well. Rainer, face streaked with paint, sits inside Walter Pichler’s Galaxy 1 chair, photographed by Christian Skrein: painting, experimental design, photography and institutional modernism contained within a single slightly improbable image.\u003c\/p\u003e\u003cp\u003eThe publication works as more than retrospective documentation. It records a transfer: opposition becoming history without entirely becoming obedient to it. The manifesto becomes archive. The gesture becomes reproduction. The artist enters the museum.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible rubbing, creasing and edge wear to wrappers, surface marking and age-related soiling, with a small tear to rear wrapper. Internally well preserved.\u003c\/p\u003e","brand":"Museum des 20. Jahrhunderts","offers":[{"title":"Default Title","offer_id":54284586975570,"sku":null,"price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rainer_Arnulf.Showcatalogue_museumdes20Jahrhunderts.1968.jpg?v=1786951838"},{"product_id":"douglas-gordon-it-doesnt-matter-who-i-am-tramway-glasgow-1993","title":"DOUGLAS GORDON — It Doesn’t Matter Who I Am. I Just Want to Talk to You: The Sociable Art of Douglas Gordon, Generisch \/ Tramway, Glasgow, 1993","description":"\u003cp\u003eGenerisch \/ Tramway, Glasgow, 1993. Softcover exhibition catalogue, 54 pages, 15 × 20 cm. Colour wrappers; black-and-white and colour reproductions throughout. Designed by Tony Arefin. With original 4-page 24 Hour Psycho: Hitchcock’s Tomb exhibition handout, text by Stuart Morgan.\u003c\/p\u003e\u003cp\u003eThe useful thing about this copy is that 24 Hour Psycho is still inside it.\u003c\/p\u003e\u003cp\u003ePublished in 1993, The Sociable Art of Douglas Gordon catches Gordon before the institutional biography had overtaken the work. The catalogue moves through text pieces, telephone interventions, sound and projects built around unstable identity and communication — including the unsolicited call to Liam Gillick from which the title is taken. Ross Sinclair contributed the catalogue text; Tony Arefin gave the publication its extraordinary turquoise cover and oversized typography.\u003c\/p\u003e\u003cp\u003eInserted alongside it is the original Tramway handout for 24 Hour Psycho, shown 24 April–23 May 1993, with Stuart Morgan’s essay Hitchcock’s Tomb. Gordon’s slowing of Hitchcock’s Psycho to a twenty-four-hour duration became the work that announced him internationally; three years later he won the 1996 Turner Prize.\u003c\/p\u003e\u003cp\u003eThe pairing is unusually exact. One publication describes a practice built around repetition, anonymity, memory and borrowed material. The other records the work in which those strategies suddenly became unavoidable.\u003c\/p\u003e\u003cp\u003eCatalogue and handout remain separate objects. Their placement together does the rest.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible handling, light edge and corner wear, creasing to lower front wrapper and minor surface marks. Handout with light age toning and handling consistent with use.\u003c\/p\u003e","brand":"Generisch \/ Tramway","offers":[{"title":"Default Title","offer_id":54285861847378,"sku":null,"price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gordon_Douglas.ItDoesn_TMatterWhoIAm.IJustWantToTalkToYouTheSociableArtOfDouglasGordon.1993.jpg?v=1786961686"},{"product_id":"jean-dubuffet-waddington-galleries-london-1981","title":"JEAN DUBUFFET — Waddington Galleries, London, 1981","description":"\u003cp\u003eWaddington Galleries, London, 1981. 9 September–3 October 1981. Staple-bound exhibition catalogue, 34 pages, 12.5 × 16.5 cm. Colour reproduction to front wrapper; plain white reverse; illustrated throughout.\u003c\/p\u003e\u003cp\u003eBy September 1981, the artist who had spent decades resisting official culture was being exhibited almost everywhere at once.\u003c\/p\u003e\u003cp\u003eIssued for Jean Dubuffet’s exhibition at Waddington Galleries, this modest thirty-four-page catalogue arrives at an extraordinary point of contradiction. Dubuffet had built the idea of Art Brut around forms of making he understood as operating beyond established cultural systems. In 1971 he donated his collection of nearly 5,000 Art Brut works to the City of Lausanne; in 1976 it became the Collection de l’Art Brut, the first public museum devoted exclusively to the field. The anti-cultural proposition had acquired its own institution.\u003c\/p\u003e\u003cp\u003eFive years later, Dubuffet himself was undergoing something close to total canonisation. The Guggenheim’s A Retrospective Glance at Eighty ran in New York from 31 July to 27 September 1981. Waddington opened this London exhibition on 9 September. The Centre Pompidou’s Sites aux figurines, Psycho-sites followed on 23 September, and Richard Gray Gallery’s Jean Dubuffet at 80, Most Recent Work opened in Chicago two days later. For several days that September, Dubuffet was simultaneously on view in London, Paris, New York and Chicago.\u003c\/p\u003e\u003cp\u003eThe work, however, was refusing to behave retrospectively. Beginning in February 1981, Dubuffet produced more than 500 Psycho-sites within a year: rapidly worked, intensely coloured paintings populated by figures without fixed identities and placed inside increasingly unstable spaces. At eighty, he was not tidying the archive. He was producing at extraordinary speed, pushing figure and landscape back towards uncertainty.\u003c\/p\u003e\u003cp\u003eThe Waddington catalogue carries that tension beautifully. One crowded image sits inside a wide white border on the front wrapper. No title. No institutional fanfare. The reverse is almost entirely blank. An artist being transformed into art history presented through an object that still behaves like current information.\u003c\/p\u003e\u003cp\u003eWaddington had given Dubuffet his first British exhibition in 1972. Nine years later, the gallery was showing him precisely as the museums were fixing his historical position. Canonisation on four fronts. Escape underway in the studio.\u003c\/p\u003e\u003cp\u003eCondition: good. Light handling, edge and corner wear, minor surface marks and age toning consistent with use.\u003c\/p\u003e","brand":"Waddington Galleries","offers":[{"title":"Default Title","offer_id":54286581858642,"sku":null,"price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dubuffet_Jean.WaddingtonGalleries.1981.jpg?v=1786964117"},{"product_id":"hans-bellmer-the-anatomy-of-anxiety-sue-taylor-mit-press-2002","title":"HANS BELLMER — The Anatomy of Anxiety, Sue Taylor, MIT Press, Cambridge, 2002","description":"\u003cp\u003eThe MIT Press, Cambridge, Massachusetts \/ London, 2002. Text by Sue Taylor. Softcover, 310 pages, 17.5 × 22.5 cm. Colour reproduction to front wrapper; extensively illustrated in black and white.\u003c\/p\u003e\u003cp\u003eBefore the editable digital body came the adjustable analogue one.\u003c\/p\u003e\u003cp\u003eSue Taylor’s Hans Bellmer: The Anatomy of Anxiety begins with the dolls that made Bellmer notorious and then refuses to leave them safely inside Surrealism. Bellmer’s female bodies are doubled, dismembered, rotated and reconstructed. Limbs become interchangeable. Anatomy stops behaving as biological fact and becomes material for projection.\u003c\/p\u003e\u003cp\u003eTaylor asks what kind of psychic machinery might produce such a body. Her reading moves through Bellmer’s erotomania, fantasies of revenge and suffering, castration anxiety, guilt, paternal attachment and the desire for return to the safety of the womb, while bringing a feminist analysis to work whose fascination has always existed uncomfortably beside its violence. The book extends beyond the celebrated dolls and 1930s photographs into Bellmer’s sexually explicit drawings, prints, paintings and later photographic work, accompanied by texts by Bellmer previously unavailable in English.\u003c\/p\u003e\u003cp\u003eThe result is less a conventional monograph than a prolonged interrogation. Bellmer had constructed distorted bodies partly against the increasingly regulated ideals of the Germany in which the dolls first appeared. Yet resistance does not absolve the image. A body escaping one system of control can still become subject to another: the artist’s desire.\u003c\/p\u003e\u003cp\u003eWhat happens when transgression reproduces domination? When fascination and revulsion occupy the same image? When understanding the fantasy does not make the fantasy innocent? These questions have travelled remarkably well. Avatars, filters, cosmetic alteration, pornography, synthetic bodies and AI-generated people have made bodily recombination ordinary visual experience. Bellmer did not predict that world. He simply constructed one of its more uncomfortable ancestors.\u003c\/p\u003e\u003cp\u003eThe body is opened. The image is opened. The viewer is not entirely left outside the examination.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible handling and shelf wear, light rubbing and age toning to wrappers, edge wear and corner creasing particularly to upper front corner; internally sound.\u003c\/p\u003e","brand":"The MIT Press","offers":[{"title":"Default Title","offer_id":54287063384402,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans.TheAnatomyofAnxiety_authorSueTaylor.2002.jpg?v=1786965546"},{"product_id":"nina-felshin-verbally-charged-images-ici-new-york-1984","title":"NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984","description":"\u003cp\u003eIndependent Curators Incorporated, New York, 1984. Curated by Nina Felshin. Staple-bound exhibition catalogue, 50 pages, 14 × 21 cm. Green printed wrappers; black-and-white and colour reproductions throughout. Artists include Roberta Allen, Ida Applebroog, Dotty Attie, John Baldessari, Luis Camnitzer, Robert Cumming, Vernon Fisher, Douglas Huebler, Jasper Johns, Barbara Kruger, Marcia Resnick, Karen Shaw, Alexis Smith, Anne Turyn and William Wegman.\u003c\/p\u003e\u003cp\u003eIt is a compact 1984 manual for one of the central struggles of the present: not who owns the image, but who gets to tell everyone what the image means.\u003c\/p\u003e\u003cp\u003eCurated by Nina Felshin for Independent Curators Incorporated, Verbally Charged Images gathers fifteen artists working at the point where photography, painting, Conceptual art and mass-media language begin interfering with one another. Its subject appears simple: words combined with images. Its proposition is not.\u003c\/p\u003e\u003cp\u003eFelshin is interested in the moment language stops behaving as explanation and begins operating on the image itself. A caption can redirect a photograph. A sentence can introduce guilt, humour, menace or doubt. Text can turn documentation into fiction and advertising into accusation. The picture may remain physically unchanged while its meaning moves somewhere else entirely.\u003c\/p\u003e\u003cp\u003eBarbara Kruger tells the viewer “You are a captive audience.” Douglas Huebler inserts conceptual propositions into painted space. Baldessari, Camnitzer, Applebroog, Resnick and others repeatedly expose the same mechanism: seeing is never entirely innocent once somebody else has supplied the words.\u003c\/p\u003e\u003cp\u003eForty-two years later, generative AI pushes the structure one stage further. The verbal charge no longer necessarily arrives after the picture. A sentence can now precede it, instruct it and produce it. Image → caption has become prompt → image → caption → circulation. The technology changed. The contest over framing did not.\u003c\/p\u003e\u003cp\u003eCondition: good. 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