Invitation Cards

Exhibition invitation cards from the archive.

  • Artist postcard reproducing Barbara Kruger’s Untitled (Love is something you fall into) (1990). A tightly cropped black-and-white profile of a woman with windswept hair fills the card while a vertical red banner runs along the right side with white text reading: “Love is something you fall into Reverse side of a Barbara Kruger exhibition postcard with small black text on white card stock identifying Untitled (Love is something you fall into) (1990), materials and dimensions, Hall Collection credit, and publication information from In the Tower: Barbara Kruger at the National Gallery of Art, Washington. Barcode at upper right with light handling wear and adhesive residue visible.

    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Sold out

    Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Sold out
  • Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation recto: black-and-white photograph of a figure lying prone on a parquet floor before a set of white double doors, dark mark running down the paintwork above. Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation verso: printed artist biography and exhibition details, handwritten address to Jacques Donguy, Ossun, France, French postage stamp and postal markings.

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

    Sold out

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

    Sold out
  • Official 1998 Cindy Sherman museum postcard reproducing *Untitled #317* (1995), showing a close-up gold mask-like face with dark eyes and red cosmetic details. Reverse of 1998 Museum of Contemporary Art Chicago Cindy Sherman retrospective promotional postcard featuring exhibition information, membership offer text, and museum details.

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

  • Official Andres Serrano exhibition postcard reproducing *Piss Christ (Immersions)* (1987), showing a glowing crucifix suspended within an amber-red field of light. Reverse of Andres Serrano exhibition postcard issued for *Portraits d’Amérique*, Galerie Nathalie Obadia Paris–Brussels, with exhibition and copyright details printed on white card stock.

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

  • Original 1970 Étienne Sandorfi exhibition invitation featuring a black-and-white image of a fragmented doll-like head with wires and mechanical elements in a surreal psychological composition. Original 1970 Étienne Sandorfi exhibition invitation for Galerie 3+3 in Paris featuring exhibition dates, opening information, and French descriptive text printed in black on folded cream card stock.

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

  • Front of original 1997 Thomas Rentmeister exhibition invitation card for Centre d’art contemporain de Vassivière in France, featuring a glossy pale pink biomorphic polyester sculpture against a neutral background. Reverse of original 1997 Thomas Rentmeister exhibition invitation card with exhibition information, opening details, venue text, and institutional credits printed in black on white stock.

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

  • Original 1973 Yvonne Rainer and John Erdman performance postcard showing a black-and-white photograph of Yvonne Rainer performing *Trio A*, balancing with one leg raised on a stage. Reverse of original 1973 Portland Center for the Visual Arts announcement card with exhibition text for Yvonne Rainer and John Erdman’s *This is the story of a woman who . . .* and Portland venue details.

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

  • Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011 Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

  • Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron. Reverse side of Sherrie Levine’s *Pie Town* exhibition card from David Zwirner, London, printed with exhibition details in black text on white card stock. Includes title, dates, gallery address, and information identifying the reproduced work *After Russell Lee: 1–60* (2016).

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

  • Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.” Centre Pompidou postcard reproducing a 1968 black-and-white photograph of two nude performers covered in Yayoi Kusama polka dots embracing beneath an American flag, with a toy gun visible at right and soft-sculpture forms in the background.

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

  • 2017 Yayoi Kusama exhibition invitation card featuring a studio portrait of the artist seated at a table surrounded by vividly colored *My Eternal Soul* paintings. Kusama wears her signature bright red wig and an orange dress with black polka dots, visually blending into the dense field of reds, blues, dots, and biomorphic patterns surrounding her. Reverse side of a 2017 Yayoi Kusama exhibition invitation card from David Zwirner listing details for the concurrent exhibitions *Festival of Life* and *Infinity Nets* in New York. Black text on white card stock includes dates, gallery addresses, reception information, and exhibition titles.

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

  • 1999 Pierre Klossowski exhibition invitation featuring a color reproduction of *Roberte aux barres parallèles* (1990). Three stylized human figures are arranged around parallel bars on a circular base: a central female figure in pink clothing raises one leg while two surrounding figures engage with the structure. The sculpture is rendered in painted flesh, mauve, and brown tones against a neutral background, with “Pierre Klossowski” printed beneath. Reverse side of a 1999 Pierre Klossowski exhibition invitation card printed in French for *l'énoncé à nouveau dénoncé: Sculptures et tableaux*. Black typography on white card stock lists exhibition dates (3 April–12 June 1999), opening details, and Galerie Beaubourg at Château Notre-Dame des Fleurs in Vence, France. PIERRE KLOSSOWSKI / l'énoncé à nouveau dénoncé / Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

  • Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Recto: colour illustration of two children holding a star lantern on a pole against a night sky, within an arched frame; artist name below in bold serif type. Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Verso: exhibition dates 12 November – 24 December 1999, opening Thursday 11 November (Saint Martin's Day) 6–8pm, Matthew Marks Gallery address 523 West 24th Street, New York, printed in black on white card.

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

  • David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Recto: white sans-serif text reading DAVID HAMMONS on solid black ground. David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Verso: exhibition dates January 26 – February 26, 2011, and L&M Arts gallery address, 45 East 78 Street, New York, printed in black on white card

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

  • Georg Baselitz, Auerbach (yellow), 2018. Etching with sugar lift aquatint and relief printing on Somerset White Satin 350gsm paper. Inverted figure in dark gestural marks on ochre ground. Reproduced on interior of Devotion exhibition invitation, Alan Cristea Gallery, 2019. Georg Baselitz, Devotion, exhibition invitation card, Alan Cristea Gallery, London, 2019. Private view 15 May, exhibition 16 May–22 June 2019. Printed text on white card.

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

  • olded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Bernard Aubertin and Hans Bischoffshausen in lowercase type, brown-mauve accent on the letter n in each surname. Folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Karl Prantl and J. J. Schoonhoven in lowercase type, brown-mauve accent on the letter n, gallery details in small print at lower edge.

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

    Aubertin / Bischoffshausen / Prantl / Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967

  • Danh Vō, Homosapiens, exhibition invitation recto, Marian Goodman Gallery, London, 2015. Cream multi-ply card with artist name and exhibition dates in serif type. Danh Vō, Homosapiens, exhibition invitation verso, Marian Goodman Gallery, London, 2015. Printed world migration map titled Homo Sapiens, routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa.

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015

    Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015