{"title":"New In","description":"\u003cp\u003eThe latest arrivals at The New Rare. Updated as new material is acquired, this is the place to check first if you visit regularly. Stock moves quickly — if something catches your eye, don't wait.\u003c\/p\u003e","products":[{"product_id":"roy-lichtenstein-galerie-ileana-sonnabend-paris-1965","title":"Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965","description":"\u003cp\u003eExhibition catalogue published for Roy Lichtenstein’s 1965 exhibition at Galerie Ileana Sonnabend, Paris. First edition.\u003c\/p\u003e\u003cp\u003e18.1 × 25.7 cm, 16 pp. Offset-printed wrappers with Benday-dot cover design in blue and black, artist name set diagonally in bold serif type. Stapled binding. Illustrated throughout in black and white, with a two-page colour spread of \u003cem\u003eLandscape\u003c\/em\u003e, 1965. Text in French, including a translation of Gene Swenson’s interview “What is Pop Art?”, first published in \u003cem\u003eARTnews\u003c\/em\u003e, November 1963.\u003c\/p\u003e\u003cp\u003eThe exhibition focused on landscape works — seascape, sunrise, horizon, cloud. Subjects that allowed Lichtenstein to move the comic-strip and commercial-print vocabulary into a more classical genre. The Benday dot is no longer only a quotation from mass reproduction. It becomes atmosphere, weather, surface, and system.\u003c\/p\u003e\u003cp\u003eThis copy has a history. A pronounced vertical crease runs through the full publication: not a publishing fold but a use fold. The catalogue was reduced for carrying — placed into a jacket or back pocket, taken somewhere. The rear wrapper carries a handwritten note in ink, reading approximately:\u003c\/p\u003e\u003cp\u003e\u003cem\u003e[Picallce?] Michel \/ chez Madame Savignat \/ 274 Rue St Honoré \/ Paris Ier\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe first word remains partially illegible. The note appears to record a Paris address or temporary lodging: “at Madame Savignat’s,” 274 rue Saint-Honoré, Paris 1er. Sonnabend’s gallery appears inside as institution. The rear inscription supplies another address. Between the two, the object moves.\u003c\/p\u003e\u003cp\u003eThis copy was not only retained. It was folded, carried, and marked. It has a secondary route.\u003c\/p\u003e\u003cp\u003eRetained in good vintage condition. General age toning, handling wear, light creasing and surface marks throughout. The vertical fold is structural and consistent throughout. Rear wrapper with handwritten ownership or address note in ink.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Exhibition catalogue, first edition\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 18.1 × 25.7 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 16 pp.\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003cbr\u003e\u003cstrong\u003ePublisher\/Venue:\u003c\/strong\u003e Galerie Ileana Sonnabend, Paris\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1965\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53339471151442,"sku":"TNR-RL-1965-SONN","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Roy_Lichtenstein_1965_-_001.jpg?v=1777909022"},{"product_id":"fabrizio-plessi-acquabiografia-centro-galleria-arte-contemporanea-turin-1975","title":"Fabrizio Plessi — Acquabiografia, Centro \/ Galleria d'Arte Contemporanea, Turin, 1975","description":"\u003cp\u003eExhibition catalogue published on the occasion of \u003cem\u003eAcquabiografia\u003c\/em\u003e, Fabrizio Plessi's solo exhibition at Centro \/ Galleria d'Arte Contemporanea, Turin, inaugurated 22 January 1975. Bilingual Italian and German text.\u003c\/p\u003e\u003cp\u003eThe catalogue documents 200 collages made under the title \u003cem\u003eAcquabiografia\u003c\/em\u003e, in which Plessi treats water not as a natural element but as an unstable system of images, tools, absurd functions, and poetic substitutions. Works from 1972–74 are reproduced throughout, including \u003cem\u003eAnalogie Sostitutive\u003c\/em\u003e (1973), \u003cem\u003eMaschera antiacqua\u003c\/em\u003e (1974), \u003cem\u003eA bordo della Carnegie\u003c\/em\u003e (1974), \u003cem\u003eCanotto da deserto\u003c\/em\u003e (1974), \u003cem\u003eStiraonde dall'acquabiografico\u003c\/em\u003e (1973), and \u003cem\u003eMare classico\u003c\/em\u003e (1974) — all acrylic on emulsioned canvas, format 125 × 81 cm. Each work is reproduced as a full spread, with title, date, and medium listed on the facing page.\u003c\/p\u003e\u003cp\u003eVenice is central to the project: flooding, cleaning, drains, sponges, soap, aquariums, and machines become imaginary solutions to a real civic and environmental condition. The text places Plessi in dialogue with — and against — Klaus Rinke, whose use of elemental materials is cited as a counterpoint. References to Giorgione, Leonardo, Géricault, and Duchamp are also present.\u003c\/p\u003e\u003cp\u003eThe catalogue essay positions \u003cem\u003eAcquabiografia\u003c\/em\u003e as a precise emancipation from the rationalization of nature: water is paradoxically removed from its usual state as object, transformed through equipment into useless material, and made available as metaphor. Plessi's humour — grotesque, absurdist, and civic — runs throughout.\u003c\/p\u003e\u003cp\u003eAcrylic on emulsioned canvas works reproduced throughout. Bilingual Italian\/German critical text. Square format. Condition: Fine.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53340761325906,"sku":"PLESSI-ACQUABIOGRAFIA-1975","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Fabrizio_Plessi_1975_001.jpg?v=1777936294"},{"product_id":"peter-downsbrough-take-note-villa-arson-nice-1988","title":"Peter Downsbrough — Take Note, Villa Arson, Nice, 1988","description":"\u003cp\u003eArtist's book published on the occasion of \u003cem\u003eUnder the Sun \/ Sous le soleil exactement…\u003c\/em\u003e, Villa Arson, Nice, 1988. Original manuscript written in 1987. Published by Villa Arson, Nice; publishing director: Christian Bernard. Text in English. 36 pp., 13.5 × 19.5 cm, flexible printed blue wrappers.\u003c\/p\u003e\u003cp\u003ePeter Downsbrough's practice moves between sculpture, photography, architecture, typography, and the book form, using short words, lines, divisions, and spatial intervals to alter how a site or page is read. In \u003cem\u003eTake Note\u003c\/em\u003e, the book becomes an extension of placement: words such as NOTE, HELD, ENFORCE, and STATUS sit against blank space, red rules, grey blocks, and cropped photographic fragments — a printed structure for looking, reading, and positioning.\u003c\/p\u003e\u003cp\u003eThe 1988 Villa Arson publication is listed in Downsbrough's exhibition history and bibliographic records. Some references carry the title \u003cem\u003eTake Notes\u003c\/em\u003e; the object itself uses the reduced form \u003cem\u003eTake Note \/ Note\u003c\/em\u003e, consistent with Downsbrough's characteristic economy of language.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. Light rubbing and handling wear to blue wrappers, minor edge and corner wear, small surface marks, and light internal handling. Binding intact.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53341804462418,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Peter_Downsbrough_1988_001.jpg?v=1777968980"},{"product_id":"sarah-lucas-god-is-dad-guardian-g2-2005","title":"Sarah Lucas — GOD IS DAD, The Guardian \/ G2, 17 October 2005","description":"\u003cp\u003eOriginal G2 special issue produced with Sarah Lucas for \u003cem\u003eThe Guardian\u003c\/em\u003e, published 17 October 2005. Includes Gordon Burn's interview, “I sometimes wonder how long I’ve got,” alongside a sequence of Lucas images, sculptural works, captions, and text material connected to \u003cem\u003eGOD IS DAD\u003c\/em\u003e. Printed on newsprint; folded tabloid format. 36 pp., approx. 31.5 × 23.5 cm closed; 31.5 × 47 cm open.\u003c\/p\u003e\u003cp\u003eA newspaper supplement functioning as exhibition residue, artist pages, and mass-media insert. Lucas’s objects enter the daily paper without becoming illustration. Sculpture, slang, cigarettes, body-part humour, and institutional timing are compressed into a disposable support. A rare survival from a moment when the YBA newspaper image was still active, public, and unstable.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage newspaper condition. Age toning, fold lines, light edge wear, handling marks, and minor soft creasing consistent with original newsprint. Shipping and handling included in the listed price. Ships flat or lightly folded as originally issued, protected in archival backing.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53346730901842,"sku":"SL-GODISDAD-2005-NEWS","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarah_Lucas_2005_001.jpg?v=1778053315"},{"product_id":"richard-prince-the-girl-next-door","title":"Richard Prince — The Girl Next Door","description":"\u003cp\u003eSoftcover artist book\u003cbr\u003e72 pp.\u003cbr\u003e15 × 22 cm\u003cbr\u003eColour offset printing\u003cbr\u003eText in English\u003cbr\u003eOriginal publisher's shrinkwrap intact\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Sealed \/ unread. Light shelf wear visible to shrinkwrap, with minor pulling and creasing to plastic at edges and corners. Book appears clean and unopened beneath wrap.\u003c\/p\u003e\u003cp\u003ePublished by Hatje Cantz with the MAK Center for Art and Architecture, Los Angeles, \u003cem\u003eThe Girl Next Door\u003c\/em\u003e sits within Richard Prince's long use of vernacular American imagery: houses, roads, bodies, cars, basketball hoops, suburban edges, and the charged neutrality of looking. Issued in 2000, the book belongs to the period in which Prince's photographic language had already moved from appropriation into a broader archive of American surfaces, habits, and poses. MACBA records the publication as a 2000 monograph measuring 22 × 15.1 cm; other book records list it as a 72-page Hatje Cantz publication.\u003c\/p\u003e\u003cp\u003eThis copy remains in its original shrinkwrap. The object is still suspended between book and commodity: visible, titled, sealed, withheld.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed with tracked delivery.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53366912745810,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/0277ACCC-2BE1-4B20-A53D-DCA638DD2ED9_0c0a854f-dbbf-4164-a737-6f6babcf4f7a.jpg?v=1778237646"},{"product_id":"richard-prince-douglas-blair-turnbaugh-collection-1977-1988","title":"Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)","description":"\u003cp\u003eEdward Cella Art \u0026amp; Architecture, Los Angeles, 2016\u003c\/p\u003e\u003cp\u003eExhibition catalogue\u003cbr\u003e22.6 × 15.1 cm\u003cbr\u003e48 pp.\u003cbr\u003eOffset-printed pictorial wrappers\u003cbr\u003eBlack-and-white illustrations\u003cbr\u003eEdition of 1,000\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage \/ used condition. Light handling wear, soft rubbing and minor surface marking to wrappers. Interior clean overall, binding intact.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of \u003cem\u003eRichard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)\u003c\/em\u003e at Edward Cella Art \u0026amp; Architecture, Los Angeles, 11 June–30 July 2016. The catalogue documents material from the private archive of Douglas Blair Turnbaugh, an early friend, collector, and supporter of Prince. The exhibition gathered artworks, letters, exhibition announcements, publications, postcards, photographs, altered ephemera, and related objects from the artist's formative years.\u003c\/p\u003e\u003cp\u003eA catalogue of secondary material around an artist whose work depends on secondary material. Prince's practice is built through existing images, jokes, advertisements, printed matter, cultural debris, and shifts of authorship. Here the surrounding paper becomes the subject: the letter, the invitation, the checklist, the matchbook, the jacket, the early publication.\u003c\/p\u003e\u003cp\u003eThe book records the period in which Prince's work moved through Artists Space, Metro Pictures, the Pictures Generation, SoHo, East Village networks, and early European exhibition circulation. It is not a retrospective of finished works so much as an inventory of formation.\u003c\/p\u003e\u003cp\u003eAn artist's career, seen through retained paper.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"Edward Cella Art \u0026 Architecture","offers":[{"title":"Default Title","offer_id":53386196713810,"sku":"RP-DBT-ECAA-2016","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-THE-DOUGLAS-BLAIR-TURNBAUGH-COLLECTION-_1977-1988_.-2016--cover_7736879e-4dc1-47a7-ba07-594ea867f60c.jpg?v=1778472545"},{"product_id":"richard-prince-purple-20-years-the-richard-prince-purple-book-2012","title":"Richard Prince — Purple 20 Years: The Richard Prince Purple Book","description":"\u003cp\u003ePurple Institute, Paris, 2012\u003c\/p\u003e\u003cp\u003eSpecial edition produced for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18\u003cbr\u003ePublished for the 20th anniversary of Purple magazine\u003cbr\u003e78 pp.\u003cbr\u003eSoftcover\u003cbr\u003ePictorial paper wrappers\u003cbr\u003eApprox. 28 × 20.5 cm \/ 11 × 8 in.\u003cbr\u003eColour and black-and-white reproductions throughout\u003cbr\u003eText and image work by Richard Prince\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Near fine. Negligible bumping to front wrapper. Light handling wear only. Clean internally.\u003c\/p\u003e\u003cp\u003eSpecial edition made by Richard Prince for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18, marking twenty years of Purple magazine. The publication brings together fragments of Prince's “Bird Talk” texts with collages made from celebrity headshots, film stills, promotional photographs, album material, and other collected image debris.\u003c\/p\u003e\u003cp\u003eA fashion magazine supplement as artist book.\u003cbr\u003eA Richard Prince object routed through Purple.\u003cbr\u003eCelebrity material, handwritten captions, rhetorical questions, commercial images, and borrowed surfaces.\u003c\/p\u003e\u003cp\u003eThe book sits close to Prince’s long use of existing cultural material: publicity photographs, entertainment residue, fan-image circulation, soft celebrity, advertising language, and the unstable line between collecting and authorship. The source image remains visible. The gesture is in the re-captioning, grouping, and return to circulation.\u003c\/p\u003e\u003cp\u003eHere, Purple is not only publisher but frame. Fashion magazine, artist book, anniversary object, and promotional support occupy the same printed form. Prince’s image-world is placed inside another image-world, then released as a magazine-adjacent edition.\u003c\/p\u003e\u003cp\u003eA secondary object made from secondary images.\u003cbr\u003eThe found photograph becomes layout.\u003cbr\u003eThe caption becomes authorship.\u003cbr\u003eThe magazine becomes support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Purple Institute","offers":[{"title":"Default Title","offer_id":53390010220882,"sku":"RP-P20-PUR-2012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-purple-20-years-the-richard-prince-purple-book.-2012--cover.jpg?v=1778489164"},{"product_id":"peter-doig-the-arts-club-of-chicago-2003","title":"Peter Doig — The Arts Club of Chicago, 2003","description":"\u003cp\u003eTexts by Kathy S. Cottong and Jennifer Higgie\u003cbr\u003e\u003ca href=\"https:\/\/www.artsclubchicago.org\"\u003eThe Arts Club of Chicago\u003c\/a\u003e, 2003\u003cbr\u003eFirst edition\u003cbr\u003eSoftcover\u003cbr\u003e32 pp.\u003cbr\u003eApprox. 20 × 14 cm\u003cbr\u003e21 illustrations, 13 in colour\u003cbr\u003eIncludes exhibition history and selected bibliography\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Near fine internally; clean copy. Light handling, rubbing, faint surface marks, and minor edge wear to wrappers, visible on the muted green and brown cover stock.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of Peter Doig at \u003ca href=\"https:\/\/www.artsclubchicago.org\"\u003eThe Arts Club of Chicago\u003c\/a\u003e, 27 January–12 April 2003. The exhibition brought together large-scale oil paintings from the previous decade with works on paper. Cabins, forests, lakes, snow, reflections, and half-remembered figures: landscape held as psychological support rather than stable view. The Arts Club described the work as moving between “fiction and truth, depiction and invention, representation and abstraction.”\u003c\/p\u003e\u003cp\u003eThe catalogue records a moment in Doig’s early-2000s circulation, before the later consolidation of his market position. By 2003 the language was already established: photographic sources, film stills, postcards, travel brochures, album sleeves. Images determining and destabilising the painted image. The painting arrives through reproduction, then departs from it.\u003c\/p\u003e\u003cp\u003eDoig was moving between London, Canada, and Trinidad. The institution was Chicago. The object remains modest: a restrained two-colour wrapper, small typography, a muted administrative surface.\u003c\/p\u003e\u003cp\u003eA small institutional document attached to a painter whose work would soon occupy a different scale of attention.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53400068325714,"sku":"PD-ACC-CHI-2003","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Doig_-Peter.-The-Arts-Club-of-Chicago_-2003-cover.jpg?v=1778552170"},{"product_id":"richard-prince-menthol-wars-printed-matter-2009","title":"Richard Prince — Menthol Wars","description":"\u003cp\u003ePrinted Matter, New York, 2009\u003cbr\u003eFacsimile reprint of the 1980 artist’s book\u003cbr\u003eStaple-bound wrappers\u003cbr\u003e22 pp.\u003cbr\u003e14.1 × 21.3 cm\u003cbr\u003eBlack-and-white offset printing\u003cbr\u003eEdition of 2,000\u003cbr\u003eUnsigned facsimile reprint\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling and minor surface wear to wrappers, faint rubbing to black cover, clean interior, staples intact.\u003c\/p\u003e\u003cp\u003eOriginally published in October 1980 to coincide with a Richard Prince window installation at \u003ca href=\"https:\/\/www.printedmatter.org\"\u003ePrinted Matter\u003c\/a\u003e’s original 7 Lispenard Street location, \u003cem\u003eMenthol Wars\u003c\/em\u003e belongs to Prince’s early sequence of narrative artist books, alongside \u003cem\u003eWar Pictures\u003c\/em\u003e and \u003cem\u003eMenthol Pictures\u003c\/em\u003e. Printed Matter reissued this facsimile in 2009 for \u003cem\u003eRichard Prince: Calling All Readers\u003c\/em\u003e, curated by John McWhinnie at the New York Art Book Fair.\u003c\/p\u003e\u003cp\u003eThe book sits before the more stabilised image of Prince as the artist of cowboys, jokes, nurses, and rephotographed American desire. Here the material is thinner and stranger: short texts, names, overheard voices, social drift, cigarettes, style, movies, records, and conversational fragments. The book form functions less as catalogue than as distribution system — a cheap printed support for fiction, pose, and borrowed atmosphere.\u003c\/p\u003e\u003cp\u003eAs a facsimile, the 2009 edition is also a second object: not the scarce 1980 original, but its controlled return through Printed Matter. A re-entry of early Prince into the artist-book market, produced through the same institution that first held the window installation. The copy becomes a readable substitute, a later administrative version of an early downtown object.\u003c\/p\u003e\u003cp\u003eOriginal period content, later institutional reprint.\u003cbr\u003eA minor book object from Prince’s pre-market vocabulary.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53401122242898,"sku":"RP-MW-PM-2009","price":385.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-MENTHOL-WARS.-2009-1-front-cover_cc6fe57d-23b4-4f37-b4e8-558b3c420b4c.jpg?v=1778554046"},{"product_id":"richard-tuttle-grey-walls-work-1996","title":"Richard Tuttle — Grey Walls Work","description":"\u003cp\u003eCamden Arts Centre, London \/ Douglas Hyde Gallery, Dublin \/ Inverleith House, Royal Botanic Garden Edinburgh, 1996–1997\u003cbr\u003eExhibition catalogue \/ artist’s book\u003cbr\u003e21 × 21 cm\u003cbr\u003e60 pp.\u003cbr\u003eDie-cut green card wrappers\u003cbr\u003eRed underlayer visible through oval cut-outs\u003cbr\u003eColour illustrations throughout\u003cbr\u003eIncludes interview with Richard Tuttle\u003cbr\u003eDesigned by the artist\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Fine. Clean copy with only very minor handling to covers. Binding tight, interior bright.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of Richard Tuttle’s touring exhibition \u003cem\u003eGrey Walls Work\u003c\/em\u003e, shown at Camden Arts Centre, London; the Douglas Hyde Gallery, Dublin; and Inverleith House, Royal Botanic Garden Edinburgh. The publication documents works made between 1994 and 1996, with Tuttle’s title pointing directly to the condition of display: these works ask to be seen against grey walls.\u003c\/p\u003e\u003cp\u003eThe catalogue is not only a record of the exhibition. Designed by Tuttle, it operates as a small constructed object. The green die-cut cover, repeated oval apertures, and red layer beneath turn the book into a surface of concealment and disclosure. Image, page, wall, and support are kept in play.\u003c\/p\u003e\u003cp\u003eTuttle’s practice has long occupied a position between drawing, sculpture, craft, and provisional architecture. Here that position enters the book form. A catalogue becomes a portable exhibition condition: modest, precise, tactile, and slightly unstable.\u003c\/p\u003e\u003cp\u003eArtist-designed exhibition catalogue.\u003cbr\u003eA book as support, surface, and placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"Camden Arts Centre","offers":[{"title":"Default Title","offer_id":53401911984466,"sku":"RT-GWW-CAC-1996","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Tuttle_-Richard.-Grey-Walls-Work.-1996-3-cover_45c65d5d-5c2e-4428-b914-c61400e083fd.jpg?v=1778555505"},{"product_id":"terence-koh-the-whole-family-peres-projects-2008","title":"Terence Koh — The Whole Family","description":"\u003cp\u003ePeres Projects, Los Angeles, 2008\u003cbr\u003eSoftcover artist’s book \/ exhibition publication\u003cbr\u003e36 pp.\u003cbr\u003eApprox. 19 × 12.7 cm \/ 7.5 × 5 in.\u003cbr\u003eColour and black-and-white images\u003cbr\u003eTexts by Terence Koh and others\u003cbr\u003ePublished on the occasion of \u003cem\u003eThe Whole Family\u003c\/em\u003e, Peres Projects, Los Angeles, 10 May–21 June 2008\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good \/ very good. Light handling, surface marks, rubbing and age toning to wrappers, with some visible marks to rear cover. Interior clean, binding sound.\u003c\/p\u003e\u003cp\u003ePublished for Terence Koh’s 2008 exhibition at Peres Projects, \u003cem\u003eThe Whole Family\u003c\/em\u003e sits inside the compressed social mythology around Koh, Javier Peres, Asianpunkboy, performance, glamour, damage, intimacy, and late-2000s art-world image culture. The book mixes photographs, short texts, playlist-like material, personal fragments, and staged documentation. It reads less as a standard catalogue than as a soft record of a circle: friends, animals, aliases, props, music, bodies, and gallery life converted into printed matter.\u003c\/p\u003e\u003cp\u003eKoh’s work at this point moved between monochrome ritual, queer theatricality, celebrity proximity, self-mythology, and controlled abjection. Here that language becomes small, pale, and portable. The publication keeps the exhibition in a minor key: white space, soft images, sentimental texts, sharp objects, and a family structure that appears both real and performed.\u003c\/p\u003e\u003cp\u003eA gallery catalogue as social residue.\u003cbr\u003eA small book object from the Peres Projects system.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53402088210770,"sku":"TK-TWF-PP-2008","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Koh_-Terrance.-The-Whole-Family-1-front-cover.jpg?v=1778557370"},{"product_id":"isa-genzken-window-hauser-wirth-london-2020","title":"Isa Genzken — Window","description":"\u003cp\u003eHauser \u0026amp; Wirth, London, 2020\u003cbr\u003eGallery exhibition invitation\u003cbr\u003eOffset colour print on card\u003cbr\u003e26 × 20 cm\u003c\/p\u003e\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\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear.\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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53425645125970,"sku":"IG-WIN-HW-2020","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":"richard-prince-new-portraits-blum-poe-2016","title":"Richard Prince — New Portraits","description":"\u003cp\u003eBlum \u0026amp; Poe, Los Angeles \/ New York \/ Tokyo, 2016\u003cbr\u003eScrew-bound acrylic hardcover\u003cbr\u003e64 pp.\u003cbr\u003e26 × 33 cm\u003cbr\u003eColour offset printing\u003cbr\u003eEdition of 1,000\u003cbr\u003eISBN: 978-0-9861128-4-3\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface scratching, rubbing, and handling marks to acrylic covers, consistent with the material. Interior clean. Original Japanese bookseller sticker (Komiyama Tokyo) to front cover. Screw binding intact.\u003c\/p\u003e\u003cp\u003ePublished by Blum \u0026amp; Poe in 2016, following Richard Prince’s \u003cem\u003eNew Portraits\u003c\/em\u003e exhibition at Blum \u0026amp; Poe Tokyo, 3 April–30 May 2015. The book holds installation views, reproductions from the \u003cem\u003eNew Portraits\u003c\/em\u003e series, and Prince’s ‘Bird Talk’ text in Japanese and English.\u003c\/p\u003e\u003cp\u003eA book made after the feed had already been enlarged, printed, exhibited, argued over, and returned to print. Instagram appears here not as platform but as support. The portrait is no longer a post, not exactly a painting, not simply a reproduction. It has passed through several systems of authorisation and arrives as a bound object.\u003c\/p\u003e\u003cp\u003eThe acrylic covers extend the logic of display. Transparent, reflective, protective, and slightly industrial, they make the catalogue behave closer to a case file or portable vitrine.\u003c\/p\u003e\u003cp\u003eWithin Prince’s longer practice of appropriation, joke transfer, advertising extraction, and re-captioned American image culture, \u003cem\u003eNew Portraits\u003c\/em\u003e marks the point where social media becomes both source and surface. Authorship is not removed; it is displaced, commented on, enlarged, litigated, and reissued. The catalogue remains as residue of that passage.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Blum \u0026 Poe","offers":[{"title":"Default Title","offer_id":53425817813330,"sku":"RP-NP-BP-2016","price":595.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits.-2016-cover.jpg?v=1778690133"},{"product_id":"richard-prince-early-photographs-1977-1979-skarstedt-2001","title":"Richard Prince — Early Photographs 1977–1979","description":"\u003cp\u003eSkarstedt Fine Art, New York, 2001\u003cbr\u003eHardcover\u003cbr\u003e46–47 pp.\u003cbr\u003e20.3 × 30.5 cm\u003cbr\u003eColour offset printing\u003cbr\u003eText in English\u003cbr\u003eIncludes writing by Richard Prince taken from \u003cem\u003eWhy I Go to the Movies Alone\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light shelf wear to grey boards, faint surface rubbing and minor corner\/edge wear. Interior clean, with strong colour plates.\u003c\/p\u003e\u003cp\u003ePublished by Skarstedt Fine Art on the occasion of Richard Prince’s 2001 exhibition \u003cem\u003ePhotographs 1977–1979\u003c\/em\u003e. The exhibition gathered the early re-photographic works that established Prince’s long engagement with authorship, originality, advertising, and the borrowed image.\u003c\/p\u003e\u003cp\u003eThe book is restrained and object-like: grey hardcover boards, pale blue title typography, wide white margins, and captioned colour plates. Cigarettes, jewellery, couples, interiors, and commercial surfaces appear as already-circulated images, removed from their first use and placed back into view. The publication keeps that operation quiet. Advertisement becomes photograph. Photograph becomes inventory. Inventory becomes book.\u003c\/p\u003e\u003cp\u003eA compact record from the early-2000s consolidation of Prince’s late-1970s photographic language. Published in limited quantity by Skarstedt Fine Art.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53426283872594,"sku":"RP-EP-SKA-2001","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-Early-Photographs-1977-1979-cover.jpg?v=1778698843"},{"product_id":"ryan-mcginley-vertical-color-of-sound-perrotin-hong-kong-2014","title":"Ryan McGinley — Vertical Color of Sound","description":"\u003cp\u003eGalerie Perrotin, Hong Kong, 2014\u003cbr\u003eExhibition invitation card\u003cbr\u003eOffset colour print on card\u003cbr\u003e17 × 17 cm\u003cbr\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\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor edge\/corner softness, and slight toning to verso consistent with age and storage.\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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53441311441234,"sku":"RM-VCS-GP-2014","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\u003eL\u0026amp;M Arts, New York, 2010\u003cbr\u003eExhibition invitation card\u003cbr\u003e18.5 × 22.5 cm\u003cbr\u003eHeavy multi-ply cardstock; glossy image side, matte printed verso\u003cbr\u003eOpening reception: 28 October 2010, 6–8 pm\u003cbr\u003eExhibition dates: 28 October – 11 December 2010\u003cbr\u003eL\u0026amp;M Arts, 45 East 78th Street, New York\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor edge and corner wear consistent with circulation and storage.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for Damien Hirst’s \u003cem\u003eMedicine Cabinets\u003c\/em\u003e exhibition at L\u0026amp;M Arts, New York, 2010. The card reduces the exhibition to image, venue, date, and catalogue notice: pharmaceutical surface as announcement.\u003c\/p\u003e\u003cp\u003eFirst developed in 1988 while Hirst was at Goldsmiths, the medicine cabinet works became one of the clearest structures in his early practice. Medical packaging is arranged as belief system, consumer image, bodily proxy, and temporary defence against decay. The cabinet promises order. The products promise repair. The image holds both promises in place.\u003c\/p\u003e\u003cp\u003eThis invitation carries that system in secondary form. Bottles, labels, dosages, warnings, and branded containers move from cabinet to photograph to printed card. An exhibition document, retained after the event.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53441411219794,"sku":"DH-MC-LMA-2010","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hirst_-Damien.-Medicine-Cabinets_-invite-card.jpg?v=1778781033"},{"product_id":"isa-genzken-filmprogramm-delphi-berlin-2013","title":"Isa Genzken — Filmprogramm","description":"\u003cp\u003eDelphi Filmpalast am Zoo, Berlin, 2013\u003cbr\u003eAnnouncement card \/ film programme flyer\u003cbr\u003e10.5 × 21 cm\u003cbr\u003eOffset print on white card stock\u003cbr\u003ePrinted recto; blank verso\u003cbr\u003eText in German\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light handling wear, faint surface marks, minor toning and small signs of storage to the blank verso.\u003c\/p\u003e\u003cp\u003eIssued for a one-night Isa Genzken film programme at Delphi Filmpalast am Zoo, Berlin, Thursday 28 March 2013, 21:00. The programme listed four works:\u003c\/p\u003e\u003cp\u003e\u003cem\u003eZwei Frauen im Gefecht\u003c\/em\u003e, 1974. 16mm Film, s\/w, 6 min. Mit Isa Genzken \u0026amp; Susanne Grayson. Kamera: Benjamin H.D. Buchloh.\u003cbr\u003e\u003cem\u003eChicago Drive\u003c\/em\u003e, 1992. 16mm Film, Farbe, 25 min. Kamera: Ray Wang.\u003cbr\u003e\u003cem\u003eWarum ich keine Interviews gebe\u003c\/em\u003e, 2003. Digitalfilm, Farbe, Ton, 3 min, 4 sek. Mit Isa Genzken \u0026amp; Kai Althoff.\u003cbr\u003e\u003cem\u003eDie kleine Bushaltestelle (Gersthof)\u003c\/em\u003e, 2012. Digitalfilm, Farbe, Ton, 70 min. Mit Isa Genzken \u0026amp; Kai Althoff.\u003c\/p\u003e\u003cp\u003eGenzken’s practice has long moved between sculpture, architecture, urban space, photography, film, and social image culture. By 2013, her position was firmly established internationally, with her work understood as a restless record of postwar Germany, modernism, consumer display, and the damaged language of public space. This modest Berlin programme sits at the edge of that practice: not a catalogue, not a poster, but a printed notice for the artist’s moving-image work.\u003c\/p\u003e\u003cp\u003eA narrow card.\u003cbr\u003eA cinema address.\u003cbr\u003eFour films reduced to title, format, duration, and date.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Delphi Filmpalast am Zoo","offers":[{"title":"Default Title","offer_id":53441461977426,"sku":"IG-FP-DEL-2013","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Genzken_-Isa.-Filmprogramm-announcement-2013-front_01e1b037-6137-4595-8d91-8c5926036881.jpg?v=1778787144"},{"product_id":"pipilotti-rist-heroes-of-birth-luhring-augustine-2010","title":"Pipilotti Rist — Heroes of Birth","description":"\u003cp\u003eLuhring Augustine, New York, 2010\u003cbr\u003eExhibition announcement card\u003cbr\u003e22 × 18.5 cm\u003cbr\u003eMedium-weight card, printed both sides\u003cbr\u003eColour image to recto; red letterpress-style typography to verso\u003cbr\u003eIssued for \u003cem\u003eHeroes of Birth\u003c\/em\u003e, Luhring Augustine, Chelsea, New York, 11 September – 16 October 2010\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface marks, minor handling wear, faint corner\/edge wear consistent with use and storage.\u003c\/p\u003e\u003cp\u003ePublished for Pipilotti Rist’s third solo exhibition at Luhring Augustine, \u003cem\u003eHeroes of Birth\u003c\/em\u003e presented new work including two video installations and a smaller video sculpture. The exhibition included \u003cem\u003eLayers Mama Layers\u003c\/em\u003e and continued Rist’s long investigation into the body, image, colour, sound, and immersive projection as a spatial experience rather than a fixed screen-based form.\u003c\/p\u003e\u003cp\u003eRist had been a central figure in experimental video and installation since the late 1980s, bringing together pop, feminism, bodily imagery, music, and dreamlike saturation. By 2010 her work had moved fully into large-scale environments: rooms as optical and psychological fields. The image on this card — a pregnant body in a clinical setting, marked by red monitoring devices — operates as announcement, threshold, and bodily signal. Birth appears less as subject than as system: medical, visual, intimate, public.\u003c\/p\u003e\u003cp\u003eA retained gallery object from the circulation of a video exhibition. One side carries the image; the other fixes the administrative record: artist, title, dates, venue, address. The card reduces an immersive installation to a portable surface.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Luhring Augustine","offers":[{"title":"Default Title","offer_id":53441567785298,"sku":"PR-HOB-LA-2010","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rist_-Pippilotti.-_Heroes-of-Birth_-show-postcard.-2010-front.jpg?v=1778783764"},{"product_id":"richard-prince-spiritual-america-guggenheim-2007","title":"Richard Prince — Spiritual America","description":"\u003cp\u003eSolomon R. Guggenheim Museum, New York, 2007\u003cbr\u003eExhibition announcement postcard\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset-printed card; colour image to recto, exhibition details and postal layout to verso\u003cbr\u003eExhibition dates: 28 September 2007 – 9 January 2008\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and faint surface marks consistent with printed exhibition ephemera.\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":"RP-SA-GUG-2007","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","description":"\u003cp\u003eTORCH Gallery, Amsterdam, 2000\u003cbr\u003eMailed exhibition announcement \/ circulation object\u003cbr\u003e15 × 21 cm\u003cbr\u003eOffset print on card; photographic image to recto; exhibition details, gallery information, address label, Belgian postal machine marks, and red handling notation to verso\u003cbr\u003eOpening: 15 April 2000, 17.00–19.00 hrs\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor corner softening, and postal wear consistent with mailing.\u003c\/p\u003e\u003cp\u003eOriginal exhibition announcement for Anton Corbijn’s \u003cem\u003eStill Lives\u003c\/em\u003e at TORCH Gallery, Amsterdam. The recto reproduces Corbijn’s image of Björk, Reykjavik, 1999, connected to his \u003cem\u003e33 Still Lives\u003c\/em\u003e project: a body of staged celebrity portraits made to resemble paparazzi images, film stills, and fragments from imagined documentaries.\u003c\/p\u003e\u003cp\u003eThis copy was mailed to Nicole Tran Ba Vang at 130 rue Lafayette, Paris. The verso retains its address label, Brussels\/Belgian postal markings, and red handling notation. These marks are not incidental. They place the announcement back into circulation: gallery to post, post to artist, image to address, document to retained object.\u003c\/p\u003e\u003cp\u003eCorbijn’s image of Björk carries the public face of the card. Tran Ba Vang’s name and address carry its private route. The object survives between exhibition announcement, celebrity image, postal record, and artist-addressed document.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53441869250898,"sku":"AC-SL-TOR-2000","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Corbijn_-Anton.-Still-Lives-show-opening-card_-15-4-2000-front.jpg?v=1778785891"},{"product_id":"tracey-emin-flux-magazine-the-all-seeing-i-postcard-1999","title":"Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard","description":"\u003cp\u003eFLUX Magazine, Manchester, c. 1999\u003cbr\u003ePromotional postcard\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card\u003cbr\u003eBlack-and-white Tracey Emin cover image to recto with red FLUX masthead and typography; printed postcard verso with FLUX Magazine address, Manchester\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, faint handling marks, minor corner softness and age-related paper toning consistent with period ephemera.\u003c\/p\u003e\u003cp\u003ePromotional postcard issued by FLUX Magazine, a British style, culture, fashion, music, and art publication based in Manchester. The recto reproduces a stark cover image of Tracey Emin with the feature title ‘The All Seeing I \/ Paper Recordings’. The cover also places Emin within a late-1990s cultural field that includes Leftfield, Le Tone, \u003cem\u003eThe Blair Witch Project\u003c\/em\u003e, and \u003cem\u003eReal Goodfellas\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eTracey Emin emerged in the 1990s as one of the defining figures associated with the Young British Artists. Her work brought autobiography, confession, sexuality, grief, and public exposure into the centre of contemporary British art. By the time of this FLUX feature, Emin had already made works such as \u003cem\u003eEveryone I Have Ever Slept With 1963–1995\u003c\/em\u003e and was close to the wider public attention surrounding \u003cem\u003eMy Bed\u003c\/em\u003e and the Turner Prize.\u003c\/p\u003e\u003cp\u003eA small printed support from the period in which Emin’s image moved between art, media, celebrity, and confession. Magazine cover becomes postcard. Artist becomes circulation. The face is retained as both portrait and promotional device.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53442447835474,"sku":"TE-FLUX-ASI-1999","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.-_The-all-seeing-I-paper-recordings_-Flux-magazine-postcard.-Mid-2000s-front.jpg?v=1778795822"},{"product_id":"richard-prince-the-masochist-7-ratstar-shoot-the-lobster-2020","title":"Richard Prince — The Masochist #7","description":"\u003cp\u003eRATSTAR \/ Shoot the Lobster, Brooklyn \/ New York, 2020\u003cbr\u003eFirst edition artists’ book \/ zine\u003cbr\u003eStaple-bound softcover\u003cbr\u003e36 pp.\u003cbr\u003e28 × 21 cm\u003cbr\u003eBlack-and-white photocopy-style reproductions of drawings\u003cbr\u003eEdited by David Rimanelli\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers and edges, minor surface marks consistent with the format.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThe Masochist #7\u003c\/em\u003e presents a group of Richard Prince drawings in a deliberately reduced, low-production format. The booklet sits closer to zine, studio photocopy, or provisional drawing packet than conventional exhibition catalogue. Its crude figures, notebook edges, visible reproduction grain, and stapled construction place the work against the polished surface of Prince’s more familiar appropriated media images.\u003c\/p\u003e\u003cp\u003ePrince’s practice has long moved between found image, joke, celebrity, advertising, and self-authored interruption. Here the gesture appears almost anti-monumental: drawings that look immediate, juvenile, and unstable are routed through a modest printed support. The title introduces a darker register, while the images remain blunt, cartoon-like, and unresolved.\u003c\/p\u003e\u003cp\u003eA small-format publication from Prince’s late-period printed output. The book functions as an accessible carrier for drawings, but also as a deliberately plain object within a larger practice built around authorship, reproduction, circulation, and value.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"RATSTAR \/ Shoot the Lobster","offers":[{"title":"Default Title","offer_id":53445467078994,"sku":"RP-TM7-STL-2020","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Masochist-_7.-2020-cover.jpg?v=1778823410"},{"product_id":"richard-hamilton-private-view-invitation-serpentine-gallery-1975","title":"Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975","description":"\u003cp\u003eSerpentine Gallery, London, 1975\u003cbr\u003eOriginal private view invitation card\u003cbr\u003e10.5 × 15 cm\u003cbr\u003ePrinted card; black-and-white image to recto, exhibition details to verso\u003cbr\u003ePrivate view: Friday 3 October 1975, 5–8 pm\u003cbr\u003eExhibition dates: 4 October – 2 November 1975\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, handling marks, surface creasing, faint staining, and softened corners consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal private view invitation for \u003cem\u003eRichard Hamilton: Paintings, Pastels, Prints\u003c\/em\u003e at the Serpentine Gallery, Kensington Gardens, London. This was Hamilton’s first solo exhibition in England in five years, following his 1970 Tate retrospective.\u003c\/p\u003e\u003cp\u003eThe show included works from the mid-1970s in which Hamilton returned to advertising, domestic imagery, romantic landscape, and consumer surfaces with deliberately awkward results. Series such as \u003cem\u003eFlowers and Shit\u003c\/em\u003e, the \u003cem\u003eSoft Landscapes\u003c\/em\u003e, and the sunset pastels placed sentimental visual language beside low or banal material references, confusing expectations around Pop, taste, and seriousness.\u003c\/p\u003e\u003cp\u003eThe invitation is a small public-facing support for that moment. One side carries the image; the other gives only the administrative facts: artist, private view, venue, date, opening hours, admission free. Its design is plain, centred, and institutional, closer to notice than promotion. As retained Serpentine material from 1975, it sits between announcement, archive fragment, and secondary object.\u003c\/p\u003e\u003cp\u003eA scarce private view card from an important post-Tate Hamilton exhibition, especially interesting for its modest format and the contrast between the subdued institutional typography and the provocative body of work it announced.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Packed flat with protective support.\u003c\/p\u003e","brand":"Serpentine Gallery","offers":[{"title":"Default Title","offer_id":53458192105810,"sku":"RH-PV-SERP-1975","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hamilton_Richard._Serpentine_Gallery_show_invite._1975_front.jpg?v=1778878549"},{"product_id":"robert-kushner-the-dance-the-kiss-daniel-templon-paris-1979","title":"Robert Kushner — “The dance, the kiss,…”","description":"\u003cp\u003eGalerie Daniel Templon, Paris, 1979\u003cbr\u003eExhibition invitation card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on card stock; black-and-white image to recto; exhibition details printed to verso\u003cbr\u003eExhibition dates: 31 March – 3 May 1979\u003cbr\u003eVernissage: Saturday 31 March, 10h–19h\u003cbr\u003eGalerie Daniel Templon, 30 rue Beaubourg, Paris\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling wear, faint edge\/corner softening consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation card issued for Robert Kushner’s solo exhibition \u003cem\u003e“The dance, the kiss,…”\u003c\/em\u003e at Galerie Daniel Templon, Paris, 1979. The recto carries a cropped black-and-white image of entwined figures, while the verso is almost entirely administrative: gallery name, artist, title, dates, and opening hours.\u003c\/p\u003e\u003cp\u003eKushner was a central figure in the Pattern and Decoration movement, which emerged in the 1970s as a deliberate turn away from the austerity of Minimalism and Conceptual art. His work from this period brought together ornament, fabric, gesture, eroticism, and performance-like figuration. This Paris invitation places that language inside a small printed support: sensual image on one side, institutional record on the other.\u003c\/p\u003e\u003cp\u003eA retained document from a key late-1970s moment in Kushner’s European reception.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected, and tracked.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53458585157970,"sku":"RK-DK-DT-1979","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kushner_-Robert.-_The-dance_-the-kiss_-show-invite.-1979-front.jpg?v=1778880796"},{"product_id":"rachel-lachowicz-yoko-ono-shoshana-wayne-gallery-santa-monica-1996","title":"Rachel Lachowicz \/ Yoko Ono — Shoshana Wayne Gallery, 1996","description":"\u003cp\u003eShoshana Wayne Gallery, Bergamot Station, Santa Monica, 1996\u003cbr\u003eOriginal exhibition announcement card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on cream card stock; printed recto, blank verso\u003cbr\u003eMain Gallery: Rachel Lachowicz\u003cbr\u003eWest Gallery: Yoko Ono — \u003cem\u003eWishing Tree\u003c\/em\u003e\u003cbr\u003eExhibition dates: April 13 – May 18, 1996\u003cbr\u003eOpening reception: Saturday, April 13, 5–8 PM\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling marks and faint edge\/corner wear consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal 1996 exhibition announcement card for a two-part programme at Shoshana Wayne Gallery, Bergamot Station: Rachel Lachowicz in the Main Gallery and Yoko Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e in the West Gallery. The Santa Monica presentation is noted as the first exhibited version of Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e, making this a modest but significant document in the early public history of one of her central participatory works.\u003c\/p\u003e\u003cp\u003eThe pairing records a specific mid-1990s Los Angeles moment. Lachowicz’s work was closely associated with feminist critique, reworking the authority of Minimalism and male art-historical form through cosmetics and bodily materials. Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e extended her long-standing instruction-based practice into a social, participatory structure: the viewer’s written wish became part of the work.\u003c\/p\u003e\u003cp\u003eThe card itself remains spare and administrative: centred type, cream stock, no image, blank reverse. It does not reproduce the artwork. It marks its placement.\u003c\/p\u003e\u003cp\u003eA small printed support for feminist critique, Fluxus afterlife, and participatory instruction entering 1990s gallery circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected in archival sleeve with rigid backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459413795154,"sku":"RL-YO-SWG-1996","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lachowicz_Rachel_and_Ono_Yoko._Shoshana_Wayne_Gallery_invite_card._1996_front.jpg?v=1778904766"},{"product_id":"louise-bourgeois-papillons-noirs-hauser-wirth-st-moritz-2018","title":"Louise Bourgeois — Papillons Noirs, Hauser \u0026 Wirth St. Moritz, 2018–2019","description":"\u003cp\u003eHauser \u0026amp; Wirth, St. Moritz, 2018–2019\u003cbr\u003eBifold gallery exhibition brochure \/ invitation\u003cbr\u003e20 × 26 cm folded; 40 × 26 cm unfolded\u003cbr\u003eOffset print on white stock; colour installation image to interior; text and exhibition details to exterior\u003cbr\u003eOpening reception: Friday 28 December 2018, 6–8 PM\u003cbr\u003eExhibition dates: 28 December 2018 – 10 February 2019\u003cbr\u003eVia Serlas 22, 7500 St. Moritz\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling marks and minor surface wear consistent with gallery use.\u003c\/p\u003e\u003cp\u003eOriginal exhibition brochure issued for \u003cem\u003eLouise Bourgeois: Papillons Noirs\u003c\/em\u003e, the inaugural exhibition at Hauser \u0026amp; Wirth St. Moritz. The gallery opened its St. Moritz space with this posthumous presentation of Bourgeois, positioning the artist’s late canon within a luxury Alpine gallery setting and within Hauser \u0026amp; Wirth’s expanding international structure.\u003c\/p\u003e\u003cp\u003eThe brochure reproduces Bourgeois’s \u003cem\u003eCell (Choisy)\u003c\/em\u003e, 1990, on the interior spread, with a text work from 1959 printed to the reverse: ‘The sound of a pebble that falls in the black and distant water of a well. the unconscious memories that are reborn.’ The object moves between invitation, handout, and miniature exhibition record. It does not function as a catalogue, but as a retained support for the opening moment.\u003c\/p\u003e\u003cp\u003eBourgeois’s work turns around memory, enclosure, family, sexuality, anxiety, and repair. Here those terms are carried through the language of the cell, the well, the unconscious, and the black butterfly. The commercial setting is precise: an artist associated with psychic interiority and bodily vulnerability used to inaugurate a new blue-chip gallery address.\u003c\/p\u003e\u003cp\u003eA clean, scarce paper record of Bourgeois’s posthumous circulation through estate, foundation, gallery, and destination-market infrastructure.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected in archival sleeve with rigid backing.\u003c\/p\u003e","brand":"Hauser \u0026 Wirth","offers":[{"title":"Default Title","offer_id":53459442958674,"sku":"LB-PN-HW-2018","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bourgeois_Louise_PapillonsNoirs_Showhandout2018back.jpg?v=1778907129"},{"product_id":"jean-clareboudt-oblique-haute-credac-ivry-sur-seine-1990","title":"Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990","description":"\u003cp\u003eCREDAC, Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990\u003cbr\u003eOriginal exhibition invitation \/ announcement card\u003cbr\u003eOffset print on card stock\u003cbr\u003eBlack-and-white photographic recto with red typography; text and location map to verso\u003cbr\u003ePhotograph: Michel Dambrine\u003cbr\u003eVernissage: Wednesday 24 January 1990, 18h–21h\u003cbr\u003eExhibition dates: 24 January – 25 March 1990\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Handling wear, light toning, small surface marks, edge wear, and central fold\/pressure marks consistent with period exhibition ephemera.\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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459481985362,"sku":"JC-OH-CREDAC-1990","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\u003eThe Greenberg Gallery, St. Louis, Missouri, c. 2013\u003cbr\u003eArtist \/ gallery announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset-printed card; colour reproduction to recto, gallery mailing-list text to verso\u003cbr\u003eWork illustrated: \u003cem\u003eThe Sorcerer’s Apprentice\u003c\/em\u003e, 2013, oil and pigment on panel, 39½ × 60 in.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and minor surface marks consistent with gallery ephemera.\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\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective archival packaging.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459499549010,"sku":"DC-TSA-GG-2013","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":"andreas-gursky-love-parade-matthew-marks-gallery-2001","title":"Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001","description":"\u003cp\u003eMatthew Marks Gallery, New York, 2001\u003cbr\u003eOriginal exhibition announcement postcard\u003cbr\u003e22.5 × 10.5 cm\u003cbr\u003eOffset-printed postcard on card stock; colour reproduction to recto; exhibition\/work credit and divided postcard back to verso\u003cbr\u003eImage: \u003cem\u003eLove Parade\u003c\/em\u003e, 2001, C-print mounted to plexiglass in artist’s frame\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks and minor age toning visible to verso.\u003c\/p\u003e\u003cp\u003eOriginal period announcement card for Andreas Gursky’s \u003cem\u003eLove Parade\u003c\/em\u003e, issued by Matthew Marks Gallery in 2001. The card reproduces one of Gursky’s large-format crowd images in reduced, horizontal form: a mass public event compressed into a narrow printed support.\u003c\/p\u003e\u003cp\u003eGursky’s work from the 1990s and early 2000s helped define a new photographic scale, combining documentary distance, digital construction, and the visual logic of global systems. \u003cem\u003eLove Parade\u003c\/em\u003e sits within that moment: music culture, crowd formation, spectacle, and market entry all held inside a single image.\u003c\/p\u003e\u003cp\u003eAs an object, the card is not only promotional material. It records the moment of institutional circulation around the work: title, date, medium, gallery credit, and distribution format. A monumental photograph becomes a retained paper unit. The mass event returns to circulation through the mail.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective packaging.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53459535954258,"sku":"AG-LP-MMG-2001","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gursky_-Andreas.-Artist-postcard_-Matthew-Marks-Gallery.-2001-front.jpg?v=1778912794"},{"product_id":"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\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 Good vintage condition. Sun-fading and toning, light edge wear, handling marks, and age-related discoloration 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\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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53465081446738,"sku":"PK-12A-GB-1964","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":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53465256132946,"sku":"PK-12A-GB-1964-II","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\u003eFrench Ministry of Cultural Affairs, Paris\u003cbr\u003eExhibition invitation (carton d’invitation)\u003cbr\u003eBlind-embossed laid card; offset lithograph reproduction to recto; printed invitation text to interior\u003cbr\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\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Even toning to laid stock, light handling wear consistent with age.\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":"PK-MNAM-1969","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":"rafael-melendez-after-sturtevant","title":"Rafael Melendez — After Sturtevant","description":"\u003cp\u003eArtist publication \/ pamphlet\u003cbr\u003eThe Academy of Realness, 2022\u003cbr\u003eReleased for SWAB Art Fair, Barcelona, October 2022\u003cbr\u003e16 pages\u003cbr\u003eOffset print on folded paper stock\u003c\/p\u003e\u003cp\u003eCondition: very good; light handling wear consistent with production and storage\u003c\/p\u003e\u003cp\u003eA 16-page artist pamphlet produced by Rafael Melendez under the pseudonym The Academy of Realness. Released for SWAB Barcelona in 2022, \u003cem\u003eAfter Sturtevant\u003c\/em\u003e gathers images, quotations and short texts around linguistics, idealism, repetition, difference and ownership in a postmodern context.\u003c\/p\u003e\u003cp\u003eThe publication moves through Elaine Sturtevant, Jean Baudrillard, Felix Gonzalez-Torres, Richard Prince, Maurizio Cattelan, Blinky Palermo, Warhol and Cady Noland, treating repetition not as copying but as a method of displacement. Its design uses blue monospaced typography, white space, documentation images, exhibition-poster reconstructions and art-historical fragments.\u003c\/p\u003e\u003cp\u003eThe pamphlet operates as a portable theory-object: a folded support where authorship remains temporarily unstable and where the artwork survives as image, citation and repeated passage.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"The Academy of Realness","offers":[{"title":"Default Title","offer_id":53514375561554,"sku":"RM-AS-2022","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/After_Sturtevant_Pamphlet_2023.jpg?v=1779314949"},{"product_id":"georg-baselitz-devotion-invitation-alan-cristea-gallery-2019","title":"Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019","description":"\u003cp\u003eExhibition invitation \/ announcement card\u003cbr\u003e21.0 × 14.8 cm\u003cbr\u003eOffset print on light card stock; exhibition information to verso with reproduced image (\u003cem\u003eAuerbach (yellow)\u003c\/em\u003e, 2018) to recto\u003cbr\u003ePublished by Alan Cristea Gallery, London\u003cbr\u003eCondition: very good; light handling wear and faint edge softening consistent with storage and use\u003c\/p\u003e\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":"BASELITZ-DEVOTION-INV-2019","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 invitation postcard\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; black-and-white typography to recto and verso\u003cbr\u003ePublished by L\u0026amp;M Arts, New York\u003cbr\u003eExhibition dates: January 26 – February 26, 2011\u003cbr\u003eCondition: very good; light handling wear and faint surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition by David Hammons at L\u0026amp;M Arts, New York. The invitation reduces itself almost completely to a name. White letters against black ground; date and venue on the reverse. No image, no explanatory text, no secondary information. The design follows a familiar Hammons strategy: withholding rather than announcing.\u003c\/p\u003e\u003cp\u003eThe exhibition itself marked Hammons's first presentation of new work since his earlier 2007 project at L\u0026amp;M and centred on large paintings and mixed-media works that partially concealed their own images beneath tarps, blankets, and weathered coverings. Beneath these surfaces viewers encountered fragments of abstraction — painting simultaneously revealed and denied. Critics frequently described the exhibition as operating between seduction and obstruction: beauty present but deliberately interrupted.\u003c\/p\u003e\u003cp\u003eThe works pushed forward concerns already active throughout Hammons's practice. Since the body prints of the late 1960s, snowball sales, found objects, bottle caps, hair pieces, basketball imagery, and street interventions, Hammons repeatedly positioned meaning at the edges of visibility. In these 2011 works, concealment itself became material. A painting remained present physically while refusing complete access.\u003c\/p\u003e\u003cp\u003eAs an object, the invitation behaves similarly. It withholds almost everything except a name. Read through a New Rare register, the card functions less as documentation than as a compressed proposition: the artist's name acting as image, announcement, and object simultaneously.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53547844141394,"sku":"HAMMONS-LM-INV-2011","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hammons_David._L_M_Arts_invitation_postcard._2011_front.jpg?v=1779596810"},{"product_id":"martin-honert-invitation-matthew-marks-gallery-new-york-1999","title":"Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour illustration to recto, exhibition details to verso\u003cbr\u003ePublished by Matthew Marks Gallery, New York\u003cbr\u003eExhibition dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\u003cbr\u003eCondition: very good; light handling wear, minor surface marks, and faint age-related toning\u003c\/p\u003e\u003cp\u003eProduced for Martin Honert's solo exhibition at Matthew Marks Gallery, New York, in 1999. The front reproduces an image of two children taking part in a traditional German \u003cem\u003eLaternenumzug\u003c\/em\u003e, or lantern procession. The opening date connects directly to Saint Martin's Day, when children traditionally carry lanterns in evening parades.\u003c\/p\u003e\u003cp\u003eHonert's work often draws on childhood memory, folklore, schoolroom imagery, and postwar German visual culture. These references are not simply nostalgic. They are reconstructed as staged images and sculptural forms, where memory appears enlarged, clarified, and slightly estranged.\u003c\/p\u003e\u003cp\u003eAs an invitation, the card acts as a small support for this logic. A children's ritual becomes exhibition image. A date becomes thematic structure. The printed object remains as a reduced record of an event built around memory, folklore, and reconstruction.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53547970658642,"sku":"HONERT-MMG-INV-1999","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"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 announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour sculpture reproduction to recto, exhibition information to verso\u003cbr\u003ePublished by Galerie Beaubourg \/ Marianne \u0026amp; Pierre Nahon, Vence, France\u003cbr\u003eExhibition dates: 3 April – 12 June 1999\u003cbr\u003eCondition: very good; light handling wear and minor age-related surface marks\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":"KLOSSOWSKI-GB-INV-1999","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\u003eExhibition postcard\u003cbr\u003eApprox. 20.3 × 10.2 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition and work details to verso\u003cbr\u003ePublished for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, National Gallery of Art, Washington, D.C.\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age-related wear consistent with use\u003c\/p\u003e\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. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"KRUGER-NGA-PC-2017","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.jpg?v=1779601140"},{"product_id":"yayoi-kusama-festival-of-life-infinity-nets-david-zwirner-new-york-2017","title":"Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour studio portrait to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, New York\u003cbr\u003eExhibition dates: 2 November – 16 December 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for a significant concurrent two-part exhibition by Yayoi Kusama in New York in late 2017. The invitation announced two simultaneous presentations across separate David Zwirner locations: \u003cem\u003eFestival of Life\u003c\/em\u003e in Chelsea and \u003cem\u003eInfinity Nets\u003c\/em\u003e on the Upper East Side.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFestival of Life\u003c\/em\u003e brought together sixty-six paintings from Kusama’s \u003cem\u003eMy Eternal Soul\u003c\/em\u003e series alongside immersive \u003cem\u003eInfinity Mirror Rooms\u003c\/em\u003e and large-scale sculptural works. Running in parallel, \u003cem\u003eInfinity Nets\u003c\/em\u003e returned to one of the artist’s foundational bodies of work: monochromatic paintings built through repeated hand-painted gestures accumulating into dense optical fields.\u003c\/p\u003e\u003cp\u003eThe image reproduced on the front departs from a conventional artwork reproduction and instead presents Kusama inside the environment of her own production. Seated in the studio, surrounded by \u003cem\u003eMy Eternal Soul\u003c\/em\u003e paintings, the distinction between artist, setting, and work begins to collapse. The red wig, patterned dress, and surrounding surfaces seem to operate within the same visual system. Portrait becomes installation; installation becomes self-image.\u003c\/p\u003e\u003cp\u003eAcross Kusama’s practice, repetition acts simultaneously as method, psychological structure, and image-making device. Dots, nets, accumulations, and mirrored spaces continuously oscillate between personal compulsion and visual infinity. Rather than depicting a world, the work creates one.\u003c\/p\u003e\u003cp\u003eAs an object, the card retains a moment when two major trajectories of Kusama’s practice — recent maximalism and foundational repetition — were presented in parallel. A small printed support carrying the structure of a much larger environment.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"KUSAMA-DZ-INV-2017","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Festival_of_Life_show_invite._2017_front.jpg?v=1779601142"},{"product_id":"yayoi-kusama-explosion-anatomique-manifestation-non-identifiee-centre-pompidou-2019","title":"Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019","description":"\u003cp\u003ePair of museum postcards\u003cbr\u003eApprox. 15 × 10.5 cm each\u003cbr\u003eOffset print on card stock; black-and-white photographic reproductions to recto, archival and publication details to verso\u003cbr\u003ePublished by Éditions Centre Pompidou, Paris, 2019\u003cbr\u003ePhotographs by Harry Shunk and János Kender\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIncludes:\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1. \u003cem\u003eExplosion anatomique, Pont de Brooklyn, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph showing Yayoi Kusama alongside nude performers covered in polka dots beneath a large \u003cem\u003eKUSAMA SELF-OBLITERATION\u003c\/em\u003e banner on the Brooklyn Bridge.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2. \u003cem\u003eManifestation non identifiée, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph depicting two embracing nude performers covered in polka dots beneath an American flag within one of Kusama’s accumulation environments.\u003c\/p\u003e\u003cp\u003eThis pair reproduces documentary photographs from Kusama’s pivotal New York period of the late 1960s, when her practice moved beyond painting and into public actions, staged demonstrations, and politically charged Happenings. Both images were captured by the important photographic partnership of Harry Shunk and János Kender, whose archive remains one of the primary visual records of postwar avant-garde activity.\u003c\/p\u003e\u003cp\u003eProduced at the height of the Vietnam War and wider countercultural unrest, Kusama’s public actions used nudity, repetition, and spectacle as forms of protest. Her recurring polka dots functioned as more than decoration; they formed part of her idea of \u003cem\u003eSelf-Obliteration\u003c\/em\u003e, a strategy intended to dissolve the boundaries of individual identity through repetition and shared surface. Bodies, objects, and environments become absorbed into a continuous field.\u003c\/p\u003e\u003cp\u003eThe Brooklyn Bridge action transforms a recognisable structure into a temporary stage. The \u003cem\u003eManifestation non identifiée\u003c\/em\u003e image moves toward something more psychologically charged — intimacy, nationalism, eroticism, and confrontation compressed into a single frame.\u003c\/p\u003e\u003cp\u003eAs objects, the postcards operate as secondary documents of ephemeral actions that originally resisted permanence. Performance disappears; the image remains. The image enters an archive; the archive returns as a printed support.\u003c\/p\u003e\u003cp\u003eOriginal period items. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548580929874,"sku":"KUSAMA-CP-PC-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Editions_Pompidou_Paris_postcard._Explosion_anatomique_Pont_de_Brooklyn_1968_._2019_front_63027cc3-fa61-4e6c-8f65-795ec564945a.jpg?v=1779602205"},{"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 announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, London\u003cbr\u003eExhibition dates: 4 October – 18 November 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\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":"LEVINE-DZ-INV-2017","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":"sherrie-levine-directions-hirshhorn-museum-washington-1988","title":"Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988","description":"\u003cp\u003eOriginal folded exhibition brochure \/ catalogue\u003cbr\u003eApprox. folded: 22.8 × 22.8 cm\u003cbr\u003eOffset print on cream stock with fold-out interior panels\u003cbr\u003ePublished by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution\u003cbr\u003eExhibition dates: 9 March – 30 May 1988\u003cbr\u003eCondition: good to very good; light toning, handling wear, minor corner softening and age-related surface marks\u003c\/p\u003e\u003cp\u003eIssued for Sherrie Levine’s 1988 \u003cem\u003eDirections\u003c\/em\u003e exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., later travelling to the High Museum of Art in Atlanta as part of \u003cem\u003eArt at the Edge\u003c\/em\u003e. The publication includes essays by Phyllis Rosenzweig and Susan Krane alongside a checklist, bibliography, exhibition history, and reproductions of works from Levine’s then-recent \u003cem\u003eLead Checks\u003c\/em\u003e and \u003cem\u003eGolden Knots\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe brochure marks a distinct moment in Levine’s practice. During the early 1980s her name became closely associated with re-photographed images and acts of appropriation, but by the late 1980s those strategies had migrated toward painting and material itself. The reproduced \u003cem\u003eLead Checks\u003c\/em\u003e works borrow the language of modernist geometry while removing its rhetoric of originality. The \u003cem\u003eGolden Knots\u003c\/em\u003e paintings similarly elevate accidental defects in commercially available plywood into subjects of attention.\u003c\/p\u003e\u003cp\u003eThe publication records a transition rather than a conclusion. Photography becomes painting, repetition becomes material, and citation becomes object. It also captures a moment when Neo-Geo and post-appropriation discourse were actively reorganising assumptions around authorship and artistic authority.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the brochure functions as a retained institutional support object — part checklist, part exhibition document, part evidence of a critical shift in Levine’s work becoming publicly fixed in print.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53549909442898,"sku":"LEVINE-HIRSH-BROCH-1988","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Directions_show_invite._1988_front.jpg?v=1779601140"},{"product_id":"mark-morrisroe-1959-1989-clampart-new-york-2011","title":"Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by ClampArt, New York\u003cbr\u003eExhibition dates: 24 March – 30 April 2011\u003cbr\u003eCondition: good vintage condition; light handling wear and minor surface marks consistent with storage and age\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":"MORRISROE-CLAMP-INV-2011","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":"yoko-ono-dollar-piece-printed-matter-studio-one-2006","title":"Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006","description":"\u003cp\u003ePrinted Matter membership multiple with original envelope\u003cbr\u003eOffset print on textured paper with companion envelope\u003cbr\u003ePublished by Printed Matter, New York\u003cbr\u003e2006\u003cbr\u003eApprox. letter sheet with mailing envelope\u003cbr\u003eCondition: good vintage condition; fold lines, light handling wear, minor creasing and age-related marks to sheet and envelope; adhesive residue and opening wear to envelope present\u003c\/p\u003e\u003cp\u003eIssued in 2006 as a benefit multiple for Printed Matter, this work reactivates Yoko Ono’s \u003cem\u003eDollar Piece\u003c\/em\u003e, an instruction score first written in spring 1963 during one of the most important periods of her early conceptual practice. The text asks the reader to choose a monetary amount, imagine everything it can purchase, then imagine everything it cannot purchase, before recording the result. Like many of Ono’s early instruction works, the piece shifts the artwork away from object and toward action, imagination, and participation.\u003c\/p\u003e\u003cp\u003eThe original score belongs to the same moment that produced works later collected in \u003cem\u003eGrapefruit\u003c\/em\u003e (1964), a publication that helped establish Ono as a central figure within early conceptual art and Fluxus. Rather than producing fixed images, these works operate as proposals — activated mentally rather than materially.\u003c\/p\u003e\u003cp\u003eThe printed sheet carries a reproduced “Yoko Ono ’06” signature and a Studio One letterhead, while an illustration of the Dakota apartment building appears at the lower edge. The accompanying envelope extends the work into a mail format, placing it within a lineage of circulation objects and artist-distributed multiples.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the object sits somewhere between correspondence, conceptual score, and fundraising support document. It proposes value while quietly undoing it.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550083309906,"sku":"ONO-PM-DOLLAR-2006","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ono_Yoko._Dollar_Piece_membership_memo_for_Printed_Matter_signed_Yoko_Ono_06._2006.jpg?v=1779605564"},{"product_id":"yvonne-rainer-john-erdman-this-is-the-story-of-a-woman-who-portland-center-visual-arts-1973","title":"Yvonne Rainer \u0026 John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973","description":"\u003cp\u003eOriginal performance announcement postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePortland Center for the Visual Arts (PCVA), Portland, Oregon\u003cbr\u003eMay 1973\u003cbr\u003eApprox. postcard format\u003cbr\u003eCondition: good vintage condition; light age toning, minor surface wear and handling marks consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Yvonne Rainer and John Erdman’s 1973 presentation \u003cem\u003eThis is the story of a woman who…\u003c\/em\u003e, this card documents a key transitional moment in Rainer’s practice as her work moved from post-minimal choreography toward narrative, language, and film structures. Produced at the Portland Center for the Visual Arts, the announcement belongs to an early ecosystem of artist-run spaces that circulated experimental performance outside traditional theatre and museum systems.\u003c\/p\u003e\u003cp\u003eThe work itself rejected theatrical conventions in favour of fragmented narrative, task-based movement, projected text, and emotionally restrained gestures. Rainer’s choreography had already challenged spectacle through ordinary movement and procedural structures, and by the early 1970s these concerns began folding into cinematic and psychological territory. Rather than resolving narrative, the work treated it as something unstable and discontinuous.\u003c\/p\u003e\u003cp\u003eThe front reproduces a photograph of Rainer performing \u003cem\u003eTrio A\u003c\/em\u003e (1966), perhaps her most influential choreographic work. \u003cem\u003eTrio A\u003c\/em\u003e famously replaced virtuosic display with continuous unaccented movement, refusing climax, hierarchy, or direct engagement with the audience. The body operates less as performer than as carrier of actions.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the card functions as a residual performance object — a printed support for an event designed to disappear. What remains is a small administrative trace from a larger structure of movement, language, and temporary encounter.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Portland Center for the Visual Arts","offers":[{"title":"Default Title","offer_id":53550304559442,"sku":"RAINER-PCVA-PC-1973","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rainer_Yvonne_Erdman_John._Portland_Centre_for_Visual_Arts_postcard._1973_front.jpg?v=1779606115"},{"product_id":"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\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003eOriginal period item\u003cbr\u003eCondition: light handling and storage wear consistent with age\u003c\/p\u003e\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":"RENTMEISTER-VASSIVIERE-INV-1997","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 invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003ePublished by Galerie 3+3, Paris\u003cbr\u003eExhibition dates: 17 November – 16 December 1970\u003cbr\u003eCondition: light handling wear, fold marks, and age toning consistent with storage and use\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. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550913880402,"sku":"SANDORFI-G33-INV-1970","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sandorfi_Etienne._Show_invite_Galerie_3_3._1970_front.jpg?v=1779607835"},{"product_id":"andres-serrano-piss-christ-immersions-portraits-damerique-galerie-nathalie-obadia","title":"Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels","description":"\u003cp\u003eArtist postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by Galerie Nathalie Obadia, Paris \/ Brussels\u003cbr\u003eExhibition: \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e, Musée Maillol, Paris\u003cbr\u003eExhibition dates: 27 April – 20 October 2024\u003cbr\u003ePostcard published: 2024\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eOfficial exhibition postcard reproducing \u003cem\u003ePiss Christ (Immersions)\u003c\/em\u003e (1987) by Andres Serrano, issued in connection with \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e at the Musée Maillol, Paris, through Galerie Nathalie Obadia, Paris \/ Brussels.\u003c\/p\u003e\u003cp\u003eThe image belongs to Serrano’s \u003cem\u003eImmersions\u003c\/em\u003e series, a body of works in which religious and symbolic objects were submerged within bodily and everyday materials. 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":"SERRANO-GNO-PC-2024","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\u003eMuseum promotional postcard \/ exhibition announcement\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by the Museum of Contemporary Art, Chicago\u003cbr\u003eExhibition dates: 21 February – 31 May 1998\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\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. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"SHERMAN-MCA-PC-1998","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Museum_of_Contemporary_Art_exhibition_announcement._1998_front.jpg?v=1779609858"},{"product_id":"mark-bradford-los-angeles-long-museum-west-bund-2019","title":"Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019","description":"\u003cp\u003ePromotional exhibition card \/ invitation\u003cbr\u003e12.7 × 17.8 cm\u003cbr\u003eOffset print on card stock; full-colour image to recto with exhibition information to verso\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eMark Bradford: Los Angeles\u003c\/em\u003e at Long Museum West Bund, Shanghai, presented from 27 July–13 October 2019. The exhibition marked Bradford's largest presentation in China at the time and brought together recent works examining the social, architectural, and psychological structures embedded in the urban landscape of Los Angeles.\u003c\/p\u003e\u003cp\u003eThe recto reproduces a photograph of Mark Bradford seated before \u003cem\u003eFloat\u003c\/em\u003e (2019), a monumental installation of layered and stripped paper surfaces. The reverse adopts a different register entirely: a flat orange field carrying title, dates, institutional identity, and compressed exhibition text. Image on one side, administration on the other.\u003c\/p\u003e\u003cp\u003eBradford's practice emerged from processes of accumulation and removal, frequently using merchant posters, billboard fragments, maps, and paper residue sourced from the city itself. By the late 2010s these materials had become less descriptive than structural — abstraction carrying social information.\u003c\/p\u003e\u003cp\u003eAs an object, the card functions as a temporary support for movement and entry. Part image carrier, part institutional announcement. A retained exhibition trace from a larger architecture of display and circulation.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53568840204626,"sku":"BRADFORD-LONGMUS-INV-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bradford_Mark._Show_invite_Los_Angeles_._2019_front.jpg?v=1779735575"}],"url":"https:\/\/thenewrare.com\/collections\/new-in.oembed?page=2","provider":"The New Rare","version":"1.0","type":"link"}