The Archive

Everything currently held at The New Rare, newest first.

  • Front 2026 Danish Pavilion exhibition guide for Maja Malou Lyse, Things to Come, 61st Venice Biennale, front, bright yellow folded card with MAJA MALOU LYSE in small purple caps and THINGS TO COME in large bold purple condensed type, repeated twice in stacked format; DANISH PAVILION / BIENNALE ARTE, 6.5–22.11 2026 below each; EN language indicator in oval at upper left; La Biennale di Venezia Partecipazioni Nazionali red logo sticker at upper right. Unfolded image panel 2026 Danish Pavilion exhibition guide for Maja Malou Lyse, Things to Come, 61st Venice Biennale, unfolded inner image panel, showing a close-up colour photograph of a figure's lower torso and upper thighs wearing a red string bikini bottom tied at each hip, against a pale skin-toned ground with a faint teal edge at upper left, the image printed full-bleed across the unfolded sheet with a horizontal fold line visible across the centre.

    Maja Malou Lyse — Things to Come, Danish Pavilion, 61st Venice Biennale, 2026

    Maja Malou Lyse — Things to Come, Danish Pavilion, 61st Venice Biennale, 2026

  • Original 1976 exhibition invitation for René Magritte, La Fidélité des Images, ARC 2, Musée d'Art Moderne de la Ville de Paris, front, showing a black-and-white reproduction of Magritte's photograph L'amour: two figures in an interior, one in a dark swimsuit standing barefoot, the other in a white shirt holding a palette and reaching toward the first, captioned L'amour in small italic type below, on cream card. Reverse of 1976 exhibition invitation for René Magritte, La Fidélité des Images, ARC 2, Musée d'Art Moderne de la Ville de Paris, showing in centred bold serif type: La Fidélité des Images / René Magritte / Le cinématographe et la photographie; below in bold caps ARC 2; then vernissage le 5 novembre de 18 à 21 h. / musée d'art moderne de la ville de paris / 11 avenue du président wilson 75116 paris / jusqu'au 5 décembre 1976, all on plain cream card.

    René Magritte — La Fidélité des Images: Le cinématographe et la photographie, ARC 2, Musée d’Art Moderne de la Ville de Paris, 1976

    René Magritte — La Fidélité des Images: Le cinématographe et la photographie, ARC 2, Musée d’Art Moderne de la Ville de Paris, 1976

  • 1976 Edition Lebeer Hossmann publisher's brochure for René Magritte Photographies, front cover, showing René Magritte Photographies in italic script at the top, EDITION LEBEER HOSSMANN / BRUXELLES HAMBURG in small caps below, and a black-and-white photograph of two boys standing with their backs to the camera on a flat beach, their heads turned away, wearing dark jackets and shorts. 1976 Edition Lebeer Hossmann brochure for René Magritte Photographies, outer mailing panel, showing the front cover image of two boys on a beach at right, a central panel with a black-and-white photograph of a man in a bowler hat and overcoat seen from behind standing before a bed, captioned La mort des fantômes with bilingual French and German edition details, and at left the mailing address panel for Edition Lebeer Hossmann, 124 avenue du Boetendael, B-1180 Bruxelles, with CARTE POSTALE / POSTKARTE print

    René Magritte — Photographies, Edition Lebeer Hossmann, Bruxelles / Hamburg, 1976

    René Magritte — Photographies, Edition Lebeer Hossmann, Bruxelles / Hamburg, 1976

  • Original 1985 Urs Lüthi exhibition invitation for Autoportraits, Galerie Stadler, Paris, front, off-white folded card with black serif text: URS LÜTHI in large centred caps, exhibition title in two series — Grands Sentiments and Croquis Téléphoniques — vernissage date 25 April 18h–20h, and exhibition dates 25 April – 25 May 1985. Interior spread of 1985 Urs Lüthi Autoportraits invitation, Galerie Stadler, Paris, showing two colour reproductions: left, Autoportrait, de la série des grands sentiments, 1985, acrylic on canvas, nude figure on yellow-ochre ground with overlaid black outline drawing; right, Autoportrait, de la série des croquis téléphoniques, 1985, acrylic on canvas, turquoise ground with loose silver-grey gestural line drawing.

    URS LÜTHI: Autoportraits, Galerie Stadler, Paris, 1985

    URS LÜTHI: Autoportraits, Galerie Stadler, Paris, 1985

  • Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.” Reverse of Centre Pompidou postcard with French caption details for Yayoi Kusama’s *Explosion anatomique, Pont de Brooklyn, New York, 1968*, crediting Harry Shunk and János Kender, the Bibliothèque Kandinsky archive, and Éditions du Centre Pompidou.

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

  • r Original 2015 Sarah Lucas exhibition guide for I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, front cover, showing a bright yellow folded card with SARAH LUCAS / BRITISH PAVILION in large bold dark navy serif capitals at the top, below which a white floor plan diagram of the British Pavilion with numbered work positions 1–21 across six rooms and the Portico, and below that TEXT & ARTWORKS: SARAH LUCAS / Translation: Elisabetta Rabajoli / Photographs & Design: Julian Simmons / 56TH INTERNATIONAL nterior spread of 2015 Sarah Lucas exhibition guide for I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, showing the guide fully unfolded to reveal six bilingual text panels on a yellow ground: IT STARTED WITH AN EGG / È INIZIATO CON UN UOVO, SPOTS / POIS, FAGS / BIONDE, CATS / GATTI, each with a black-and-white installation photograph below, and at far right the front cover panel with floor plan and exhibition details.

    Sarah Lucas — I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, 2015

    Sarah Lucas — I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, 2015

  • 2019 Centre Pompidou exhibition postcard reproducing Harry Shunk and János Kender's black-and-white photograph of Yayoi Kusama's happening Manifestation non identifiée, New York, 1968, showing two nude figures standing and embracing in a dense installation environment of polka-dotted soft sculptures and pumpkin-like forms, one figure's head and upper body draped in an American flag printed with white stars on a dark ground, the other figure's body painted with large dark polka dots, the background filled wi Reverse of 2019 Centre Pompidou exhibition postcard for Yayoi Kusama, Manifestation non identifiée, New York, 1968, showing at upper left the credit Harry Shunk et János Kender in bold, below which the caption Yayoi Kusama, manifestation non identifiée, New York, 1968. / Paris, Centre Pompidou-MNAM/CCI-Bibliothèque Kandinsky. / Gift of the Roy Lichtenstein Foundation in memory of Harry Shunk and Janos Kender; below a blank address panel; at lower left the Centre Pompidou logo and copyright credits including

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

  • Original 1968 offset-printed illustration by Lorenzo Alessandri for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, Rome, showing a surrealist pen-and-ink composition in black on cream paper: at left a seated nude female figure with close-cropped hair, her body turned slightly away, one hand raised to her chest; at right a large robed ecclesiastical figure in an ornate mitre and vestments leaning toward her; between them on the ground an arrangement of small ritual objects including bottl Reverse of 1968 Lorenzo Alessandri illustration sheet for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, showing a plain blank cream paper with light age toning and minor surface marks consistent with vintage condition. You appear to be offline. Messaging may not work as expected. Kolosimo, … back.jpg

    Lorenzo Alessandri — Illustration for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, 1968

    Lorenzo Alessandri — Illustration for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, 1968

  • Original 1988 Alison Knowles exhibition invitation for A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, front, printed in blue offset lithography on cream card stock, showing at left ALISON KNOWLES in bold sans-serif capitals, the exhibition dates 21 juin – 9 juillet 1988 and opening hours, the vernissage note mardi 21 juin 18h–21h, and the gallery address Galerie J & J Donguy, 57 rue de la Roquette, dans la cour, 75011 Paris; at right a loose gestural drawing of two book-like rectangular forms Reverse of 1988 Alison Knowles exhibition invitation for A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, showing a plain blank cream card stock with light age toning and minor surface marks consistent with vintage condition. You appear to be offline. Messaging may not work as expected. Knowles, A… back.jpg

    Alison Knowles — A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, 1988

    Alison Knowles — A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, 1988

  • Original 1990 Per Kirkeby exhibition invitation for Peintures et Sculptures, Galerie Laage-Salomon, Paris, front, showing a plain cream card with PER KIRKEBY set in large widely spaced black serif capitals centred on an otherwise blank ground. Reverse of 1990 Per Kirkeby exhibition invitation for Peintures et Sculptures, Galerie Laage-Salomon, Paris, showing the gallery name and address — Galerie Laage-Salomon, 57 Rue du Temple, 75004 Paris — printed in black serif type at upper left, below which PER KIRKEBY in bold, Peintures et Sculptures, and the dates 12 janvier–10 février 1990, with the vernissage note at lower left; at upper right a circular Paris postal cancellation dated 27 12 89 and a red meter frank reading 139 / Poster, and below a ty

    Per Kirkeby — Peintures et Sculptures, Galerie Laage-Salomon, Paris, 1990

    Per Kirkeby — Peintures et Sculptures, Galerie Laage-Salomon, Paris, 1990

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a colour photorealist painting of a suited man reclining on a dark upholstered sofa abandoned on a city pavement at a wide intersection, a lamp post rising behind him, a US postal mailbox at left, and an Exxon petrol station sign visible across the street in the background, the scene rendered with the flat commercial precision characteristic of the series. Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2040 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 200 × 150 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a large-format close-up of a fluffy white dog painted in acrylic on canvas, the animal's face filling the composition with wide dark eyes and a black nose, the fur rendered in loose gestural strokes of white and grey against a pale grey background, the image combining sentimental subject matter with the deliberate commercial execution characteristic of the serie Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2039 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 240 × 300 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Original 2006 Edition 5 artist postcard reproducing Martin Kippenberger's sculpture Martin, ab in die Ecke und schäm dich, 1989, showing a life-size resin figure of a man in a checked shirt, braces, grey trousers, and black shoes, standing with his back to the viewer, face pressed into the corner of two white gallery walls, arms clasped behind his back, the figure photographed in a clean white gallery space with a grey floor. Reverse of 2006 Edition 5 artist postcard for Martin Kippenberger, Martin, ab in die Ecke und schäm dich, 1989, showing a plain white reverse with a horizontal rule and the Edition 5 website address and order number 2042 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Martin, ab in die Ecke und scham dich, 1989 Cast resin and clothes, 180 × 76 × 30 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

  • Front Original c. 2000–2001 Mike Kelley World Art magazine GoCard promotional postcard, front, showing the magazine cover with a digitally composited colour image of a man's face with stylised pink antennae rising from his temples against a dramatic purple and blue clouded sky, with the masthead WORLD ART in large white outlined capitals at top and the text Mike Kelley / ON THE ALIENS AMONG US in white and pale green type at lower left. Reverse of c. 2000–2001 Mike Kelley World Art magazine GoCard promotional postcard, showing the standard GoCard postcard reverse with WORLD ART in large black sans-serif capitals at upper left, the GoCard Postcard Advertising logo in red and black at upper right, four dotted address lines at right, and a subscription information block at lower left reading ART AND OTHER CULTURAL OBSESSIONS / COMICS • FILM • VIDEO • PHOTOGRAPHY / ELECTRONIC ART • PAINTING • SCULPTURE with telephone numbers and website addres

    Mike Kelley — On the Aliens Among Us, World Art Magazine GoCard, c. 2000–2001

    Mike Kelley — On the Aliens Among Us, World Art Magazine GoCard, c. 2000–2001

  • Cover of Christian Marclay, Phaidon Contemporary Artists Series, Phaidon Press, London, 2005, showing a grid of twelve colour stills from film and television, each depicting a person speaking on a telephone handset, arranged in four rows of three against a black ground, with the title CHRISTIAN MARCLAY in large white sans-serif type at centre and the Phaidon logo at lower left. Interior spread from Christian Marclay, Phaidon Contemporary Artists Series, Phaidon Press, 2005, pages 132–133, showing the Artist's Writings section with the text of Extended Play, 1988, on the left page alongside a colour photograph of three small cube sculptures assembled from compressed and folded vinyl records, and on the right page a colour photograph of a large dark cube sculpture made from compressed vinyl records with visible record labels and edges protruding from its surface.

    Christian Marclay — Phaidon Contemporary Artists Series, 2005

    Christian Marclay — Phaidon Contemporary Artists Series, 2005

  • Cover of Robert Mapplethorpe, Some Women, Bulfinch Press, Boston, 1992, showing a black-and-white close-up photograph of a woman's face cropped from the forehead to the chin, eyes gazing directly at the camera, against a dark background, with the title SOME WOMEN in white serif capitals at lower left and ROBERT MAPPLETHORPE in smaller white serif capitals above. Interior page from Robert Mapplethorpe, Some Women, Bulfinch Press, 1992, showing a black-and-white portrait of Patti Smith, photographed outdoors against a background of dried straw or reeds, wearing a dark knitted sweater, her dark hair loose with a fringe, holding a braid of her hair in both hands, looking directly at the camera with a composed, direct expression.

    Robert Mapplethorpe — Some Women, Bulfinch Press, 1992

    Robert Mapplethorpe — Some Women, Bulfinch Press, 1992

  • Cover of Art and Artists, Volume One Number Three, June 1966, Venice Biennale Number, showing a close-cropped reproduction of Roy Lichtenstein's comic-book painting of a blonde woman's face with Ben-Day dot shading, red lips, and a striped ribbon in her hair, with the masthead ART and artists in large black sans-serif type at top, and VENICE BIENNALE NUMBER in bold black capitals below, priced 4s $1. Interior spread from Art and Artists, June 1966, pages 12–13, showing the opening of the feature "Lichtenstein: The Printed Image at Venice," with a black-and-white reproduction of Drowning Girl, 1963, oil on canvas, collection Mr and Mrs C.B. Wright, showing a woman's face submerged in stylised waves with a speech bubble reading "I DON'T CARE! I'D RATHER SINK THAN CALL BRAD FOR HELP!," alongside critical text in two columns.

    ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

    ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

  • Cover of Sherrie Levine, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988, showing a plain cream-yellow softcover with SHERRIE LEVINE in small red serif capitals at upper centre and GALERIE NÄCHST ST. STEPHAN / ROSEMARIE SCHWARZWÄLDER in small black serif capitals at lower centre, with a faint vertical pencil mark at left. Interior spread from Sherrie Levine, Galerie nächst St. Stephan, Vienna, 1988, left page blank, right page showing a black-and-white reproduction of Untitled (After Walker Evans), 1981, depicting an elderly man in a light suit standing before a clapboard wall, captioned "1. „Untitled" (After Walker Evans), 1981."

    Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988

    Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988

  • Cover of Richard Tuttle, Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, Klagenfurt, c. 1990s, showing a close-up photograph of a metallic reflective surface — the cover of the catalogue itself — with the title RICHARD TUTTLE / WARM BROWN, 1–67 / AND MESA PIECES printed diagonally in large orange sans-serif capitals, and a single metal screw pin visible at lower left. nterior page 62 from Richard Tuttle, Warm Brown 1–67 and Mesa Pieces, Kärntner Landesgalerie, c. 1990s, showing a colour reproduction of an untitled work comprising two overlapping pieces of torn and cut cardboard — a larger tan corrugated sheet and a smaller pale yellow piece — pinned to a white wall, with a small red mark and a drip of white paint visible on the surface.

    Richard Tuttle — Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, 1995

    Richard Tuttle — Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, 1995

  • Cover of Robert Williams, Visual Addiction: The Art of Robert Williams, Last Gasp, Berkeley, 1989, showing a painting of a monstrous open-mouthed creature with exposed teeth and tongue on the left and a nude woman reclining on a giant hamburger in front of a roadside diner on the right, with the title VISUAL ADDICTION in large yellow lightning-bolt lettering on a blue chevron-patterned background, and INTRODUCTION BY LYDIA LUNCH at top. Interior page from Robert Williams, Visual Addiction, Last Gasp, 1989, showing Number 27 (Large Painting), a densely composed colour painting featuring a clown with an exploding hand, a nude woman riding a giant hot dog, white horses, and a chaotic carnival scene, with two detail photographs below showing a close-up of the clown's face and a detail of an animated cartoon car and character.

    Robert Williams — Visual Addiction: The Art of Robert Williams, Last Gasp, 1989

    Robert Williams — Visual Addiction: The Art of Robert Williams, Last Gasp, 1989

  • Cover of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, Nice, 1993, showing a plain dark grey-green softcover with ERWIN WURM in small debossed type at centre and KUNSTVEREIN IN HAMBURG / VILLA ARSON NICE in small debossed type at lower left. Interior spread of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, 1993, showing four black-and-white photographs arranged in a two-by-two grid on a black ground, each depicting a figure whose head and upper body are entirely concealed within an oversized knitted sweater, the body contorted into abstract sculptural forms.

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

  • Cover of Zoe Leonard, Secession, Wiener Secession, Vienna, 1997, showing a black-and-white photograph of bare winter trees in a forest with the title SECESSION in large pale yellow sans-serif capitals at upper left and ZOE LEONARD in the same type at lower right. Interior spread of Zoe Leonard, Secession, Wiener Secession, 1997, pages 6–7, left page showing a black-and-white photograph of bare winter trees captioned "Untitled" by Zoe Leonard, 1997, right page showing the introduction to "Zoe Leonard Interviewed by Anna Blume," describing their meeting through ACT UP in New York in the early 1990s.

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997

  • Cover Cover of Ralph Gibson, Deja-Vu, Lustrum Press, New York, 1973, showing the title in white italic serif type centred on a solid black softcover. Reverse of Ralph Gibson, Deja-Vu, Lustrum Press, 1973, showing a black-and-white photograph of a figure performing a one-armed handstand on a beach in swimwear and a top hat, mounted on black card.

    Ralph Gibson — Deja-Vu, Lustrum Press, New York, 1973

    Ralph Gibson — Deja-Vu, Lustrum Press, New York, 1973

  • Original 2001 Olaf Breuning Ugly, Hatje Cantz, Ostfildern-Ruit — hardcover front showing full-bleed colour photograph of a young woman in round sunglasses, white crop top, and shoulder holster, holding a pistol raised to shoulder height and a power drill at hip, standing in a narrow wooden doorway, red lipstick, direct gaze Reverse of 2001 Olaf Breuning Ugly, Hatje Cantz — hardcover back showing full-bleed colour photograph of a shirtless young man in aviator sunglasses and black wig covered in temporary tattoos including a large tiger on the abdomen, holding a Gatorade bottle, standing outdoors against a rocky background in red Champion shorts

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

  • Original 1982 Louise Bourgeois Bourgeois Truth exhibition catalogue, Robert Miller Gallery, New York — cream square softcover with full-bleed black ink drawing of densely hatched grass-like blade forms on aged yellow-cream ground, no title text on cover Interior spread of 1982 Louise Bourgeois Bourgeois Truth — left page with colour photograph of a small figure in a fur coat standing against a stone wall in dim light, mounted on blue-grey card; right page with title page reading Robert Pincus-Witten / BOURGEOIS TRUTH / Robert Miller, New York in serif type

    Louise Bourgeois — Truth — Robert Pincus-Witten— New York, 1982

    Louise Bourgeois — Truth — Robert Pincus-Witten— New York, 1982

  • Original 1976 Hans Bellmer Die Puppe paperback, Ullstein Verlag, Frankfurt — cream textured cover with centred colour photograph of a fragmented doll torso in pink and olive tones, three titles in black serif type below: Die Puppe / Die Spiele der Puppe / Die Anatomie des Bildes Reverse of 1976 Hans Bellmer Die Puppe, Ullstein Verlag — plain cream back cover, no text or imagery, showing age toning and light wear to edges

    Hans Bellmer — Die Puppe. Die Spiele der Puppe, Frankfurt, 1976

    Hans Bellmer — Die Puppe. Die Spiele der Puppe, Frankfurt, 1976

  • Original 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records, Los Angeles — jewel case front with blue-sky photographic cover showing a large hotel-casino building on a rocky hillside beside a lake, title Suicide Moi in pink cursive script at top, artist name Jean Baudrillard The Chance Band in white serif text at foot Reverse of 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records — dark back cover with colour photograph of two performers on stage, a woman in a red dress at left and an older man reading from papers at a microphone at right, Compound Annex Records copyright line and Los Angeles address at foot

    Jean Baudrillard & The Chance Band — Suicide Moi

    Jean Baudrillard & The Chance Band — Suicide Moi

  • Original 2004 Devendra Banhart Rejoicing in the Hands CD, Young God Records / XL Recordings — jewel case front showing cream-toned illustrated cover with hand-drawn figures including a winged bear, owl, rabbit, and orb amid decorative foliage, all in brown ink on aged paper ground Reverse of 2004 Devendra Banhart Rejoicing in the Hands CD — cream back cover with hand-lettered track listing in cursive script, central oval illustration of a coiled figure with inset text, XL catalogue number XLCD180 and barcode at foot

    Devendra Banhart — Rejoicing in the Hands

    Devendra Banhart — Rejoicing in the Hands

  • Original 1978 Kathy Acker paperback The Childlike Life of the Black Tarantula, PM / TVRT Press, New York — bright green front cover with black serif title text reading 'The Childlike Life of THE BLACK TARANTULA by The Black Tarantula', centred black-and-white illustration of a small figure casting a large shadow Reverse of 1978 Kathy Acker The Childlike Life of the Black Tarantula, PM / TVRT Press — green back cover with blurb text, PM and TVRT Press logos, and ISBN 0-931106-20-6 at foot

    Kathy Acker — The Childlike Life of the Black Tarantula

    Kathy Acker — The Childlike Life of the Black Tarantula

  • Original 1980 Kathy Acker paperback I Dreamt I Was a Nymphomaniac: Imagining, Travelers Digest Editions — front cover with black upper panel, pink lower field, hand-lettered title in white, subtitle Imagining in red, and loose ink drawing of a reclining figure; byline The Black Tarantula at foot" Reverse of 1980 Kathy Acker I Dreamt I Was a Nymphomaniac: Imagining, Travelers Digest Editions — black back cover with pink text reading 'She tried to remember how she felt…to regain love…but she became lost… Lost in this world of murder and fire / This world we call / LUST', with continuation of the ink figure drawing at lower right and ISBN at left spine edge

    Kathy Acker — I Dreamt I Was a Nymphomaniac: Imagining

    Kathy Acker — I Dreamt I Was a Nymphomaniac: Imagining

  • Original 1972 Rolling Stone Issue No. 108 cover, May 11, 1972, Straight Arrow Publishers, San Francisco — David Cassidy photographed by Annie Leibovitz on the cover with cover lines including Rolling Stone Interview: William Burroughs, Naked Lunch Box: The Business of David Cassidy, Tammy Wynette, and True Dope Tales: The Promoter was a Narc nterior spread of Rolling Stone Issue No. 108, May 11, 1972, pages 48–49, showing the William S. Burroughs interview by Robert Palmer with black-and-white portrait photographs of Burroughs seated in an armchair and reflected in a framed mirror"

    William Burroughs — Rolling Stone Issue No. 108, May 1972

    William Burroughs — Rolling Stone Issue No. 108, May 1972

  • Miatta Kawinzi, Streetspeak, 2016, Studio Museum in Harlem Harlem Postcards Summer 2016. Eight dark-skinned hands reaching inward from the edges of a clear blue sky; small white text at centre reads 'my sista' Reverse of Miatta Kawinzi Streetspeak Harlem Postcards Summer 2016 postcard. White stock; 'Miatta Kawinzi / Born 1987, Nashville, TN / Lives and works in Brooklyn, NY / Streetspeak, 2016'; vertical text 'Harlem Postcards | Summer 2016'; The Studio Museum in Harlem, 144 West 125th Street, New York.

    Miatta Kawinzi — Streetspeak — Harlem Postcards Summer 2016, The Studio Museum in Harlem

    Miatta Kawinzi — Streetspeak — Harlem Postcards Summer 2016, The Studio Museum in Harlem

  • Asger Jorn exhibition invitation verso, Lens Fine Art, Antwerpen, 1972. Orange stock with black serif text in Dutch and French announcing vernissage 7 December 1972, 18h; exhibition through 27 January 1973; Lens Fine Art, Mechelsesteenweg 146, 2000 Antwerpen. Asger Jorn, Lens Fine Art, Antwerpen, 1972. Recto: solid flat orange card stock, no image or text; full-bleed colour field.

    Asger Jorn — Exhibition Invitation Card, Lens Fine Art, Antwerpen, 1972

    Asger Jorn — Exhibition Invitation Card, Lens Fine Art, Antwerpen, 1972

  • Imitation of Christ: A Retrospective invitation recto, 2002. Cream card with heavy printed faux-water staining; stencil-style typography reading 'The Museum of Modern Art, Tirana, Albania / in association with Deitch Projects / presents / Imitation of Christ: A Retrospective / Tuesday September 17th 2002, 8:00pm / Maurice Villency, 200 East 57th Street, Corner of 3rd Avenue / RSVP Seventh House PR 212 561 5450. Original Polaroid photograph, Imitation of Christ: A Retrospective, New York, 2002. Black-and-white image of woman in black halter dress and wide-sleeved kimono jacket, arms extended, smiling; neutral background; vintage photographic quality.

    Imitation of Christ: A Retrospective — Archive Lot: Invitation, Press Release & Original Polaroids, Jeffrey Deitch / Maurice Villency, New York, 2002

    Imitation of Christ: A Retrospective — Archive Lot: Invitation, Press Release & Original Polaroids, Jeffrey Deitch / Maurice Villency, New York, 2002

  • Wade Guyton, Galerie Chantal Crousel, Paris, 2023. Full-bleed photograph of a dead deer lying on a wet pebble shoreline, sepia-toned, viewed from above; cream card border. Wade Guyton exhibition card verso, Galerie Chantal Crousel, Paris, 2023. White stock; 'GALERIE / CHANTAL CROUSEL' in small caps; 'Wade Guyton' in large serif; '3 JUIN — 22 JUILLET 2023 / 10 RUE CHARLOT, 75003 PARIS'; © Wade Guyton / Crousel 2023 credit at right edge.

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

  • Aneta Grzeszykowska, Untitled Film Stills #30, 2006, c-print, Raster Gallery Warsaw. Close-up of young woman with short dark hair, wide eyes, smudged mascara, open mouth, lit against dark blue interior; restaged after Cindy Sherman. Reverse of Aneta Grzeszykowska Untitled Film Stills #30 Raster Gallery postcard, 2006. Cream stock; bilingual caption text describing the 70-photograph series and Berlin Biennale context; Raster logo and address ul. Hoża 42/8, 00-516 Warszawa; www.raster.art.pl.

    Aneta Grzeszykowska — Untitled Film Stills #30, 2006 — Artist Postcard, Raster Gallery, Warsaw

    Aneta Grzeszykowska — Untitled Film Stills #30, 2006 — Artist Postcard, Raster Gallery, Warsaw