The Archive

Everything currently held at The New Rare, newest first.

  • Original 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — front cover in large bold serif and light grey typography on off-white stock; Hayward Gallery in small sans-serif at upper left; FRANCIS BACON in large black serif capitals; THE HUMAN BODY in large light grey serif capitals below; no imagery; typography functions as cover image. Back panel of 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — text in small serif type on white stock; left column: exhibition title, dates 5 February–5 April 1998, curatorial credit David Sylvester, organisational credits Martin Caiger-Smith and Gilly Paget, architectural consultant Daniela Ferretti, exhibition guide designed by Peter Campbell printed by Leycol Printers Ltd, © South Bank Centre 1998, text © David Sylvester 1998; right column headed CATALOGUE describing the il

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

  • Original 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — recto printed entirely in red on textured cream handmade-style paper; horizontal format; REBUS galleria d'arte contemporanea in mixed serif and sans-serif type at top; VENERDÌ 16 DICEMBRE 1977 – ORE 21,30; Mostra personale di in italic; BERNARD AUBERTIN in large spaced capitals; SARÀ PRESENTE L'ARTISTA · CATALOGO IN GALLERIA; address 50129 FIRENZE – Via della Fortezza, 9/r – Telef. 496.701 at foot. Reverse of 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — verso showing plain unprinted textured cream paper stock with light age toning, minor corner wear, and handling marks consistent with period circulation and storage.

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

  • Reverse of 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Mouans-Sartoux — verso printed entirely in red on cream stock with the name Bernard Aubertin repeated in dense rows across the full surface of the card, functioning as typographic monochrome; name becomes pattern, artist becomes surface. Original 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Château de Mouans, Mouans-Sartoux — recto printed entirely in red on cream card stock; vertical format; header: Espace de l'Art Concret Château de Mouans; title le feu de la couleur in bold red; hommage à Bernard Aubertin / accompagné / de ses amis du mouvement Zéro; formal invitation text from André Aschièri, Maire de Mouans-Sartoux, Odile Biec, Directrice, and Sybil Albers-Barrier for vernissage

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

  • Original 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Lincoln, 2009, C-print, 50 × 68½ inches: colour photograph of the artist reclining across a seated white sculptural figure based on the Lincoln Memorial, shot on a New York street corner in winter light with bare trees, yellow taxis, and urban buildings visible in background. Reverse of 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — verso in minimal serif and sans-serif typography on cream stock; artwork caption upper left: Lincoln, 2009 (detail), C-print, 50 × 68½ inches / 127 × 174.2 cm; exhibition text lower right: Adel Abdessemed / Rio / April 3 through May 9, 2009 / Reception April 3, 2009, 6 to 8 pm / David Zwirner / 519 & 525 & 533 West 19th Street, New York, NY 10011 / 212 727 2070 telephone / 212 727 2072 fax / www.davidzwirner.com.

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

  • Original 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Untitled, 2013, coloured pencil and pencil on paper: intersecting diagonal bands in yellow, black, green, red, and blue forming a precise geometric spatial construction on white ground Reverse of 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — verso in minimal sans-serif typography on white stock; artwork caption upper left: Untitled, 2013 (detail), colored pencil and pencil on paper, 33 1/4 × 23 5/8 inches / 84.1 × 59.4 cm; exhibition text lower right: Tomma Abts / September 10 through October 25, 2014 / Reception Wednesday, September 10, 6 to 8 PM / David Zwirner / 519 West 19th Street, New York, NY 10011 / 212 727 2070 / davidzwirner.com.

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

  • Original 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — recto with full-bleed photograph of arid rocky ground with tangled wire or thorn mass at centre; NE TRAVAILLEZ / JAMAIS in large hand-lettered white type across upper half; artist list in white capitals: Adel Abdessemed, Art Keller, Bruno Perramant, Conrad Bakker, Frank Perrin, Gianni Motti, Jannis Kounellis, Jimmie Durham, Julien Prévieux, Marc Boucherot, Philippe Meste, Raymond Pettibon; exhibition details: Une Exposit Reverse of 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — verso showing plain unprinted white card stock with visible handling marks, surface rubbing, light creasing, and pressure marks consistent with storage and circulation.

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

  • Original 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — cover reproducing a Bellmer line drawing of a female figure tightly bound and folded, contour lines describing compressed flesh and limbs in a crouching posture; HANS BELLMER in spaced serif capitals below; SVENSK-FRANSKA / KONSTGALLERIET in two lines at foot. Inside spread of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — left panel with Swedish biographical text on Hans Bellmer (born Katowice, Poland, 1902), noting his connections to Grosz, Heartfield, Schwitters, Éluard, Tanguy, and La Poupée, and references to Galerie Gmurzynska, Köln; right panel headed Teckningar listing 20 drawings dated 1942–1966 including Hommage à Antonine Artaud (1942), Revel II Juillet (1946), Komposition, Vorzeichnung zu Madame Ewarda, Danseurs, De

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

  • Original 1971 Hans Bellmer exhibition invitation card, Centre national d'art contemporain (CNAC), Paris — recto printed in white and black on pink-to-cream gradient card stock; CNAC in large white serif type at top; text reading le centre national d'art contemporain 11 rue berryer paris 8 / présente / du 30 novembre 1971 au 17 janvier 1972 / bellmer in large bold black type / ouvert tous les jours sauf le mardi de 12 h à 19 h entrée 3 f / vernissage le mardi 30 novembre 1971 de 18 h à 20 h. Reverse of 1971 Hans Bellmer CNAC exhibition invitation card, Centre national d'art contemporain, Paris — verso showing plain unprinted cream card stock with light age toning and minor surface marks consistent with period paper ephemera.

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

  • Original 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — recto reproducing Bellmer's Les mains immobiles, 1971: dark-ground photographic image of a bronze sculpture showing a crouching figure with multiple articulated mechanical arms and hands, cast by Ateliers Godard in an edition of 21, height 28 cm. Surface rubbing and scuffing consistent with postal handling. Reverse of 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — verso showing bilingual printed artwork caption in French and English identifying Les mains immobiles / The still hand, 1971, bronze, Ateliers Godard, éditions Georges Visat; handwritten New Year greeting in French from La Galerie Suzanne Visat addressed to Monsieur François Lullerat, 95 Bd St Michel, Paris 5e; Paris cancellation stamp dated 10 January 1972 with 0.50 franc postage; copyright notice Hans Bellmer 1971 lower left; p

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

  • Original 1990 Collages Surréalistes exhibition invitation, Galerie Zabriskie, Paris — cover reproducing Georges Hugnet, Le Sphinx du Moulin Vert, 1934: aerial black-and-white photograph of Paris with radiating boulevards, a single realistic eye with lashes montaged at centre. Original 1990 Collages Surréalistes vernissage insert, Galerie Zabriskie, Paris — recto printed in brown on cream stock with ZABRISKIE in vertical type at left margin; invitation text from Virginia Zabriskie for cocktail reception Tuesday 27 March 1990, 18h30, 37 rue Quincampoix, entry code 2457, 1er étage gauche.

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

  • Original 1974 Anthea Alley exhibition card, Annely Juda Fine Art, London — recto showing black-and-white photographic portrait of the artist standing beside welded metal sculpture in a studio or exhibition space. Photograph by Jorge Lewinski. Reverse of 1974 Anthea Alley exhibition card, Annely Juda Fine Art, showing printed text with exhibition title, dates 25 January–16 February 1974, gallery address 11 Tottenham Mews London W1P 9PJ, opening hours, biographical note, and one-man and group exhibition history including Arnolfini, Hamilton Galleries, and Bradford City Art Gallery.

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

  • Original 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, front showing the single handwritten word Mirrors in black ink centred on metallic gold-coated card stock, surface now naturally dulled through age and handling. Reverse of 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, showing dual-exhibition layout divided into Project Room presenting Gilles Barbier Les trous sont la partie manquante de l'histoire and main space presenting Nedko Solakov Mirrors, with dates 20 janvier au 1 mars 2003, vernissage samedi 18 janvier à 18h, gallery address 36 Rue de Seine 75006 Paris, and Veuve Clicquot sponsorship note.

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

  • Original 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, front cover showing artist name ANDRE STAS in serif type above a black-and-white collage of a ballerina figure standing atop a geological cross-section diagram with circular holes, offset printed on cream laid paper. Interior spread of 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, showing mock-biographical chronology by Michel Thyrion on left — listing dates from 1949 to 1975 including glue, elections, and clandestinity — and essay text Orage Forêt ou Le jeune Laboureur by Tom Gutt on right, with two collage reproductions including a suitcase labelled Je suis l'idéal rêve and an amphitheatre scene.

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

  • Original 1984 Gustave Courbet exhibition invitation card featuring a black-and-white portrait of a young Courbet with printed signature beneath, issued by Musée Maison Natale in Ornans, France. Verso of original 1984 Gustave Courbet exhibition invitation showing *Visage / Visages* exhibition details, handwritten vernissage note, Paris postal stamp, and addressed recipient information.

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

  • Original 1971 Michel Ciry exhibition invitation for Galerie de Paris, announcing paintings, watercolors, and drawings from 26 October to 27 November 1971 on folded cream card Handwritten German archival reference card mentioning Robert Waissenberger and *Die Wiener Secession: Eine Dokumentation*, with publication details and price noted in graphite on folded paper.

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

  • Front cover of the 1985 Achille Castiglioni exhibition invitation, featuring a bold blue and black graphic image with red side borders for *du design au ready-made* at Centre Georges Pompidou. Original 1985 Centre Georges Pompidou invitation for *Achille Castiglioni: du design au ready-made*, printed in red typography on off-white card with exhibition details and Pompidou logo.

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

  • Original James Brown Salt exhibition invitation booklet from Galerie Lelong, Paris, 1990, featuring a reproduced painting with a bold ultramarine blue abstract totem-like figure against a pale dotted background in an ornate frame. Interior spread of original James Brown Salt – Peintures récentes exhibition booklet showing Galerie Lelong exhibition details, dates, opening reception information, and reference to Repères no. 67 with text by Jean Frémon

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

  • Original 1989 Gilles Brenta exhibition handout for F.M.R. Brussels, with black line drawing, artist name, and exhibition details. Inside spread of Gilles Brenta folded exhibition handout, showing surreal line drawings and French text for Un songe entre deux notes.

    Gilles Brenta — F.M.R., Brussels, 1989

    Gilles Brenta — F.M.R., Brussels, 1989

  • Hans Bellmer Dessins, œuvre gravée exhibition announcement Galerie 3+2 Paris 1971–72 Hans Bellmer surreal anatomical drawing inside Galerie 3+2 exhibition invitation folder Paris 1971–72 Original folded exhibition invitation / announcement folder Offset print in brown ink on graph-paper patterned stock Approx. dimensions: c. 21 × 10 cm folded (unfolds larger) Galerie 3+2, 5 rue Visconti, Paris 6e Exhibition dates: 10 December 1971 – 10 January 1972 Condition: Very good; light age toning, minor handling wear and soft edge wear consistent with period paper ephemera

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

  • Original 2014 GAY exhibition announcement card, Bronx Council on the Arts and Longwood Arts Project, New York, featuring a lush green woodland stream and fallen tree with large thin white lowercase typography spelling 'gay' across the full-colour landscape image. Reverse of original GAY exhibition card issued by the Bronx Council on the Arts / Longwood Arts Project, New York, 2014. Black text on white background lists exhibition dates, participating artists including Rafael Melendez, public programs, venue information, and exhibition advisory notice.**GAY: The Exhibition / The Bronx Museum, New York / 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

  • Original 2002 Documents exhibition invitation from Galerie 1900–2000 Paris featuring a distressed archive-folder design with typewriter-style typography on textured brown paper. Interior of Documents exhibition invitation, Galerie 1900–2000 Paris, 2002, featuring a collage of Dada and Surrealist ephemera including DADAPhone, Anna Blume, Le Cœur à Barbe, Tristan Tzara references, and historical avant-garde printed material.

    Documents — Galerie 1900–2000, Paris, 2002

    Documents — Galerie 1900–2000, Paris, 2002

  • Reverse of 2019 Mark Bradford: Los Angeles exhibition card reproducing a photograph of the artist seated before Float (2019), a monumental installation of layered and stripped paper surfaces in vivid vertical bands of colour. Original 2019 Mark Bradford exhibition invitation card for Mark Bradford: Los Angeles at Long Museum West Bund, Shanghai, featuring title, exhibition dates 27 July–13 October 2019, and institutional identity printed in white on a flat orange field.

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Yoko Ono *Dollar Piece* Printed Matter membership sheet from 2006 featuring a conceptual instruction text, reproduced signature, Studio One letterhead, and an illustration of the Dakota building at the bottom. Front of original Yoko Ono Studio One envelope distributed with the *Dollar Piece* Printed Matter membership multiple, showing return address information and light handling wear.

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

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

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

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

  • Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates. Interior fold-out essay spread from the Sherrie Levine *Directions* brochure with curatorial texts by Phyllis Rosenzweig and Susan Krane, reproductions of Levine works, and multiple columns of exhibition writing printed on cream paper.

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Rafael Melendez, The Naked Lunch, The Academy of Realness, 2023 — front cover; black ground; AI-generated chrome female android figure in three-quarter profile, head lowered, mechanical neck and shoulder detail visible; 'RAFAEL MELENDEZ' in white graffiti-style lettering along left spine; 'The Naked Lunch' in teal type at upper right; Academy of Realness circular logo at top centre Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch