{"title":"Under £50","description":"\u003cp\u003eWorks from the archive priced under £50.\u003c\/p\u003e","products":[{"product_id":"christian-jankowski-the-holy-artwork-2002","title":"Christian Jankowski \/ The Holy Artwork \/ 2002","description":"\u003cp\u003e\u003cstrong\u003ePublished by Revolver, Frankfurt am Main, with Künstlerhaus Bethanien, Berlin\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Softcover artist book\u003c\/li\u003e\n\u003cli\u003eSize: approx. 17 × 12 cm\u003c\/li\u003e\n\u003cli\u003ePages: 59 pages\u003c\/li\u003e\n\u003cli\u003eLanguage: English\u003c\/li\u003e\n\u003cli\u003eIllustrations: Colour throughout\u003c\/li\u003e\n\u003cli\u003eCondition: Very good — visible rubbing, light wear, and surface marks to covers; a few creases to the wrappers; internally clean and bright\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eA compact artist book centred on Christian Jankowski's \u003cem\u003eThe Holy Artwork\u003c\/em\u003e, published in 2002 by Revolver with Künstlerhaus Bethanien. The publication relates to Jankowski's 2001 video work filmed at Harvest Fellowship Church in San Antonio, Texas, in collaboration with Pastor Peter Spencer. In the video, Jankowski collapses at the pastor's podium, and Spencer interprets the action for the congregation and television audience as a form of \"holy art\" — effectively merging sermon, performance, and broadcast into a single gesture.\u003c\/p\u003e\u003cp\u003eWhat makes the book especially strong is the way it preserves that transfer between institutions. Rather than simply documenting a video, it reorganises the project as a portable sequence of stills, text, sermon fragments, and mediated images — moving between televangelism, performance, video art, and printed matter. This is very much in keeping with Jankowski's broader practice of outsourcing authorship and rerouting art through existing public formats.\u003c\/p\u003e\u003cp\u003eA sharp early-2000s title where the artist's book functions less as support material than as a secondary site for the work itself. This copy presents well despite honest wear to the red wrappers.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCarefully packed. Shipping available within the UK and internationally.\u003c\/em\u003e\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053791371602,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ChristianJankowski01.jpg?v=1774846143"},{"product_id":"sarkis-reserves-sans-retour-capc-bordeaux-invitation-card-1980","title":"Sarkis, \"réserves sans retour\" — CAPC Bordeaux invitation card, 1980","description":"\u003cp\u003e\u003cstrong\u003eSarkis, \u003cem\u003eRéserves sans retour\u003c\/em\u003e — CAPC Bordeaux invitation card, 1980\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e£40 — shipping and handling included\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA period invitation card for \u003cstrong\u003eSarkis's \u003cem\u003eRéserves sans retour\u003c\/em\u003e\u003c\/strong\u003e, issued in relation to the CAPC-organised exhibition at the \u003cstrong\u003eBase sous-marine, Bordeaux\u003c\/strong\u003e in 1980. More than an announcement, the card functions as a small operational document: part invitation, part directional device, part residue of an exhibition staged inside a former German wartime structure not yet fully absorbed into the language of culture.\u003c\/p\u003e\u003cp\u003ePrinted card, \u003cstrong\u003e15 × 10.5 cm\u003c\/strong\u003e. Deep red recto with the title set in black script: \u003cstrong\u003eSarkis \"réserves sans retour.\"\u003c\/strong\u003e The verso is given over to information and cartography: \u003cstrong\u003ecapc \/ Entrée n°7 \/ Hangar \/ quai de Bacalan \/ Tél. (56) 44.16.35 \/ Centre d'Arts Contemporains de Bordeaux\u003c\/strong\u003e, alongside a printed street map locating the \u003cstrong\u003eBase sous-marine\u003c\/strong\u003e in relation to CAPC and the city. That map is one of the more compelling features here. It situates the exhibition not simply in a venue, but within an urban and historical field. The card does not just announce a show; it diagrams access to it.\u003c\/p\u003e\u003cp\u003eThe exhibition belongs to an important moment in Sarkis's trajectory, when questions of memory, displacement, architecture, and historical charge became inseparable from the work itself. It also belongs to an early phase in the cultural reuse of the Bordeaux submarine base, before such conversions became a familiar curatorial model. In that sense, this piece registers a shift: from military infrastructure to exhibition site, from logistics to art.\u003c\/p\u003e\u003cp\u003eA spare and unusually intelligent piece of French art ephemera, with strong graphic presence and a quietly conceptual use of printed navigation. Scarce. Light wear from age; overall very good.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073498734930,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarkis_0001_7a9e9a5e-59f7-4fed-8e2b-271d7dae5248.jpg?v=1774990937"},{"product_id":"sarkis-ma-chambre-de-la-rue-krutenau-ile-san-lazzaro-venice-1990","title":"Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990","description":"\u003cp\u003e\u003cstrong\u003eSarkis, \u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e — invitation card, Venice 1990\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA period invitation card for Sarkis's installation \u003cstrong\u003e\u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e\u003c\/strong\u003e, presented jointly by \u003cstrong\u003eLes Musées de la Ville de Strasbourg\u003c\/strong\u003e and \u003cstrong\u003eLe Centre National d'Art Contemporain de Grenoble, Magasin\u003c\/strong\u003e, with the collaboration of the A.F.A.A. and the Ministère des Affaires Étrangères, Paris. The exhibition was staged at the \u003cstrong\u003eCouvent des Pères Méchitaristes, Île San Lazzaro degli Armeni, Venice\u003c\/strong\u003e, opening 23 May 1990 and running through 30 September.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces a photograph of the neon installation — a luminous, biomorphic form suspended against deep black, its teal glow pooling outward. The verso carries the full institutional text in French, including vaporetto departure times from Riva Schiavoni. That logistical detail is characteristic of the work's situation: an installation accessible only by water, on an Armenian monastery island, organised through a relay of French cultural institutions. The card is itself a document of that improbable geography.\u003c\/p\u003e\n\u003cp\u003eThe work belongs to a sustained period in Sarkis's practice in which memory, displacement, and the charged specificity of place — particularly sites carrying religious, historical, or linguistic weight — became structural to the installation itself. San Lazzaro, home to the Méchitarist congregation and one of the oldest Armenian cultural centres in Europe, was not incidental to the work. It was the work's condition.\u003c\/p\u003e\n\u003cp\u003ePrinted card, approximately \u003cstrong\u003e15 × 10.5 cm\u003c\/strong\u003e. Light wear consistent with age; overall very good. Scarce.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073595728210,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/SakrisGrenoble_0001.jpg?v=1774990355"},{"product_id":"maciunas-learning-machines-vice-versa-verlag-berlin-2003","title":"Maciunas' Learning Machines — Vice Versa Verlag \/ Silverman Fluxus Collection, Berlin, c. 2003","description":"\u003cp\u003eOriginal publisher's postcard \/ announcement card for \u003cem\u003eMaciunas' Learning Machines: From Art History to a Chronology of Fluxus\u003c\/em\u003e, edited by Astrit Schmidt-Burkhardt. Vice Versa Verlag \/ The Gilbert and Lila Silverman Fluxus Collection, Berlin, c. 2003. Cover image to recto; publisher details and ISBN to verso. 15 × 10.5 cm. ISBN 3-932809-39-4.\u003c\/p\u003e\u003cp\u003eA clean piece of Fluxus-adjacent printed matter that sits somewhere between postcard, mailer, and bibliographic trace. The front reproduces the book cover, with Maciunas' charts and diagrams staged as both image and argument — which is the point of the publication itself. Schmidt-Burkhardt's study focuses on George Maciunas's diagrams, maps, and chronologies of art, politics, and culture, tracing how his systems of visual organisation fed directly into Fluxus thinking.\u003c\/p\u003e\u003cp\u003eSeen now, the card works as a small administrative object from the afterlife of Fluxus: not an artwork by Maciunas, but a compact carrier of the logic around him — charts, networks, distribution, printed support, the traffic between archive and publication. It is also exactly the kind of object Fluxus leaves behind so well: modest, informational, and unexpectedly complete.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear and minor age toning consistent with storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157666816338,"sku":"EPH-2003-VICEVERSA-001","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/George_Maciunas_0001.jpg?v=1775690110"},{"product_id":"giovanni-anselmo-musee-dart-contemporain-lyon-1989","title":"Giovanni Anselmo — Musée d'Art Contemporain, Lyon, 1989","description":"\u003cp\u003eExhibition announcement for Giovanni Anselmo at the Musée d'Art Contemporain, Lyon, 12 October – 19 November 1989.\u003c\/p\u003e\u003cp\u003e30 × 21.2 cm. Satin cardstock. Single sheet, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries a colour installation view — two works in a white-walled space: a leaning triangular stone form and a granite block with a small bunch of leaves tucked into its surface, both cast in strong diagonal light. The verso holds the full institutional apparatus: exhibition details, an extended interview with the artist conducted by Walter Guadagnini, reference images, and a footnote on Joseph Kosuth. Produced at the scale of a small poster rather than a standard invitation card.\u003c\/p\u003e\u003cp\u003eA printed exhibition record in which image, curatorial framing, and institutional information are carried on the same support. Less a card than a flat document of display and interpretation, issued at the moment of the exhibition. Anselmo’s position within Arte Povera gives the sheet added historical density without requiring it to exceed its administrative function.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, soft surface marks, and minor edge wear consistent with age and material.\u003c\/p\u003e\u003cp\u003e£45 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170757402962,"sku":"TNR-GA-1989-MAC","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Giovanni_Anselmo_1989__0001.jpg?v=1775780266"},{"product_id":"danh-vo-homosapiens-marian-goodman-gallery-london-2015","title":"Danh Vō — Homosapiens, Marian Goodman Gallery, London, 2015","description":"\u003cp\u003eExhibition invitation card for \u003cem\u003eHomosapiens\u003c\/em\u003e at Marian Goodman Gallery, 5–8 Lower John Street, London W1F 9DY, 15 January–21 February 2015. Reception: Thursday 15 January, 6–8 pm.\u003c\/p\u003e\u003cp\u003e15 × 10.75 cm. Heavy multi-ply cardstock with a soft, almost velvety surface. Single card, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries exhibition and venue details in restrained serif typography on cream stock. The verso prints a world migration map titled HOMO SAPIENS — routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa. Administrative on one side, geopolitical on the other.\u003c\/p\u003e\u003cp\u003eA compact exhibition document in which invitation, image, and thesis are held in a single card.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, otherwise clean overall.\u003c\/p\u003e\u003cp\u003e£35 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170893390162,"sku":"TNR-DV-2015-HS","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dahn_Vo_2015_0001.jpg?v=1775779561"},{"product_id":"laylah-ali-projects-75-moma-2002","title":"Laylah Ali — Projects 75, MoMA, 2002","description":"\u003cp\u003eThe Museum of Modern Art, New York, 2002\u003c\/p\u003e\u003cp\u003eArtist's book \/ comic book\u003cbr\u003e[40] pp.\u003cbr\u003e18.5 × 24.5 cm\u003cbr\u003ePaperback; staple bound\u003cbr\u003eOffset printed in colour\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear; minor cover and edge wear consistent with age.\u003c\/p\u003e\u003cp\u003ePublished by MoMA for Projects 75, this is Laylah Ali's first book: a compact comic\/artist's book built from the Greenheads that populate her paintings. Cute, severe, and unstable, the figures move through scenes of violence, costume, authority, and role confusion.\u003c\/p\u003e\u003cp\u003eThe book borrows the structure of comics — panels, sequence, repetition, colour — but removes the usual narrative supports. No speech, no captions, no clear moral order. Security figures, victims, aggressors, prisoners, bandits, and uniformed bodies appear as interchangeable positions. The result is deceptively simple: a small MoMA paperback in which violence is processed through graphic clarity and institutional calm.\u003c\/p\u003e\u003cp\u003eIncludes the original folded brochure with text by Kristin Helmick-Brunet, Assistant Curator, Department of Drawings.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"MoMA","offers":[{"title":"Default Title","offer_id":53285065097554,"sku":null,"price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ali_Laylah._Laylah_Ali_Museum_of_Modern_Art_Projects_75_2002_Exhibition.jpg?v=1777103825"},{"product_id":"robert-rauschenberg-ileana-sonnabend-paris-1963","title":"Robert Rauschenberg — Ileana Sonnabend Gallery, Paris, 1963","description":"\u003cp\u003eIleana Sonnabend Gallery, Paris, 1963\u003cbr\u003eExhibition catalogue\u003cbr\u003eStaple-bound wraps\u003cbr\u003e26.7 × 18.1 cm\u003cbr\u003eOffset print, black and white\u003cbr\u003e[34] pp., 11 plates\u003c\/p\u003e\u003cp\u003eOriginal catalogue issued for Rauschenberg’s first Paris exhibitions at Ileana Sonnabend, structured in two consecutive presentations: \u003cem\u003ePremière Exposition\u003c\/em\u003e (works 1954–1961) and \u003cem\u003eSeconde Exposition\u003c\/em\u003e (works 1962–1963), February–March 1963.\u003c\/p\u003e\u003cp\u003eA thin, working document rather than a retrospective object. The publication holds an early European positioning of Rauschenberg’s Combine logic — \u003cem\u003eMonogram\u003c\/em\u003e, \u003cem\u003eCharlene\u003c\/em\u003e, \u003cem\u003eBroadcast\u003c\/em\u003e — alongside a checklist that reads as inventory, sequence, and assertion.\u003c\/p\u003e\u003cp\u003eContributions by Alain Jouffroy, Lawrence Alloway, Michel Ragon, Françoise Choay, Gillo Dorfles, and John Cage. Inserted checklist included.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Age toning, light foxing, soft creases to fold and staple line, minor staining to cover. Internally clean, full plate sequence intact. Slight scuffing to rear cover.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53288893219154,"sku":"RAUSH-SONNABEND-1963","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rauschenberg_1963_01.jpg?v=1777183102"},{"product_id":"animals-in-pre-columbian-art-emmerich-1965","title":"Animals in Pre-Columbian Art — André Emmerich Inc., New York, 1965","description":"\u003cp\u003eAndré Emmerich Inc., New York, 1965\u003cbr\u003eExhibition catalogue\u003cbr\u003eSoftcover\u003cbr\u003e21 × 29.7 cm\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAnimals in Pre-Columbian Art: A Comprehensive Exhibition of animals — wild, domestic and divine — in stone, pottery, textile, jade and gold from 1000 B.C. to A.D. 1500.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003ePublished on the occasion of an exhibition held at André Emmerich Inc., New York, 1965. Illustrated throughout with 48 works.\u003c\/p\u003e\u003cp\u003eA catalogue structured as a survey, but read as a sequence of forms translated across material. Animal figures appear as vessels, effigies, containers — objects where function and image are held together. A spouted owl, a seal with its young, hybrid bodies carrying volume and gesture simultaneously.\u003c\/p\u003e\u003cp\u003eThe photographic language is consistent: isolated objects, neutral ground, frontal or slight rotation. Each piece stabilised for viewing, removed from site, ritual, or use. The exhibition reorganises dispersed artefacts into a single visual field — stone, clay, textile, and metal aligned under a shared taxonomy of “animal.”\u003c\/p\u003e\u003cp\u003eCaptions provide minimal anchoring: culture, region, approximate date. Mochica, North Coast Peru. 300 B.C.–A.D. 100. The works remain partially unassigned, circulating between ethnographic record and sculptural presence.\u003c\/p\u003e\u003cp\u003eThe cover centres a single figure — an anthropomorphic vessel — held in studio light. A later retail label (“Strand Price $1.50”) remains affixed, introducing a second layer of circulation: exhibition to bookshop to archive. Verso stamped: André Emmerich Inc., 41 East 57th Street, New York.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Surface wear, handling marks, edge softening, and light toning throughout. Retail sticker to front cover retained.\u003c\/p\u003e\u003cp\u003eAn exhibition document that compresses multiple temporalities into a single printed sequence. Object, image, and category held in provisional alignment.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"André Emmerich Inc.","offers":[{"title":"Default Title","offer_id":53289097986386,"sku":"EMMERICH-PRECOLUMBIAN-1965","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emmerich_Andre_INC._Animals_in_pre-Columbian_art_a_comprehensive_exhibition_of_animals_wild_domestic_and_divine_in_stone_pottery_textile_jade_and_gold_from_1000_B.C._to_A.D._1500_cove.jpg?v=1777190438"},{"product_id":"kunst-uit-nieuw-guinea-amsterdam-1963","title":"Kunst uit Nieuw Guinea — Museum Fodor \/ Stedelijk Museum, Amsterdam, 1963","description":"\u003cp\u003eMuseum Fodor \/ Stedelijk Museum, Amsterdam, 1963\u003cbr\u003eCollection of Peter Kohler, Ascona\u003cbr\u003eExhibition catalogue\u003cbr\u003eDesigned by Gerda C. van der Laan\u003cbr\u003eSoftcover, stapled wrappers\u003cbr\u003e19 × 26 cm\u003cbr\u003e24 pp.\u003cbr\u003eBlack-and-white photographic plates\u003cbr\u003eCatalogus no. 337\u003c\/p\u003e\u003cp\u003ePublished for the exhibition \u003cem\u003eKunst uit Nieuw Guinea\u003c\/em\u003e, held at Museum Fodor, Amsterdam, 22 May – 30 June 1963. The catalogue presents works from the private collection of Peter Kohler, Ascona, including objects from the Sepik, Yuat, Keram, and Korewori River regions, the Chambri Lakes area, and Manam Island.\u003c\/p\u003e\u003cp\u003eA compact exhibition document built from image, region, collection, and sequence. The cover places a single carved figure against a largely empty field, with the title set in ochre lowercase. Inside, the catalogue proceeds through isolated reproductions: masks, sculptural figures, textile fragments, ritual forms, and carved objects held against blank paper.\u003c\/p\u003e\u003cp\u003eThe design is restrained and sharply staged. A brown vertical band runs through the interior spreads, functioning almost as a filing edge or display strip. Objects are numbered rather than explained at length. The publication turns a private ethnographic collection into a municipal exhibition record: photographed, ordered, and circulated through the Stedelijk\/Museum Fodor apparatus.\u003c\/p\u003e\u003cp\u003eThe back cover carries later handwritten notes and a sketched map-like form in blue ink, marking the object’s secondary life after the exhibition. These additions do not interrupt the catalogue so much as extend its condition: New Guinea becomes image, route, note, price, and retained paper.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. General toning, handling marks, soft creases, edge wear, and light marks to wrappers. Handwritten annotations and blue-ink drawing to rear cover. Stapled binding intact.\u003c\/p\u003e\u003cp\u003eA 1960s Dutch exhibition catalogue where Oceanic objects pass through collection, museum, printed sequence, and later use.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Museum Fodor \/ Stedelijk Museum","offers":[{"title":"Default Title","offer_id":53289825075538,"sku":"KOHLER-NIEUWGUINEA-1963","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kohler_-Peter.-Kunst-uit-Nieuw-Guinea_-1963---5.jpg?v=1777198939"},{"product_id":"wes-mills-missoula-drawings-2000","title":"Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000","description":"\u003cp\u003eJoseph Helman Gallery, New York, 2000\u003cbr\u003eFirst edition\u003cbr\u003eSoftcover\u003cbr\u003eEnglish\u003c\/p\u003e\u003cp\u003ePublished by Joseph Helman Gallery on the occasion of \u003cem\u003eWes Mills: Missoula Drawings\u003c\/em\u003e, New York, January–February 2000. The exhibition is listed in Mills’s exhibition history as held at Joseph Helman Gallery, with contemporary reviews appearing in \u003cem\u003eThe New York Times\u003c\/em\u003e and \u003cem\u003eArtnet Magazine\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eA small, quiet gallery publication organised around reduction. Grey textured wrappers, pale type, almost disappearing into the surface. The object announces itself softly: artist, place, drawings.\u003c\/p\u003e\u003cp\u003eInside, the reproduced works hold to the lower edge of visibility. Graphite marks, partial structures, faint inscriptions, and large areas of paper. The drawing appears not as image completed, but as a record of pressure, hesitation, and placement.\u003c\/p\u003e\u003cp\u003eThe back cover identifies Joseph Helman Gallery, 20 West 57th Street, New York. The book operates as gallery document, exhibition residue, and portable register of a specific drawing sequence made under the name Missoula Drawings.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers. Clean interior.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53289906962770,"sku":"MILLS-MISSOULA-2000","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mills_-Wes.-Missoula-Drawings.-2000.jpg?v=1777202081"},{"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-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. 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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-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. 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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. 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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. 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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. 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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":"catherine-holly-after-the-pressure-the-cock","title":"Catherine Holly \/ The Academy of Realness — After the Pressure the Cock","description":"\u003cp\u003eArtist publication \/ photocopied zine\u003cbr\u003eThe Academy of Realness, New York, 2014\u003cbr\u003e15.5 × 12.5 cm\u003cbr\u003eStaple-bound paperback\u003cbr\u003e[38] pages\u003cbr\u003eBlack-and-white photocopy process\u003cbr\u003eEdition of 150\u003c\/p\u003e\u003cp\u003eCondition: very good; light handling wear and minor softening to edges consistent with age.\u003c\/p\u003e\u003cp\u003ePublished under The Academy of Realness, a pseudonymous structure later folded into the wider trajectory of The New Rare Editions. Produced during an earlier phase of dispersed identities and shifting authorial positions, \u003cem\u003eAfter the Pressure the Cock\u003c\/em\u003e operates between artist publication, image archive, and provisional narrative sequence.\u003c\/p\u003e\u003cp\u003eThe publication assembles appropriated images, handwritten interventions, film references, and fragmented visual material into a low-resolution photocopied structure resistant to stable reading. Marilyn Monroe appears alongside scratched gestures, interrupted captions, and displaced text fragments. Piero Gherardi’s costume design for \u003cem\u003eGiulietta degli Spiriti\u003c\/em\u003e enters less as citation than as material passing through another image economy.\u003c\/p\u003e\u003cp\u003eThe title itself functions almost like a cut-up proposition: pressure, sexuality, absurdity, and image culture collapsing into a phrase that feels both declarative and unresolved. Produced through staple binding and photocopy processes, the publication retains the logic of an object intended for circulation rather than permanence while surviving as a retained record of an earlier authorial fiction.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"The Academy of Realness","offers":[{"title":"Default Title","offer_id":53514402234706,"sku":"CH-ATPTC-2014","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/After_The_Pressure_2015.jpg?v=1779317186"},{"product_id":"catherine-holly-academy-of-realness-fuck-book","title":"Catherine Holly \/ The Academy of Realness — Fuck Book","description":"\u003cp\u003eArtist publication \/ facsimile journal\u003cbr\u003eThe Academy of Realness, New York \/ London, 2014\u003cbr\u003e40 pages including covers\u003cbr\u003eColour cover, black-and-white interiors\u003cbr\u003eOffset \/ photocopy-derived reproduction from altered found notebook material\u003cbr\u003eEdition of 25\u003c\/p\u003e\u003cp\u003eProduced from a discarded off-licence memo book acquired during an early visit to London, \u003cem\u003eFuck Book\u003c\/em\u003e operates somewhere between artist journal, punk zine, diary-object and conceptual facsimile. The original support — an ordinary British stationer’s memo pad — becomes a site of accumulation and interference. Price stickers, retail residue, medication labels, rubber-stamped cartoon imagery, and stencil typography are layered into a loose sequence of statements, repetitions and interruptions.\u003c\/p\u003e\u003cp\u003eIssued under the overlapping identities of Catherine Holly and The Academy of Realness — with Rafael Melendez functioning simultaneously as author, editor, producer and displaced signatory — the publication treats authorship as unstable. The object shifts between pseudonym and attribution rather than settling into either one.\u003c\/p\u003e\u003cp\u003eThe publication draws from self-published artist books, Xerox-era zine culture, mail-art logic and diaristic forms of conceptual publishing. 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The title itself begins as a denial — a statement of distance from inherited positions and cultural associations — while simultaneously establishing new fictive relations.\u003c\/p\u003e\u003cp\u003ePages move through a stream of appropriated fragments: exhibition references, photographs of artists, photocopied reproductions, clipped texts, accidental pairings, retail residue, and detached captions. Figures appear without hierarchy. Daniel Richter, Felix Gonzalez-Torres, Wolfgang Tillmans, Jean Cocteau and anonymous source material coexist as equal image-events within a loose field of association.\u003c\/p\u003e\u003cp\u003eRather than operating as documentary evidence, the publication assembles a temporary structure of affiliations and misreadings. Names become stand-ins; images become relatives; cultural memory becomes reorganized through juxtaposition. 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Taking its title and conceptual point of departure from William S. Burroughs’ 1959 novel, the book does not attempt to illustrate the original text but instead treats it as a procedural device — a machine through which images, fragments, and cultural debris are reorganized. Burroughs’ methods of discontinuity and the cut-up become displaced into a contemporary image condition shaped by algorithmic production and network circulation.\u003c\/p\u003e\u003cp\u003eProduced through computer-augmented and AI-generated imagery, the publication assembles a shifting field where advertisements, robots, celebrity images, anatomical fragments, cartoon forms, consumer products, architecture, found photographs, and digital artifacts enter unstable relationships with one another. Figures appear and disappear; identities dissolve into interfaces; bodies become synthetic surfaces. Narrative is interrupted before it stabilizes.\u003c\/p\u003e\u003cp\u003eIf Burroughs’ \u003cem\u003eInterzone\u003c\/em\u003e operated as a hallucinatory geography of addiction, bureaucracy, paranoia, and control, this publication proposes another kind of territory: one formed through endless image circulation and machine interpretation. The grotesque body-horror of the original novel becomes informational rather than biological. Control no longer appears through doctors and institutions alone, but through systems of recommendation, automated image production, media repetition, and synthetic desire.\u003c\/p\u003e\u003cp\u003eThe publication emerged from concerns that later became central to both \u003cem\u003eThe Academy of Realness\u003c\/em\u003e and \u003cem\u003eThe New Rare\u003c\/em\u003e: the instability of authorship, the movement of images across contexts, and the possibility that meaning increasingly arrives through editing and arrangement rather than invention. Images are not treated as fixed illustrations but as temporary occupants moving through a larger structure. Names become stand-ins; images become relatives; cultural memory becomes reorganized through juxtaposition.\u003c\/p\u003e\u003cp\u003eRather than functioning as an adaptation of Burroughs, \u003cem\u003eThe Naked Lunch\u003c\/em\u003e operates as a secondary object — somewhere between artist publication, visual archive, speculative fiction, and image inventory. A literary work passes through another system and returns altered.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOriginal period publication. Edition released through The Academy of Realness, 2023.\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Academy of Realness","offers":[{"title":"Default Title","offer_id":53526672998738,"sku":"RM-TNL-2023","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/The_Naked_Lunch_2023_001.jpg?v=1779418587"},{"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":"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. 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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":"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":"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":"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"},{"product_id":"gay-bronx-council-on-the-arts-longwood-arts-project-2014","title":"GAY — Bronx Council on the Arts \/ Longwood Arts Project, New York, 2014","description":"\u003cp\u003eExhibition announcement card \/ offset print on card stock \/ full colour \/ double-sided\u003cbr\u003eApprox. postcard dimensions\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and circulation\u003c\/p\u003e\u003cp\u003eAn original exhibition card issued for \u003cem\u003eGAY\u003c\/em\u003e, a group exhibition at Longwood Art Gallery @ Hostos, Bronx, New York, examining shifts in identity through the cultural production of gay male artists of color across the period 2003–2013. Organised by Ivan Monforte and presented by the Bronx Council on the Arts and Longwood Arts Project, the exhibition brought together an intergenerational and multidisciplinary group of artists including David Antonio Cruz, Steve Locke, Jacolby Satterwhite, Rafael Melendez, and others working across painting, performance, video, photography, and installation.\u003c\/p\u003e\u003cp\u003eThe recto reproduces a lush wooded stream landscape interrupted by the word \u003cem\u003egay\u003c\/em\u003e rendered in thin lowercase white typography — image and text held in quiet tension. The reverse shifts from image to administration: exhibition dates (5 February–7 May 2014), public programming, panel discussions, screenings, community events, and an advisory notice regarding mature content. Infrastructure becomes part of the printed surface.\u003c\/p\u003e\u003cp\u003eWithin a The New Rare reading, the object functions as retained institutional material rather than simple promotion. It compresses a larger cultural moment into portable form. The exhibition survives here not as installation but as a circulation object: image on one side, infrastructure on the other.\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":53568994115922,"sku":"GAY-LONGWOOD-INV-2014","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Antoini_Cruz_David._Henry_Imani._Locke_Steven._Show_invite_Gay_._2014_front.jpg?v=1779740245"},{"product_id":"achille-castiglioni-du-design-au-ready-made-pompidou-paris-1985","title":"Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985","description":"\u003cp\u003eExhibition invitation \/ brochure\u003cbr\u003eOffset print on folded card stock with colour photographic cover and red typographic interior\u003cbr\u003eCentre Georges Pompidou, Galerie du CCI, Paris\u003cbr\u003eExhibition dates: 27 November 1985 – 3 February 1986; vernissage 26 November 1985, 18:00\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age toning consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eAn original invitation brochure issued for \u003cem\u003eAchille Castiglioni: du design au ready-made\u003c\/em\u003e, presented at the Centre Georges Pompidou in Paris in late 1985. The exhibition was organized through the Centre de Création Industrielle and formed part of a broader travelling project realized by the \u003cem\u003eConsorzio Mostra Itinerante Castiglioni\u003c\/em\u003e, with participation from Galerie Néotu for the Paris presentation.\u003c\/p\u003e\u003cp\u003eThe front cover uses a reduced graphic language of deep blue forms bounded by red bars, associated with the visual identity system developed by Swiss graphic designer Jean Widmer, whose work helped define the institutional language of the Pompidou during this period. The interior carries dense red typography with opening details and exhibition information in a sharply administrative register.\u003c\/p\u003e\u003cp\u003eBy 1985, Achille Castiglioni had already become one of the most influential figures in postwar industrial design. Rather than treating objects as isolated formal problems, Castiglioni frequently worked through adaptation, displacement, and everyday observation. The exhibition title — \u003cem\u003efrom design to readymade\u003c\/em\u003e — quietly places his practice near Duchampian territory, where existing forms, found functions, and acts of selection become part of the design process.\u003c\/p\u003e\u003cp\u003eInvitation, institutional graphic system, and object proposition collapse into a portable printed support.\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":53571582263634,"sku":"CASTIGLIONI-POMPIDOU-INV-1985","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Castiglioni_Achille._Show_invite_Achille_Castiglioni_du_design_au_ready-made_._1985_front.jpg?v=1779776680"},{"product_id":"michel-ciry-galerie-de-paris-1971","title":"Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971","description":"\u003cp\u003eExhibition invitation with accompanying handwritten archival reference note\u003cbr\u003eOffset print on folded card stock with handwritten graphite research slip\u003cbr\u003eGalerie de Paris, 14 Place François-1er, Paris\u003cbr\u003eExhibition dates: 26 October – 27 November 1971; vernissage 26 October, 17:00–20:00\u003cbr\u003eApprox. 21 × 15 cm (invitation, unfolded, estimated)\u003cbr\u003eCondition: good to very good; central fold as issued, light age toning, minor handling wear and softening to edges; accompanying note with fold and handling marks consistent with archival use\u003c\/p\u003e\u003cp\u003eAn original 1971 exhibition invitation issued for Michel Ciry at Galerie de Paris, accompanied by a handwritten German research card retained alongside it. The invitation announces an exhibition of paintings, watercolours, and drawings and follows a restrained typographic format characteristic of Paris gallery material from the period: sparse hierarchy, wide spacing, and little emphasis beyond the artist’s name itself.\u003c\/p\u003e\u003cp\u003eMichel Ciry (1919–2018) occupied a curious position within postwar French culture. Painter, engraver, writer, and composer, his work frequently moved around spiritual themes, religious imagery, portraiture, and contemplative realism at a moment when abstraction and conceptual practices increasingly dominated institutional discourse.\u003c\/p\u003e\u003cp\u003eThe accompanying handwritten note introduces an unexpected secondary layer. Written in German, it records bibliographic information for \u003cem\u003eDie Wiener Secession: Eine Dokumentation\u003c\/em\u003e by Robert Waissenberger, published by Verlag Jugend und Volk in Vienna and Munich in 1971 (300 pages; 120 Deutsche Marks). Whether originally inserted by a collector, bookseller, researcher, or archivist, the note shifts the object slightly away from a single exhibition announcement and toward a small working archive.\u003c\/p\u003e\u003cp\u003eThe invitation and note function as paired supports rather than independent objects. One announces an exhibition; the other indexes another history entirely. Artist, book, movement, price, place. Two administrative fragments temporarily held together.\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":53571706945874,"sku":"CIRY-GALERIEPARIS-INV-1971","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ciry_Michael._Show_invite_Galerie_de_Paris._1971_front.jpg?v=1779777868"},{"product_id":"tomma-abts-exhibition-invitation-david-zwirner-new-york-2014","title":"Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eDavid Zwirner, 519 West 19th Street, New York, NY 10011\u003cbr\u003e10 September – 25 October 2014\u003c\/p\u003e\u003cp\u003eOffset-printed square card; colour image detail to recto; exhibition text to verso\u003cbr\u003e20.5 × 20.5 cm\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good; light surface rubbing, faint handling marks, minor age toning.\u003c\/p\u003e\u003cp\u003eOriginal invitation card issued for Tomma Abts at David Zwirner, New York. The card reproduces a detail from \u003cem\u003eUntitled\u003c\/em\u003e, 2013 — colored pencil and pencil on paper, 33¼ × 23⅞ inches — compressing Abts’s precise spatial constructions into a portable printed support.\u003c\/p\u003e\u003cp\u003eIssued during a significant mid-career moment following Abts’s 2006 Turner Prize win, and concurrent with her \u003cem\u003eMainly Drawings\u003c\/em\u003e presentation at the Aspen Art Museum. The object sits between gallery announcement and reduced exhibition fragment: drawing translated into crop, crop translated into circulation material.\u003c\/p\u003e\u003cp\u003eTypical of David Zwirner’s restrained printed matter from the period — minimal typography, generous white space, administrative clarity. A retained document from the circulation system surrounding contemporary abstraction in the 2010s.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53594280558930,"sku":"ABTS-ZWIRNER-INV-2014","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abts_-Tomma.-David-Zwirner-show-invite.-2014-front.jpg?v=1780006003"},{"product_id":"adel-abdessemed-rio-david-zwirner-new-york-2009","title":"Adel Abdessemed — Rio, David Zwirner, New York, 2009","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eDavid Zwirner, 519 \u0026amp; 525 \u0026amp; 533 West 19th Street, New York, NY 10011\u003cbr\u003e3 April – 9 May 2009\u003c\/p\u003e\u003cp\u003eOffset print on folded card stock\u003cbr\u003eApprox. 20.5 × 20.5 cm\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good vintage condition. Light handling wear and minor surface marks. The traces remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eRio\u003c\/em\u003e, Adel Abdessemed’s 2009 exhibition at David Zwirner in New York. The cover reproduces a detail from \u003cem\u003eLincoln\u003c\/em\u003e (2009), a large-scale C-print depicting the artist reclining across a seated figure based on the Lincoln Memorial. The work belongs to a period in which Abdessemed repeatedly reactivated historical, political, and cultural symbols through direct physical intervention, staging encounters between contemporary bodies and collective monuments.\u003c\/p\u003e\u003cp\u003eBorn in Algeria in 1971 and based between Europe and the United States, Adel Abdessemed emerged during the 2000s as one of the most discussed artists of his generation. His work frequently combines sculpture, photography, film, drawing, and installation, addressing violence, representation, power, memory, and resistance. By the time of \u003cem\u003eRio\u003c\/em\u003e, he had already exhibited internationally at major institutions including the Venice Biennale, positioning the exhibition as part of his rapid ascent within the global contemporary art circuit.\u003c\/p\u003e\u003cp\u003eAs an object, the card records a specific moment in the expansion of David Zwirner’s Chelsea programme during the late 2000s. The image operates simultaneously as artwork, announcement, and distribution device. Folded, mailed, retained, and later separated from its original function, the invitation remains as a compact record of how contemporary art entered circulation before social media became the dominant exhibition platform.\u003c\/p\u003e\u003cp\u003eA gallery announcement retained long enough to change status.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53595710816594,"sku":"ABDESSEMED-ZWIRNER-INV-2009","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abdessemed_-Adel.-David-Zwirner-show-invite.-2009-front.jpg?v=1780028782"},{"product_id":"enki-bilal-inbox-fondazione-giorgio-cini-venice-2015","title":"Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015","description":"\u003cp\u003eExhibition postcard \/ announcement card\u003cbr\u003eFondazione Giorgio Cini, Isola di San Giorgio Maggiore, Venice\u003cbr\u003e8 May – 2 August 2015\u003c\/p\u003e\u003cp\u003eOffset print on card stock\u003cbr\u003eApprox. 10.5 × 15 cm · Printed recto and verso\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good vintage condition. Light surface wear, minor handling marks, and faint age toning. The marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eThe front reproduces a detail from \u003cem\u003eInbox\u003c\/em\u003e: two spectral, blue-toned faces rendered in Bilal’s characteristic science-fiction palette, suspended somewhere between painting, cinema still, and hallucinated image. The reverse functions as an administrative support, carrying exhibition information, opening dates, institutional logos, and postal fields. Image on one side, distribution mechanism on the other.\u003c\/p\u003e\u003cp\u003eIssued for Enki Bilal’s installation \u003cem\u003eInbox\u003c\/em\u003e, presented during the 56th Venice Biennale at the Fondazione Giorgio Cini. Supported by Artcurial, the project marked Bilal’s first major exhibition within the Biennale context and extended his long-standing movement between comic art, painting, cinema, and immersive installation.\u003c\/p\u003e\u003cp\u003eBilal occupies a singular position within late twentieth- and early twenty-first-century image culture. Emerging from the Franco-Belgian comics tradition before moving into painting, film, and installation, he developed a visual language of post-industrial bodies, political dystopias, synthetic skin, and damaged memory. His figures often appear as if passing between analogue and digital states.\u003c\/p\u003e\u003cp\u003eA minor document from a major international art context. Retained evidence of passage through the Biennale economy. Shipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53596585230674,"sku":"BILAL-CINI-INV-2015","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bilal_Enki._Show_invite_Fondazione_Giorgio_Cini._2015_front_1048afbc-b5b7-4150-9021-11e6d703159c.jpg?v=1780039026"},{"product_id":"callahan-harry-museum-of-modern-art-new-york-1967","title":"Harry Callahan — Museum of Modern Art, New York, 1967","description":"\u003cp\u003ePublished by MoMA in 1967, this catalogue accompanies one of the institution's important presentations of Harry Callahan's photography. The sequence moves between street photography, portraiture, architecture, landscape, and the recurring presence of Eleanor, Callahan's wife and one of the most enduring subjects in twentieth-century photography.\u003c\/p\u003e\u003cp\u003eA museum publication from a moment when photography was consolidating its position within the modern art institution. The catalogue functions as both record and distribution device: photographs translated into printed form and circulated beyond the exhibition itself. Trees, streets, bodies, windows, shadows, and domestic interiors move from wall to page.\u003c\/p\u003e\u003cp\u003eRetained exhibition material. A printed support through which Callahan's photographs continued their circulation after the exhibition ended.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Offset-printed softcover\u003cbr\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e Black-and-white photographic reproductions throughout\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 19.5 × 22 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 84\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Museum of Modern Art, New York, 1967\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Toning to covers, surface rubbing, edge wear, small creases, and handling marks.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53615708438866,"sku":"CALLAHAN-MOMA-CAT-1967","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Callahan_-Harry.-1967-Museum-of-Modern-Art-Exhibition-Catalogue-cover.jpg?v=1780302735"},{"product_id":"bosser-daniel-philippe-thomas-declines-his-identity-occasional-papers-2015","title":"Daniel Bosser — Philippe Thomas Declines His Identity","description":"\u003cp\u003eFirst authorised English translation of \u003cem\u003ePhilippe Thomas décline son identité\u003c\/em\u003e, first published by Galerie Claire Burrus, Paris, in 1987. The book relates to a performative lecture given by Philippe Thomas at the Centre Pompidou in 1987 and later at the Musée de Grenoble. The lecture, its gestures, pauses, and delivery were already scripted inside the book itself.\u003c\/p\u003e\n\u003cp\u003eA small but important publication within Thomas's system of displaced authorship. The book is attributed to Daniel Bosser, the collector who acquired the work, following Thomas's practice of separating name, author, owner, and object.\u003c\/p\u003e\n\u003cp\u003ePrinted matter as script. Authorship as transfer. A book that records the disappearance of the artist's stable position.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 16 × 23 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 32\u003cbr\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e Black-and-white\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Occasional Papers, London, 2015\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light shelf wear and minor handling to cover edges.\u003c\/p\u003e","brand":"Occasional Papers","offers":[{"title":"Default Title","offer_id":53615833252178,"sku":"BOSSER-OCCPAP-CAT-2015","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bosser_Daniel._Philippe_Thomas_declines_his_identity._2015_front.jpg?v=1780303759"},{"product_id":"mark-grotjahn-kh-liquors-karma-new-york-2015","title":"Mark Grotjahn — K\u0026H Liquors, Karma, New York, 2015","description":"\u003cp\u003eSoftcover artist book. 64 pages, 21.5 × 27 cm. Edition of 750. Published by Karma, New York, 2015.\u003c\/p\u003e\u003cp\u003eCondition: Good. Light shelf wear and minor handling consistent with use.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eK\u0026amp;H Liquors\u003c\/em\u003e reproduces a group of handmade liquor store signs connected to Grotjahn's early interest in vernacular signage, exchange, and commercial display. Made around the same logic as his Sign Exchange works, the book sits close to the point where ordinary shop graphics, pricing language, and hand-painted communication become part of an artist's system.\u003c\/p\u003e\u003cp\u003ePrice tags, beer brands, hand-lettered numerals — the signs are reproduced at scale, one per spread, on uncoated stock. The book does not explain them. It presents them as a sequence, which is its own kind of argument.\u003c\/p\u003e\u003cp\u003eA Karma publication from 2015. Store sign, price mark, local object, reproduced as book.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53621556937042,"sku":"GROTJAHN-KARMA-CAT-2015","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Grotjahn_Mark._K_H_Liquors._2015_back.jpg?v=1780349871"},{"product_id":"rebecca-horn-missing-full-moon-artsite-no-22-bath-1989","title":"Rebecca Horn — Missing Full Moon [Artsite No. 22], Artsite Gallery, Bath, 1989","description":"\u003cp\u003ePaperback. 80 pages, 21 × 29 cm. Illustrated throughout. Published by Artsite Gallery, Bath, for the Bath International Festival, 1989.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. Light handling wear, minor cover marks, slight corner softening.\u003c\/p\u003e\u003cp\u003ePublished for Rebecca Horn's 1989 installation project in Bath, \u003cem\u003eMissing Full Moon\u003c\/em\u003e documents a body of work made at the point where Horn's practice had moved decisively from body extensions and performance into kinetic sculpture, water, mirrors, vessels, and site-responsive installation. By the late 1980s, her installations were operating through elemental materials — mercury, feathers, water, glass — and through the logic of reflection, suspension, and slow mechanical movement.\u003c\/p\u003e\u003cp\u003eA quiet exhibition book with a plain olive green cover and minimal title treatment. Inside, photographic records of pools, suspended forms, ruined architecture, and reflective surfaces place the publication between catalogue, document, and retained exhibition support. The images carry the weight of the work without explaining it.\u003c\/p\u003e\u003cp\u003eAn uncommon regional publication from a significant moment in Horn's practice. More visible in institutional holdings than in regular commercial circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Artsite Gallery","offers":[{"title":"Default Title","offer_id":53624809718098,"sku":"HORN-ARTSITE-CAT-1989","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Horn_-Rebecca.-Missing-Full-Moon-_Artsite-No.-22_.-1989-1.jpg?v=1780374732"},{"product_id":"andre-kertesz-budapest-paris-new-york-vintage-galeria-2007","title":"André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007","description":"\u003cp\u003eSoftcover exhibition catalogue. 62 pages, 21 × 23 cm. English and Hungarian text. Published by Vintage Galéria, Budapest, 2007.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. Light handling wear, minor rubbing, and age toning. The marks remain part of the record: evidence of storage, handling, circulation, and transfer.\u003c\/p\u003e\u003cp\u003eA concise survey of the life and work of André Kertész, structured around the three cities that shaped his career: Budapest, Paris, and New York. The publication reproduces key photographs from across six decades, including early Hungarian images, Parisian modernist compositions, the celebrated Distortions, and later New York works.\u003c\/p\u003e\u003cp\u003eBorn in Budapest in 1894, Kertész is widely regarded as one of the foundational figures of modern photography. His intuitive approach to composition influenced generations of photographers, from European modernists to post-war street photographers. His movement between Hungary, France, and the United States provides the framework for this publication and mirrors the trajectory of twentieth-century photography itself.\u003c\/p\u003e\u003cp\u003eThe catalogue functions as a compact exhibition support: a printed record linking three cities, three periods, and a photographic practice that continually moved between observation, experiment, and everyday life. Not simply a monograph, but a retained exhibition document tracing the circulation of images across Europe and America.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Carefully packed and shipped flat.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53625021792594,"sku":"KERTESZ-VINTAGEGALERIA-CAT-2007","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kertesz_-Andre.-Budapest_-Paris_-New-York.-2007-2-cover.jpg?v=1780380604"},{"product_id":"martin-kippenberger-67-improved-papertigers-not-afraid-of-repetition-schirmer-mosel-2012","title":"Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer\/Mosel, 2012","description":"\u003cp\u003eSoftcover, stapled wrappers. 48 pages, 18 × 26 cm. Text in English and German. Published by Schirmer\/Mosel \/ Edition Julie Sylvester, 2012. Re-edition after the 1987 original.\u003c\/p\u003e\u003cp\u003eCondition: Good used condition. Rubbing, handling marks, light soiling, softened corners, and wear to wrappers.\u003c\/p\u003e\u003cp\u003eA later edition of Kippenberger's 1987 artist's book, collecting 67 aphorisms, jokes, and short verbal propositions. The original appeared through Edition Julie Sylvester, New York; this Schirmer\/Mosel edition keeps the object in circulation after its first appearance as a small artist's book.\u003c\/p\u003e\u003cp\u003eKippenberger's books sit close to his broader practice: provisional, funny, self-mythologising, and resistant to clean categorisation. Here the artist appears through language, repetition, correction, and minor absurdity. Not a catalogue of works, but a printed support for tone, persona, and method.\u003c\/p\u003e\u003cp\u003eA handled copy. The later edition is not rare in the same way as the 1987 first, but it remains a useful Kippenberger object: inexpensive, portable, and structurally close to the artist's book format.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53625093357906,"sku":"KIPPENBERGER-SCHIRMERMOSEL-CAT-2012","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kippenberger_Martin._67_Improved_Papertigers_Not_Afraid_of_Repetition._1987.jpg?v=1780382490"},{"product_id":"jurgen-klauke-prosecuritas-cantz-kunsthalle-bielefeld-1994","title":"Jürgen Klauke — Prosecuritas, Cantz \/ Kunsthalle Bielefeld, 1994","description":"\u003cp\u003eHardcover. 120 pages, 28 × 25 cm. German text. Published by Cantz, Ostfildern \/ Kunsthalle Bielefeld, 1994. ISBN: 3893226338.\u003c\/p\u003e\u003cp\u003eCondition: Good. Light shelf wear and handling visible to cover edges and corners.\u003c\/p\u003e\u003cp\u003ePublished in 1994, \u003cem\u003eProsecuritas\u003c\/em\u003e sits within Jürgen Klauke's long investigation of the body, identity, staged photography, performance, and psychological apparatus. Since the 1970s, Klauke has used the camera not simply to document action, but to construct unstable images of the self: theatrical, ritualized, technological, and often darkly comic.\u003c\/p\u003e\u003cp\u003eThis volume gathers works from a period in which his practice moved between photographic sequence, object staging, X-ray imagery, and the body as an administered or monitored subject. The book includes the four-panel sequence \u003cem\u003eSchussfolge\/Schlussfolge\u003c\/em\u003e (1976), the silhouette diptych \u003cem\u003eSchattenbilder\u003c\/em\u003e (1984), the vitrine-like object staging \u003cem\u003eKulturtische\u003c\/em\u003e from the \u003cem\u003eSonntagsneurosen\u003c\/em\u003e cycle (1990\/1992), and cyanotype-like X-ray images of surveillance and medical apparatus.\u003c\/p\u003e\u003cp\u003eA substantial 1990s Cantz monograph and exhibition catalogue. Large-format hardcover with clear plastic dust jacket, monochrome-heavy design, image sequences, installation-like photographic reproductions, and German critical texts.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships carefully packed.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53625168494930,"sku":"KLAUKE-KUNSTHALLEBIELEFELD-CAT-1994","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klauke_-Jurgen.-Prosecuritas.-1994-1.jpg?v=1780383483"},{"product_id":"lebovici-the-name-of-philippe-thomas-sternberg-press-kunsthalle-bern-2008","title":"Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press \/ Kunsthalle Bern, 2008","description":"\u003cp\u003eSoftcover. 112 pages, 12 × 18 cm. Published by Sternberg Press \/ Kunsthalle Bern, 2008. ISBN: 978-3-956794-31-5.\u003c\/p\u003e\u003cp\u003eCondition: New old stock. Sealed in original publisher's shrink wrap. Light handling and storage wear to the plastic wrap from age and shelving.\u003c\/p\u003e\u003cp\u003eFrench critic and historian Élisabeth Lebovici examines the work of Philippe Thomas (1951–1995), the artist who spent much of his career attempting to dissolve conventional ideas of authorship. Through projects such as \u003cem\u003ereadymades belong to everyone®\u003c\/em\u003e, Thomas transferred ownership, attribution, and even artistic identity to collectors and participants, turning the artwork into a social and contractual structure rather than a stable object.\u003c\/p\u003e\u003cp\u003eA compact but significant publication. Less a conventional monograph than a study of a name that repeatedly attempted to disappear. Thomas remains a key figure for anyone interested in conceptual strategies, delegated authorship, fictional identities, and the unstable relationship between artist, collector, institution, and object.\u003c\/p\u003e\u003cp\u003eThe artwork appears not as a singular thing but as a transfer mechanism. The book functions similarly — a small printed support carrying a larger set of questions: who owns a work, who authors it, and what remains when a name becomes part of the medium itself.\u003c\/p\u003e\u003cp\u003eShipping and handling included. Carefully packed and shipped flat.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":53632258048338,"sku":"LEBOVICI-STERNBERG-CAT-2008","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lebovici_Elisabeth._The_name_of_Philippe_Thomas._2008_front.jpg?v=1780399263"}],"url":"https:\/\/thenewrare.com\/collections\/under-50.oembed?page=2","provider":"The New Rare","version":"1.0","type":"link"}