{"title":"Under £50","description":"\u003cp\u003eWorks from the archive priced under £50.\u003c\/p\u003e","products":[{"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\u003eVice Versa Verlag \/ The Gilbert and Lila Silverman Fluxus Collection, Berlin, c. 2003. Publisher’s postcard, 15 × 10.5 cm. Cover image to recto; publisher details and ISBN (3-932809-39-4) to verso.\u003c\/p\u003e\u003cp\u003eAnnouncement card for \u003cem\u003eMaciunas’ Learning Machines: From Art History to a Chronology of Fluxus\u003c\/em\u003e, edited by Astrit Schmidt-Burkhardt. 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\u003eThe 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. Original period item.\u003c\/p\u003e","brand":"Vice Versa Verlag","offers":[{"title":"Default Title","offer_id":53157666816338,"sku":"MACIUNAS-VICEVERSA-PC-2003","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":"laylah-ali-projects-75-moma-2002","title":"LAYLAH ALI — Projects 75, MoMA, New York, 2002","description":"\u003cp\u003eThe Museum of Modern Art, New York, 2002. Artist’s book. Staple bound, [40] pp., 18.5 × 24.5 cm. Offset printed in colour. Includes original folded brochure.\u003c\/p\u003e\u003cp\u003ePublished by MoMA on the occasion of Projects 75. 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.\u003c\/p\u003e\u003cp\u003eThe result is deceptively simple: a small MoMA paperback in which violence is processed through graphic clarity and institutional calm. The brochure includes text by Kristin Helmick-Brunet, Assistant Curator, Department of Drawings.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear; minor cover and edge wear consistent with age. Original period item.\u003c\/p\u003e","brand":"MoMA","offers":[{"title":"Default Title","offer_id":53285065097554,"sku":"ALI-MOMA-CAT-2002","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. Exhibition catalogue. Staple-bound wraps, 26.7 × 18.1 cm. Offset print, black and white. [34] pp., 11 plates. Inserted checklist included.\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. The catalogue does not frame the work so much as place it: European context, institutional address, critical alignment, and checklist held together in a single stapled object.\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. Original period item.\u003c\/p\u003e","brand":"Ileana Sonnabend Gallery","offers":[{"title":"Default Title","offer_id":53288893219154,"sku":"RAUSCHENBERG-SONNABEND-CAT-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. Exhibition catalogue. Softcover, 21 × 29.7 cm. Illustrated throughout with 48 works.\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\u003eA catalogue structured as a survey, 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 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, light toning throughout. Retail sticker to front cover retained. Original 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. Exhibition catalogue. Designed by Gerda C. van der Laan. Softcover, stapled wrappers, 24 pp., 19 × 26 cm. Black-and-white photographic plates. Catalogus no. 337.\u003c\/p\u003e\u003cp\u003ePublished for the exhibition \u003cem\u003eKunst uit Nieuw Guinea\u003c\/em\u003e, Museum Fodor, Amsterdam, 22 May – 30 June 1963. 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, title set in ochre lowercase. Inside, the catalogue proceeds through isolated reproductions: masks, sculptural figures, textile fragments, ritual forms, 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. A private ethnographic collection becomes 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 to wrappers. Handwritten annotations and blue-ink drawing to rear cover. Stapled binding intact. Original 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. First edition. Softcover.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of \u003cem\u003eWes Mills: Missoula Drawings\u003c\/em\u003e, Joseph Helman Gallery, 20 West 57th Street, New York, January–February 2000. Reviewed in \u003cem\u003eThe New York Times\u003c\/em\u003e and \u003cem\u003eArtnet Magazine\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eA small, quiet 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, large areas of paper. The drawing appears not as completed image but as a record of pressure, hesitation, and placement — each mark registering a decision made at the edge of legibility.\u003c\/p\u003e\u003cp\u003eThe book operates simultaneously as gallery document, exhibition residue, and portable register of a specific drawing sequence made under the name Missoula Drawings. It does not explain the work. It holds it in printed form, at reduced scale, in a format that carries the same restraint as the drawings themselves.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers. Clean interior. Original period item.\u003c\/p\u003e","brand":"Joseph Helman Gallery","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":false}],"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. The object remains modest: a restrained two-colour wrapper, small typography, a muted administrative surface.\u003c\/p\u003e\u003cp\u003eA small institutional document attached to a painter whose work would soon occupy a different scale of attention.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53400068325714,"sku":"PD-ACC-CHI-2003","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Doig_-Peter.-The-Arts-Club-of-Chicago_-2003-cover.jpg?v=1778552170"},{"product_id":"richard-tuttle-grey-walls-work-1996","title":"Richard Tuttle — Grey Walls Work","description":"\u003cp\u003eCamden Arts Centre, London \/ Douglas Hyde Gallery, Dublin \/ Inverleith House, Royal Botanic Garden Edinburgh, 1996–1997\u003cbr\u003eExhibition catalogue \/ artist’s book\u003cbr\u003e21 × 21 cm\u003cbr\u003e60 pp.\u003cbr\u003eDie-cut green card wrappers\u003cbr\u003eRed underlayer visible through oval cut-outs\u003cbr\u003eColour illustrations throughout\u003cbr\u003eIncludes interview with Richard Tuttle\u003cbr\u003eDesigned by the artist\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Fine. Clean copy with only very minor handling to covers. Binding tight, interior bright.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of Richard Tuttle’s touring exhibition \u003cem\u003eGrey Walls Work\u003c\/em\u003e, shown at Camden Arts Centre, London; the Douglas Hyde Gallery, Dublin; and Inverleith House, Royal Botanic Garden Edinburgh. The publication documents works made between 1994 and 1996, with Tuttle’s title pointing directly to the condition of display: these works ask to be seen against grey walls.\u003c\/p\u003e\u003cp\u003eThe catalogue is not only a record of the exhibition. Designed by Tuttle, it operates as a small constructed object. The green die-cut cover, repeated oval apertures, and red layer beneath turn the book into a surface of concealment and disclosure. Image, page, wall, and support are kept in play.\u003c\/p\u003e\u003cp\u003eTuttle’s practice has long occupied a position between drawing, sculpture, craft, and provisional architecture. Here that position enters the book form. A catalogue becomes a portable exhibition condition: modest, precise, tactile, and slightly unstable.\u003c\/p\u003e\u003cp\u003eArtist-designed exhibition catalogue.\u003cbr\u003eA book as support, surface, and placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"Camden Arts Centre","offers":[{"title":"Default Title","offer_id":53401911984466,"sku":"RT-GWW-CAC-1996","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Tuttle_-Richard.-Grey-Walls-Work.-1996-3-cover_45c65d5d-5c2e-4428-b914-c61400e083fd.jpg?v=1778555505"},{"product_id":"isa-genzken-window-hauser-wirth-london-2020","title":"Isa Genzken — Window","description":"\u003cp\u003eHauser \u0026amp; Wirth, London, 2020\u003cbr\u003eGallery exhibition invitation\u003cbr\u003eOffset colour print on card\u003cbr\u003e26 × 20 cm\u003c\/p\u003e\u003cp\u003eOpening reception: Thursday 6 February 2020, 6–8 pm\u003cbr\u003eExhibition dates: 7 February – 2 May 2020\u003cbr\u003eHauser \u0026amp; Wirth, 23 Savile Row, London W1S 2ET\u003c\/p\u003e\u003cp\u003eImage: \u003cem\u003eUntitled\u003c\/em\u003e (detail), 2018. 15 airplane window panels with wood and metal mounting; 3 airplane bench seats. Installation dimensions variable.\u003cbr\u003eCourtesy the artist, Hauser \u0026amp; Wirth and Galerie Buchholz, Cologne \/ Berlin \/ New York. Photo: Todd White Art Photography.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear.\u003c\/p\u003e\u003cp\u003eInvitation issued for \u003cem\u003eWindow\u003c\/em\u003e, Isa Genzken’s 2020 exhibition at Hauser \u0026amp; Wirth, London. The printed image reproduces an installation of aircraft window panels and economy-class seating. A structure of transit is moved into the gallery. Window, seat, wall, and support become detached architectural units.\u003c\/p\u003e\u003cp\u003eThe invitation operates as a minor exhibition record. It carries the image, the address, the date, the opening time, and the institutional credit line. A temporary exhibition is reduced to a card. The card remains after the room has been cleared.\u003c\/p\u003e\u003cp\u003eGenzken’s practice has long moved through architecture, display, urban material, and damaged modernist form. Here, the window is not simply a view. It is a frame, a surface, a limit, and a system for looking.\u003c\/p\u003e\u003cp\u003eThe invitation remains an invitation.\u003cbr\u003eThe exhibition has closed. The card has not.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53425645125970,"sku":"IG-WIN-HW-2020","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Isa_Genzken_2020_0001_c0f5f87b-2a0f-40f8-93fb-3d95beb83e74.jpg?v=1778687382"},{"product_id":"isa-genzken-filmprogramm-delphi-berlin-2013","title":"Isa Genzken — Filmprogramm","description":"\u003cp\u003eDelphi Filmpalast am Zoo, Berlin, 2013\u003cbr\u003eAnnouncement card \/ film programme flyer\u003cbr\u003e10.5 × 21 cm\u003cbr\u003eOffset print on white card stock\u003cbr\u003ePrinted recto; blank verso\u003cbr\u003eText in German\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light handling wear, faint surface marks, minor toning and small signs of storage to the blank verso.\u003c\/p\u003e\u003cp\u003eIssued for a one-night Isa Genzken film programme at Delphi Filmpalast am Zoo, Berlin, Thursday 28 March 2013, 21:00. The programme listed four works:\u003c\/p\u003e\u003cp\u003e\u003cem\u003eZwei Frauen im Gefecht\u003c\/em\u003e, 1974. 16mm Film, s\/w, 6 min. Mit Isa Genzken \u0026amp; Susanne Grayson. Kamera: Benjamin H.D. Buchloh.\u003cbr\u003e\u003cem\u003eChicago Drive\u003c\/em\u003e, 1992. 16mm Film, Farbe, 25 min. Kamera: Ray Wang.\u003cbr\u003e\u003cem\u003eWarum ich keine Interviews gebe\u003c\/em\u003e, 2003. Digitalfilm, Farbe, Ton, 3 min, 4 sek. Mit Isa Genzken \u0026amp; Kai Althoff.\u003cbr\u003e\u003cem\u003eDie kleine Bushaltestelle (Gersthof)\u003c\/em\u003e, 2012. Digitalfilm, Farbe, Ton, 70 min. 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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. Ships flat with protective backing.\u003c\/p\u003e","brand":"Guggenheim Museum","offers":[{"title":"Default Title","offer_id":53441647771986,"sku":"RP-SA-GUG-2007","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-_Spiritual-America_-exhibition-announcement.-2007-front_e91007a2-0963-454b-9a4f-6800aba8a8f0.jpg?v=1778786721"},{"product_id":"rafael-melendez-after-sturtevant","title":"Rafael Melendez — After Sturtevant","description":"\u003cp\u003eArtist publication \/ pamphlet\u003cbr\u003eThe Academy of Realness, 2022\u003cbr\u003eReleased for SWAB Art Fair, Barcelona, October 2022\u003cbr\u003e16 pages\u003cbr\u003eOffset print on folded paper stock\u003c\/p\u003e\u003cp\u003eCondition: very good; light handling wear consistent with production and storage\u003c\/p\u003e\u003cp\u003eA 16-page artist pamphlet produced by Rafael Melendez under the pseudonym The Academy of Realness. Released for SWAB Barcelona in 2022, \u003cem\u003eAfter Sturtevant\u003c\/em\u003e gathers images, quotations and short texts around linguistics, idealism, repetition, difference and ownership in a postmodern context.\u003c\/p\u003e\u003cp\u003eThe publication moves through Elaine Sturtevant, Jean Baudrillard, Felix Gonzalez-Torres, Richard Prince, Maurizio Cattelan, Blinky Palermo, Warhol and Cady Noland, treating repetition not as copying but as a method of displacement. Its design uses blue monospaced typography, white space, documentation images, exhibition-poster reconstructions and art-historical fragments.\u003c\/p\u003e\u003cp\u003eThe pamphlet operates as a portable theory-object: a folded support where authorship remains temporarily unstable and where the artwork survives as image, citation and repeated passage.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"The Academy of Realness","offers":[{"title":"Default Title","offer_id":53514375561554,"sku":"RM-AS-2022","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/After_Sturtevant_Pamphlet_2023.jpg?v=1779314949"},{"product_id":"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. 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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. Rather than presenting a coherent narrative, it accumulates fragments: slogans, administrative traces, found graphics and repeated gestures that move between private notebook and public statement.\u003c\/p\u003e\u003cp\u003eThe original notebook remains visible beneath the reproduction process. Retail labels survive. Found supports remain legible. A cheap object is temporarily repositioned as journal, artwork and printed artifact.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOriginal period item.\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Academy of Realness","offers":[{"title":"Default Title","offer_id":53516010717522,"sku":"CH-FB-2014","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Fuck_Book_2014_001.jpg?v=1779344986"},{"product_id":"catherine-holly-my-brother-ist-not-daniel-richter-my-father-ist-not-gehrhart","title":"Catherine Holly \/ The Academy of Realness — My Brother Is Not Daniel Richter \/ My Father Is Not Gehrhart","description":"\u003cp\u003eArtist publication \/ first edition\u003cbr\u003eThe Academy of Realness, New York, 2014\u003cbr\u003eApprox. 36–40 pages including covers\u003cbr\u003eColour cover, black-and-white interiors\u003cbr\u003eStaple-bound \/ photocopy and digital collage process\u003cbr\u003eEdition of 15\u003c\/p\u003e\u003cp\u003eProduced under the overlapping identities of Catherine Holly and The Academy of Realness, \u003cem\u003eMy Brother Is Not Daniel Richter \/ My Father Is Not Gehrhart\u003c\/em\u003e functions as a displaced family album assembled through the language of contemporary art, found imagery, and unstable authorship. 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. The recurring use of stickers, Strand Bookstore price labels, transfers and photocopied residue leaves traces of acquisition and circulation visible rather than concealed.\u003c\/p\u003e\u003cp\u003eThe publication sits somewhere between artist book, image archive, zine, and conceptual scrapbook. 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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. 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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. 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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. 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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. 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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 — Philippe Thomas Declines His Identity, Occasional Papers, London, 2015","description":"\u003cp\u003eSoftcover\u003cbr\u003e16 × 23 cm, 32 pp., black-and-white illustrations\u003cbr\u003ePublisher: Occasional Papers, London, 2015\u003cbr\u003eISBN: 9780992903909\u003cbr\u003eCondition: Very good. Light shelf wear and minor handling to cover edges.\u003c\/p\u003e\u003cp\u003eFirst authorised English translation of \u003cem\u003ePhilippe Thomas décline son identité\u003c\/em\u003e, originally published by Galerie Claire Burrus, Paris, in 1987. The text relates to a performative lecture delivered by Philippe Thomas at the Centre Georges Pompidou in 1987 and subsequently at the Musée de Grenoble — a lecture whose gestures, pauses, and delivery were already scripted within the book itself before it was spoken aloud.\u003c\/p\u003e\u003cp\u003eThe publication is attributed to DANIEL BOSSER, the collector who acquired the work, in accordance with Thomas’s central practice: the systematic transfer of authorship from artist to owner. Under Thomas’s agency \u003cem\u003ereadymades belong to everyone®\u003c\/em\u003e (founded 1987), the buyer’s name replaced the artist’s on the work’s surface, documentation, and public record. The book enacts this displacement directly: Thomas’s name recedes; Bosser’s advances. The lecture becomes a script. The script becomes a publication. The publication becomes evidence of a transfer that has already occurred.\u003c\/p\u003e\u003cp\u003eOccasional Papers — the London-based publisher known for its rigorous programme of artist writings, translations, and critical texts — produced this edition as part of its ongoing effort to make key documents of conceptual and post-conceptual practice available in English. 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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":false}],"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":false}],"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"},{"product_id":"clive-barker-heads-and-chariots-anthony-doffay-1974","title":"Clive Barker — Heads and Chariots, Anthony d'Offay, London, 1974","description":"\u003cp\u003e\u003cstrong\u003eClive Barker — Heads and Chariots\u003c\/strong\u003e\u003cbr\u003eAnthony d'Offay, London, 1974\u003cbr\u003eEssay by Roland Penrose\u003cbr\u003eExhibition catalogue\u003cbr\u003eSoftcover, square format, [20pp], 6 × 6 inches\u003cbr\u003eIllustrated with tipped-in black-and-white photographic plates\u003c\/p\u003e\u003cp\u003ePublished on the occasion of \u003cem\u003eClive Barker: Heads and Chariots\u003c\/em\u003e, held at Anthony d'Offay, London, 1–26 July 1974.\u003c\/p\u003e\u003cp\u003eSmall square exhibition catalogue for Barker's 1974 presentation of heads, helmets, and chariot forms. The publication includes an essay by Roland Penrose and tipped-in black-and-white photographic plates of Barker's chrome-like sculptural objects.\u003c\/p\u003e\u003cp\u003eBarker's work sits within British Pop while remaining closely tied to found objects, casting, surface, disguise, and the transformation of functional forms into sculpture. Helmets, heads, mouths, vehicles, and industrial shapes appear as polished supports: part object, part relic, part prop.\u003c\/p\u003e\u003cp\u003eA retained 1970s exhibition catalogue from Anthony d'Offay, with strong links to British Pop, post-Duchampian sculpture, and the object as remade image.\u003c\/p\u003e\u003cp\u003eCondition: good vintage condition. Age toning, light surface wear, softened corners, and handling marks throughout. The marks remain part of the record: evidence of circulation, storage, handling, and transfer.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Anthony d'Offay","offers":[{"title":"Default Title","offer_id":53686369747282,"sku":"BARKER-DOFFAY-CAT-1974","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Barker_Clive._Heads_and_Chariots_1_to_26_July_1974._Barker_Clive._Essay_by_Roland_Penrose_c1c0a74e-7178-4aed-840b-6b41ce6644b2.jpg?v=1780971448"},{"product_id":"chadwick-enfleshings-i-tate-pc-1994","title":"Helen Chadwick — Enfleshings I — Tate Postcard, 1994","description":"\u003cp\u003eTate postcard\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card\u003cbr\u003ePrinted 1994\u003c\/p\u003e\u003cp\u003eTate postcard reproducing Helen Chadwick’s \u003cem\u003eEnfleshings I\u003c\/em\u003e, 1989. Printed after Tate’s 1994 purchase of the work. The original is a photographic transparency on lightbox, 106.6 × 91.5 × 18 cm, held in the Tate collection.\u003c\/p\u003e\u003cp\u003eChadwick was a key British artist working through sculpture, photography, installation, and the body. Her work often treated flesh, desire, biology, and display as unstable materials. She was nominated for the Turner Prize in 1987. \u003cem\u003eEnfleshings I\u003c\/em\u003e is among her most significant works: a circular arrangement of raw organic matter around a central light source, the body rendered as luminous, biological, and formally composed.\u003c\/p\u003e\u003cp\u003eA small museum support for a major Chadwick work. The body becomes image, lightbox, collection record, shop object. Printed matter after acquisition.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition; light corner wear, surface marks, and minor handling.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699435299154,"sku":"CHADWICK-TATE-PC-1994","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Chadwick_-Helen.-Enfleshings-I-1989--Printed-1994_-Tate.jpg?v=1781071359"},{"product_id":"maffei-yvon-lambert-paris-inv-2005","title":"Mario Maffei — Exhibition Invitation Card, Yvon Lambert Paris Project Room, 2005","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eYvon Lambert Paris Project Room, Paris, 2005\u003cbr\u003e10 × 10 cm\u003cbr\u003eOffset print on light card stock\u003cbr\u003e10 September – 20 October 2005\u003c\/p\u003e\u003cp\u003eExhibition invitation card issued for Mario Maffei at Yvon Lambert Paris Project Room. The recto carries a childlike figurative drawing incorporating references to Paris, fascist imagery, fashion graphics, and comic-strip distortion; the verso carries exhibition details and gallery information.\u003c\/p\u003e\u003cp\u003eThe drawing operates in the awkward, intentionally unstable visual language that circulated around younger figurative and neo-outsider practices during the early 2000s: part notebook image, part graphic mascot, part social caricature. The invitation compresses exhibition, identity, and reproduction into a portable square format designed for mailing and distribution.\u003c\/p\u003e\u003cp\u003eWithin The New Rare shop\/object register, the card functions less as documentation than as retained circulation material. The exhibition survives here as paper residue: artist name, temporary dates, institutional address, and reproduced image held together as a minor administrative object. The mark of the gallery remains intact; the object remains unchanged. Its placement does not.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Light handling wear, faint corner softening, and minor age toning consistent with stored gallery ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53699519480146,"sku":"MAFFEI-YVONLAMBERT-INV-2005","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Maffei_-Mario.-Show-invite-card_-Yvon-Lambert-Paris-Project-Room.-2005-front_947f91a6-a3bb-4f0a-8943-28871534bcc7.jpg?v=1781075188"},{"product_id":"constructures-nohra-haime-cat-1985","title":"Constructures: New Perimetrics in Abstract Painting — Exhibition Catalogue, Nohra Haime Gallery, New York, c.1985","description":"\u003cp\u003eExhibition catalogue \/ booklet\u003cbr\u003eNohra Haime Gallery, 1000 Madison Avenue, New York, N.Y. 10021\u003cbr\u003eOffset print on matte stock, stapled\u003cbr\u003ec.1985\u003c\/p\u003e\u003cp\u003eRare exhibition catalogue issued by Nohra Haime Gallery, New York, for \u003cem\u003eConstructures: New Perimetrics in Abstract Painting\u003c\/em\u003e, a mid-1980s group exhibition examining geometric abstraction, shaped pictorial space, constructed surfaces, and post-minimal painting languages at a moment when abstraction was being reconsidered after conceptual art and late modernism.\u003c\/p\u003e\u003cp\u003eThe publication’s severe typographic cover design — halfway between architectural proposal, proto-digital graphics, and bureaucratic science-fiction — unexpectedly anticipates later conversations around techno-formalism, Neo-Geo aesthetics, speculative architecture, and administrative abstraction. Rather than presenting painting as purely optical, the exhibition reframes abstraction as constructed spatial logic: perimeter, edge, support, structure, system.\u003c\/p\u003e\u003cp\u003eSeen now, the document feels surprisingly close to later conversations surrounding Peter Halley, Haim Steinbach, Philippe Thomas-era display structures, graphic identity systems, and post-conceptual exhibition design.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light handling wear, edge softening, surface rubbing, age toning, and minor creasing consistent with gallery circulation and archive storage.\u003c\/p\u003e\u003cp\u003ePart exhibition document, part design artifact, part failed future-modernist proposal, the object survives less as a neutral catalogue than as a fragment from a moment when abstraction attempted to reorganise itself through systems language, architecture, and display logic.\u003c\/p\u003e\u003cp\u003eA temporary support structure retained long enough to become object again.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53726448419154,"sku":"BARTH-NOHRAHAIME-CAT-1985","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Barth_Frances._Katz_Mel._Constructures_New_Perimetrics_in_Abstract_Painting._1985.jpg?v=1781246742"},{"product_id":"testino-moss-calvin-klein-pc-2000s","title":"Mario Testino — Kate Moss for Calvin Klein Jeans — Promotional Postcard, c. late 1990s–early 2000s","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003ec. late 1990s–early 2000s\u003c\/p\u003e\u003cp\u003ePhotograph by Mario Testino featuring Kate Moss for Calvin Klein Jeans. Unused postcard reverse with printed address box and CK logo.\u003c\/p\u003e\u003cp\u003eA mass-produced fashion image that now reads less as advertisement than retained cultural support. The card compresses several late-1990s systems into a single portable surface: celebrity photography, denim branding, supermodel image culture, and the collapse between fashion editorial and contemporary art photography.\u003c\/p\u003e\u003cp\u003eWhat once functioned as promotional distribution material begins to resemble a minor photographic multiple. The image survives detached from its original campaign infrastructure — no magazine binding, no billboard scale, no retail environment — only the reduced portable card remains.\u003c\/p\u003e\u003cp\u003eThe unused reverse is important. A postcard designed for circulation that never entered the postal system. Distribution withheld. A promotional object suspended before use.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, the object sits somewhere between postcard, advertisement, and reproduced artwork. Testino’s photography helped define a moment when fashion imagery adopted the visual authority of contemporary art while simultaneously circulating through mass-market channels. Kate Moss appears here less as subject than as transferable image-form: body, brand, lifestyle, commodity.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, faint surface handling, minor corner softening consistent with circulated fashion ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727387910482,"sku":"TESTINO-CK-PC-2000","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Jeans_Advert._Unknown_2.jpg?v=1781259059"},{"product_id":"testino-moss-calvin-klein-maxracks-pc-2000","title":"Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003eDistributed through Max Racks free postcard network\u003cbr\u003ec.2000\u003c\/p\u003e\u003cp\u003ePhotograph by Mario Testino featuring Kate Moss for Calvin Klein Jeans, distributed through the Max Racks free postcard network. Unused example with printed address fields and promotional text to verso.\u003c\/p\u003e\u003cp\u003eAn advertising image already structured like a contemporary artwork. Black-and-white fashion photography, isolated figure, reduced typography, controlled emptiness. By the late 1990s, the Calvin Klein campaign had effectively absorbed the visual language of gallery photography into commercial circulation.\u003c\/p\u003e\u003cp\u003eThe Max Racks reverse matters. The postcard turns the campaign into a free distributable object: taken from cafés, clubs, bookstores, college campuses, and retail sites, then carried through informal networks of youth circulation. Fashion photography leaves the magazine page and becomes portable infrastructure.\u003c\/p\u003e\u003cp\u003eWithin The New Rare framework, the object operates less as memorabilia than as a retained unit of image distribution. The postcard records a moment when luxury branding, celebrity identity, and art-direction aesthetics collapsed into the same surface economy. Kate Moss appears here as reproduced presence rather than individual subject. The body functions simultaneously as fashion image, lifestyle proposition, and transferable media form.\u003c\/p\u003e\u003cp\u003eThe unused reverse preserves the object before activation. A postcard produced for circulation that survives in suspended form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, faint handling wear, soft corner wear.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727460950354,"sku":"TESTINO-CK-PC-2000B","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Jeans_Advert._Unknown.jpg?v=1781259565"},{"product_id":"ck-one-calvin-klein-fragrance-pc-1996","title":"CK One — Calvin Klein Fragrance Promotional Postcard, 1996","description":"\u003cp\u003ePromotional postcard\u003cbr\u003eApprox. 10 × 15 cm\u003cbr\u003eOffset print on semi-gloss card stock\u003cbr\u003e1996\u003c\/p\u003e\u003cp\u003eCalvin Klein CK One fragrance campaign postcard featuring Kate Moss. Printed copyright line dated 1996 to verso. Unused postcard reverse with minimalist CK One branding.\u003c\/p\u003e\u003cp\u003eA reduced fragment from one of the defining image systems of the 1990s. CK One operated less as a conventional fragrance campaign than as a broader visual program built around neutrality, youth culture, and controlled ambiguity. Gender becomes softened, branding becomes sparse, identity becomes atmospheric rather than fixed.\u003c\/p\u003e\u003cp\u003eThe postcard preserves that transition in portable form. Fashion photography, fragrance advertising, celebrity culture, and minimalist graphic design collapse into a single distributable object. The image feels almost administrative in its restraint: white background, cropped figures, centred bottle, nearly empty space.\u003c\/p\u003e\u003cp\u003eThe phrase printed on the reverse — “a fragrance for a man or a woman” — remains historically precise. CK One entered circulation during a moment when fashion and advertising began publicly experimenting with androgyny, neutrality, and lifestyle identity as market form. Looking back, the card functions almost as a minor social document disguised as advertising material.\u003c\/p\u003e\u003cp\u003eThe unused reverse matters again here. A postcard produced for transmission that remains inactive. Communication suspended. Distribution without message.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, soft edge wear, minor surface marks consistent with stored promotional ephemera.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53727596020050,"sku":"TESTINO-CK-PC-1996","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Testino_Mario._Kate_Moss_Calvin_Klein_Fragrance_Advert._Unknown_1.jpg?v=1781259880"},{"product_id":"ciacciofera-bing-caritey-passerelle-inv-2024","title":"Michele Ciacciofera \/ Han Bing \/ Amélie Caritey — Exhibition Guide, Passerelle Centre d’art contemporain, Brest, 2024","description":"\u003cp\u003eFolded exhibition guide \/ graphic object\u003cbr\u003ePasserelle Centre d’art contemporain, 41 rue Charles Berthelot, 29200 Brest\u003cbr\u003e21 × 10 cm folded \/ 29.5 × 42 cm unfolded\u003cbr\u003eOffset print on lightweight coated stock with fluorescent orange typography\u003cbr\u003e21 June – 14 September 2024\u003c\/p\u003e\u003cp\u003eProduced for a three-person exhibition at Passerelle Centre d’art contemporain in Brest, this piece operates less like conventional exhibition literature and more like a compact graphic structure. Folded shut, it resembles an administrative handout or transit document; opened fully, the sheet expands into a fragmented visual field of pixelated typography, image blocks, institutional layouts, and fluorescent orange interruptions.\u003c\/p\u003e\u003cp\u003eThe graphic design carries much of the object’s presence. The typography recalls early digital displays, public information systems, or low-resolution interface language, while the fold architecture creates shifting sequences of compression and release across the surface. The result sits somewhere between artist publication, poster, wayfinding material, and temporary exhibition support.\u003c\/p\u003e\u003cp\u003eWhat makes the piece compelling is the flattening effect produced by the design itself. Distinct artistic practices — Michele Ciacciofera’s archaeological and mythic references, Han Bing’s performative social gestures, Amélie Caritey’s ornamental sculptural language — are absorbed into a single printed system where typography and layout become the dominant structure.\u003c\/p\u003e\u003cp\u003eA strong contemporary example of institutional print culture crossing into autonomous graphic-object territory.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall condition with light handling wear, fold memory, faint waviness to the sheet, and minor edge softening from storage and circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53751356883282,"sku":"CIACCIOFERA-PASSERELLE-INV-2024","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bing_Han._Variety_Amelie._Ciacciofera_Michele._Show_invite._2024.jpg?v=1781502595"},{"product_id":"alys-athens-postcard-2003","title":"Francis Alÿs — Athens, Oct 2003 — Artist Postcard","description":"\u003cp\u003eArtist postcard\u003cbr\u003eAthens, October 2003\u003cbr\u003e14.5 × 10.5 cm\u003cbr\u003eOffset print on coated card stock\u003c\/p\u003e\u003cp\u003ePostcard documenting a conceptual action by Francis Alÿs produced in Athens in October 2003. Captioned in Greek and English: \u003cem\u003e“a man traces a line as he walks through the city of Athens shooting a flare every 30 steps.”\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe work condenses several recurring Alÿs concerns into postcard form: walking as drawing, the city as surface, repetition as measure, and the temporary gesture translated into portable documentation. The aerial image of Athens reads almost like static until interrupted by the text beneath it — action reduced to a single typed sentence.\u003c\/p\u003e\u003cp\u003eThe reverse remains nearly empty apart from the artist’s name and date. Not an invitation and not exactly a conventional artwork reproduction either. More a dispersed support: a minor printed object carrying an action through circulation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light edge wear, faint age toning, and minor handling marks.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53756722413906,"sku":"ALYS-UNKNOWN-PC-2003","price":45.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alys_Francis_Athens_Postcard_2003_01.jpg?v=1781542175"},{"product_id":"garcia-lorca-dali-granada-postcard-1998","title":"Federico García Lorca under a Painting by Salvador Dalí, Granada, 1925 — Fundación Federico García Lorca Postcard, c.1998","description":"\u003cp\u003ePostcard\u003cbr\u003eFundación Federico García Lorca, Granada\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003eIssued c.1998\u003c\/p\u003e\u003cp\u003eBlack-and-white postcard reproducing the well-known 1925 photograph of Federico García Lorca seated in the family home in Granada beneath a painting gifted to him by Salvador Dalí. The image captures an early and intensely formative moment between the two figures, whose friendship in the 1920s moved fluidly between literature, painting, theatre, desire, collaboration, and emotional dependency.\u003c\/p\u003e\u003cp\u003eThe painting visible above Lorca was made and dedicated by Dalí during the years of their close relationship after meeting at Madrid’s Residencia de Estudiantes. Dalí would later describe Lorca as one of the most important emotional presences in his life, while Lorca’s writings and drawings from the period reveal a charged intellectual and personal attachment that continues to shape interpretations of both artists. The photograph quietly compresses that entire history into a domestic interior: poet below, gifted painting above, authorship suspended between friendship and projection.\u003c\/p\u003e\u003cp\u003eIssued by the Fundación Federico García Lorca, the card functions less as a souvenir than as a small portable document of cultural mythology — literary history, queer subtext, modernism, and private exchange reduced to a reproducible printed surface.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Light surface wear and minor age toning consistent with storage and handling.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53757065953618,"sku":"LORCA-FGL-PC-1998","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Federico_Garcia_Lorca_under_Dali_Painting_Granada_199801.jpg?v=1781544690"},{"product_id":"turk-pop-1993-saatchi-postcard","title":"Gavin Turk — Pop, 1993 — Saatchi Collection Postcard","description":"\u003cp\u003eSaatchi Collection postcard\u003cbr\u003e10.5 × 15.75 cm\u003cbr\u003eOffset print on card stock\u003c\/p\u003e\u003cp\u003ePostcard reproducing Gavin Turk’s \u003cem\u003ePop\u003c\/em\u003e (1993), one of the defining sculptural images associated with the early YBA period and the rise of the Saatchi Collection as a staging ground for 1990s British contemporary art.\u003c\/p\u003e\u003cp\u003eThe work presents Turk as a wax self-portrait modelled simultaneously on Sid Vicious, museum display culture, celebrity mythology, and counterfeit identity. Encased within a vitrine and holding a gun toward the viewer, the sculpture collapses self-portraiture, punk image culture, institutional display, and commercial spectacle into a single controlled image.\u003c\/p\u003e\u003cp\u003eDistributed through the Saatchi Collection, the postcard extends the logic of the installation itself: the artwork converted into portable promotional matter. The vitrine becomes image; the image becomes printed support; the artist becomes a reproducible surface moving through circulation systems tied to the museum shop, archive, collection, and secondary market.\u003c\/p\u003e\u003cp\u003eA precise document from the moment British art increasingly merged with branding, media visibility, and curated persona construction.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Minor handling wear, light surface rubbing, soft corner wear, faint age toning consistent with storage and circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53757576413522,"sku":"TURK-SAATCHI-PC-1993","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Turk_Gavin_POP_1993_Saatchi_collection_01_d8e88721-5fdd-48af-b927-d488b642a2d4.jpg?v=1781546639"},{"product_id":"churchman-inner-dialogue-crousel-inv-2024","title":"Leidy Churchman — Inner Dialogue — Exhibition Card, Galerie Chantal Crousel, Paris, 2024","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eGalerie Chantal Crousel, 10 rue Charlot, Paris\u003cbr\u003e15 × 21 cm\u003cbr\u003eOffset print on uncoated card stock\u003cbr\u003e7 September – 5 October 2024\u003c\/p\u003e\u003cp\u003eOriginal exhibition card issued for \u003cem\u003eInner Dialogue\u003c\/em\u003e, a 2024 exhibition by Leidy Churchman at Galerie Chantal Crousel, Paris. The reproduced painting reflects Churchman’s layered visual language: fragments of text, symbolic forms, diagrammatic space, birds, thresholds, and painterly atmospheres assembled into a shifting psychological field.\u003c\/p\u003e\u003cp\u003eChurchman became increasingly significant during the post-internet and post-conceptual return to painting of the 2010s and 2020s, producing works that absorb image culture, mysticism, queer history, abstraction, neuroscience, and digital circulation into a single pictorial structure. The paintings resist stable hierarchy; information, memory, spirituality, and reproduction coexist on equal terms.\u003c\/p\u003e\u003cp\u003eThe invitation belongs to the visual economy surrounding contemporary gallery culture: restrained typography, institutional white space, and a single image functioning as portable exhibition surrogate. Less documentation than compressed exhibition form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Light handling wear, minor edge softening, slight lower-right corner crease.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53759598920018,"sku":"CHURCHMAN-CROUSEL-INV-2024","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Churchman_Leidy._Show_invite_inner_dialogue_._2024.jpg?v=1781556887"},{"product_id":"kawinzi-streetspeak-harlem-postcards-2016","title":"Miatta Kawinzi — Streetspeak — Harlem Postcards Summer 2016, The Studio Museum in Harlem","description":"\u003cp\u003eArtist postcard\u003cbr\u003eHarlem Postcards Summer 2016\u003cbr\u003eThe Studio Museum in Harlem, 144 West 125th Street, New York\u003cbr\u003e10 × 15 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003e2016\u003c\/p\u003e\u003cp\u003eIssued as part of \u003cem\u003eHarlem Postcards Summer 2016\u003c\/em\u003e at The Studio Museum in Harlem, this postcard reproduces \u003cem\u003eStreetspeak\u003c\/em\u003e (2016) by Miatta Kawinzi — an artist born in Nashville and working in Brooklyn whose practice moves between photography, language, performance, and Black social space. The work’s arrangement of gesturing hands around the phrase “my sista” compresses intimacy, coded language, and collective identity into a sharply minimal image structure.\u003c\/p\u003e\u003cp\u003eThe Studio Museum’s Harlem Postcards series has become an important document of emerging Black contemporary art practice in New York during the 2010s. Produced as freely distributed institutional material rather than commercial editions, many examples disappeared through handling, mailing, or casual disposal, giving surviving clean copies an increasingly archival quality. The series now reads less as supplementary museum merchandise and more as a dispersed record of a particular cultural and institutional ecosystem around Harlem, Brooklyn, and post-2010 contemporary photography.\u003c\/p\u003e\u003cp\u003eThe card functions somewhere between exhibition support, artist introduction, and portable image object. Biography, reproduction, and institutional branding are reduced into a single circulating surface.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good vintage condition. Light handling wear, faint corner softening, and minor surface marks consistent with storage and circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53766281331026,"sku":"KAWINZI-SMH-PC-2016","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kawinzi_Miatta._Artist_postcard_The_studio_museum_in_Harlem_2016_front_c2489172-d55b-43a8-bded-d2bf9b0ac0fb.jpg?v=1781607614"}],"url":"https:\/\/thenewrare.com\/collections\/under-50.oembed?page=3","provider":"The New Rare","version":"1.0","type":"link"}