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The Amsterdam Academy 2013. 12mo in publishers full clothed hardcover. 160 pages. Illustrated. Fine clean copy. In this work landscape architect Thomas Oles (USA, 1972) has gathered his ideas about landscape thinking and the landscape architecture profession in a handy book. Fifty entries serving the walker in nature or the designer in the landscape by way of reference, idea or principle. The book also contains contributions from landscape architects Marieke Timmermans (head of the department of landscape architecture) and Jacques Abelman. Graphis Design by Studio Sander Boon.

The Arts Club of Chicago, 2014. 8vo in wraps as issued. 36 pages. Published on the occasion of Simon Starling: Pictures for an Exhibition, 6 June - 27 September 2014. 1st ed.

New York: Everson Museum of Art Syracuse, 1985. Oblong 8vo in wraps as issued. 80 pages. Illustrated in bw. Near fine clean copy. First edition. With Essays by Lawrence Alloway among others. "Stuart has long been heralded as a true pioneer, known first for her nature-based art dating back to the late 1960’s and 1970’s, and one of the very few female practitioners of Land Art. In an expansive and illustrious career spanning five decades, her work seamlessly merges the fields of history, ecology and archaeology, reflecting intimate personal memory within the context of sweeping environmental and cultural events. She came of age as an artist in New York when both the feminist and environmental movements were being forged into the culture. For others, the ideals and core beliefs of these movements might have dissipated after first flush, but for Stuart the connection between humanity, the animal kingdom, our planet, and the greater spheres we revolve within, have only strengthened and solidified throughout the lifetime of her work."

Galerie Asbæk, 1960. Kvadratisk 8vo i originalt klammehæftet omslag. (20) sider inklusiv omslag. Gennemillustreret. Med Asbæk's stempel.

Sorø / Münster / Munich, 1989 to 1990. 4to in wraps as issued. 140 pages. Illustrated. Bilingual German and English text. Cover edgeworn but solid and inside clean and overall a very good copy.

Borgen, 1983. 100 pp. Hft. Illustreret. Navn, lidt brugsspor.

New York: Alfred A Knopf Inc, 1980. Quarter bound in clothed hardcover with gilt on spine, dustjacket priceclipped. 245 pages. Fine clean copy. First edition.

Austin: University of Texas Press, 2016. Hardcover, w jacket. VIII, 346 pp. Fine copy. First edition.

Frankfurt am Main: Vittorio Klostermann 1991. 8°. Hardcover, mit OU. XVIII, 317 Seiten. Name. Einige verstreute Anstreichungen mit Kugelschreiber. Erstausgabe in der Gesamtausgabe.

Sternberg Press 2013. Wraps as issued. 193 pages. With illustrations. Some handling wear but clean. Neomaterialism by Joshua Simon, explores the meaning of the world of commodities and re-introduces various notions of dialectical materialism into the conversation on the subjectivity and vitality of things. Reflecting on general intellect as labor and on the subjugation of an overqualified generation to the neo-feudal order of debt finance, Neomaterialism merges traditions of epic communism with the communism that is already here.

Suhrkamp Verlag, 1990. Hardcover, mit Umschlag. 139 Seiten. Gut erhaltenes, zauberes Exemplar. Erste Auflage / First edition.

Suhrkamp Verlag, 1983. Hardcover, mit Umschlag. 255 Seiten. Gut erhaltenes, zauberes Exemplar. Erste Auflage / First edition.

Gyldendal, 1992. 107 pp. Hft.

Amsterdam, Idea Books - SMAK (Stedelijk Museum voor Actuele Kunst), Witte de With Center for Contemporary Art, 2007. Hardcover. 212 pp. With 398 ills. (321 col. ) Text in English, German and Dutch and one loose folded poster. Excellent copy. Includes a large very beautiful fold-out poster titled "A Vicious Undertow." - fine copy / as new.

Forlaget Tiderne Skifter 1999. 66 pp. Hft. Pænt eksemplar. Første udgave, 1. oplag.

Gyldendal, 2022. Hardcover. 301 pp. Dansk udgave, signeret i hånden / med dedikation fra Edouard Louis til en læser.

Ljublijana, Slovenia, Zavod P.A.R.A.S.I.T.E, 2010. 8vo in original wraps. 150 pp. Illustrated. Wear to cover edges. First edition. "The book ‘The Clandenstine Histories of the OHO Group’ holds a new light to the problem of the character of neo-avant-garde excess and the experimental work of the OHO Group – leading neo-avantgard group in the region – in the second half of the 1960s. The book focuses on the practices, works, and instances with which – under the conditions of socialistic modernism – the OHO Group problematised, provoked, and destroyed the socialistic order of the vision of the autonomy of art. The book exposes the activity of the OHO Group (1966-1971) and of the movement OHO-Catalogue (1966-1970) in the context of Slovene national culture, Yugoslavian socialistic culture and international youth culture of the late 1960s and early 1970s, particularly in relation to the following paradigms: 1.‘Transgression’ – in terms of the breach in relation to Catholic traditions and morals as well as to the socialist work ethic that the young artists carried out at that time; 2.‘Sexuality’ – in style with the Zeitgeist and in connection with the worldwide sexual revolution on one side and the use of sexuality as a critical and subversive instrument rising up against the opportunism and hypocrisy of real-socialism on the other. 3.‘Politics’ – the provoking and mixing of practices from contexts – which were allowed by politics – to the context of a serious understanding and practice of the revolution and emancipation from ‘the everyday grey’ of real-socialism. At the end of the 1960s, the writer of new arts and activist, Bora Cosic, wrote about the OHO Group: ‘I call it a movement. The group looks like something static, something rooted, something buttoned up. The Group still holds firm, just like a machine-gun bunker; that a movement can operate as an illegal organisation, equipped with medicine, good will, and a feeling of freedom.’ The OHO Group was created in an atmosphere of new artistic practices: from the aesthetic, philosophical and social movements of reism, structuralism, poststructuralism and Tel Quel across to the New Left, hippy culture all the way to arte povere, body art, experimental film, conceptualism, processualism, post-object arts and ludism (...)"

Washington D.C.: Hirshhorn Museum and Sculpture Garden; Smithsonian Institution Press, 1984. Washington D.C.: Hirshhorn Museum and Sculpture Garden; Smithsonian Institution Press,, 1984. 184 pages, illustrations (some colour); 29 cm. Exhibition held October 4, 1984 to January 6, 1985. Wear to cover surface else fine clean copy. First edition. Influential exhibition focusing on Conceptual and post-Minimalist art. Includes "Chronology" by Phyllis D. Rosenzweig etc.

Suhrkamp Verlag, 1994. Gebunden, mit OU. 501 Seiten. Gut erhalten. Zeitungsartikel beigefügt. First edition. Adorno schreibt "Alle Verdinglichung ist ein Vergessen: Objekte werden dinghaft im Augenblick, wo sie festgehalten sind, ohne in allen ihren Stücken aktuell gegenwärtig zu sein: wo etwas von ihnen vergessen ist.« Kaum eine bessere Charakterisierung als dieser Satz aus Adornos Brief vom 29. Februar 1940 an Walter Benjamin ließe sich denken, um darzutun, worin die entscheidende Differenz zwischen den Diskussionen, die in der Kritischen Theorie der dreißiger Jahre geführt wurden, und der Darstellung liegt, die die Ergebnisse jener Diskussionen heutzutage in der Sekundärliteratur zusammenfaßt. Es liegen Welten zwischen der Kritik, die Adorno und Benjamin wechselseitig an ihren Arbeiten während der Emigration übten, und der geronnenen Gestalt, in der diese zentralen Arbeiten von den Nachgeborenen, zerstückelt und ungeschickt wieder zusammengeklebt, rezipiert und ›tradiert‹ werden. - Galt ein beträchtlicher Teil der Korrespondenz Benjamins Fragment gebliebenem »Passagen-Werk«, welches das 19. Jahrhundert geschichtsphilosophisch zu entschlüsseln sich vorgenommen hatte, und der ›Abschlagszahlung‹ darauf, dem Baudelaire-Aufsatz für die »Zeitschrift für Sozialforschung«, so kreisen die Briefe insgesamt, die Benjamin und Adorno vor allem in der Emigration, ab 1934, wechselten, um die verbindliche theoretische Darstellung jener grundlegenden Erfahrungen der bürgerlichen Kultur, die mit dem Faschismus unwiederbringlich verlorengingen und deren Vergessen gerade nicht das glückliche Ballastabwerfen des Wanderers war, der das Ziel in erreichbarer Ferne vor sich liegen sieht. Der Briefwechsel läßt ermessen, welche Bedeutung die praktische und geistige Solidarität hatte, die Adorno und Benjamin voneinander erfuhren, als sie in intellektueller Isolierung lebten. Die in der akademischen Welt abhanden gekommene Gelehrtenrepublik lebte fort in denen, die aller akademischen Sekurität entbehren mußten und die darum aller der Sache äußerlichen Konvention sich entschlagen durften. Den empirischen Niederschlag des Vorrangs der Sache in der Person beschrieb Adorno 1965: »In sich und seinem Verhältnis zu anderen setzte er rückhaltlos den Primat des Geistes durch, der anstelle von Unmittelbarkeit sein Unmittelbares wurde.«

Yale University Press, 1997. Square 8vo in publishers hardcover, with jacket. 180 pages, richly illustrated. Dustjacket spine is sunned else a clean and very well preserved fine copy. First edition. "Le Corbusier, the most influential architect of the twentieth century, died in 1965 only weeks after completing Mise au point, his last opus in the form of antobiographical reflections. Published posthumously, Mise au point is a curious and cryptic text, yet it sheds an important light on the great artist’s mind and temperament. This book is the first English translation of Mise au point, the first illustrated critical bilingual edition, and the first attempt to integrate this document into Le Corbusier’s life as a whole, especially its final embittered years. In an insightful introduction and in annotations, Ivan Zaknic shows how the themes of the text echo the contradictions of Le Corbusier’s personality: determined to rebuke society and yet constantly courting its approval; devoted to serving the public and yet returning again and again to a solitary monastic ideal; distrusting professional institutions, the academy, and the government and yet stung by their willingness to pass him by. Zaknic links the themes of this text with Le Corbusier’s passion for certain literary works, especially Don Quixote, and emphasizes the architect’s many philosophical formulas for coming to terms with death—first that of his beloved wife and then his own. Illustrated with photos and drawings, many of which appear here for the first time, and also including a revealing interview granted by Le Corbusier in the final months of his life, the volume will be welcomed by all students of Le Corbusier’s art, architecture, and urban planning, as well as by those interested in modernism and twentieth-century culture."

Neuhoff Gallery New York & Galerie Wittrock, Düsseldorf 2001. 4to 28 x 23 cm in wraps as issued. 32 pages, illustrated throughout with photographs. Short text in English. Well preserved clean copy. First edition. Catalog with photographs from the artists career. Finely printed.

London: Studio Vista - Dutton Pictureback, 1971. 160 pp. Illustrated b/w. Cover worn. With later gift inscription to titlepage else very good copy. First edition.

Brøndums Forlag 2003. Lille hefte. 61 pp. Pænt eksemplar.

Vienna: Published on the occasion of the exhibition "David Maljkovic: Temporary Projections"; at Georg Kargl Fine Arts, 2011. 8vo in wraps as issued. 70 pp. Richly illustrated. Fine clean copy. First edition. Rare.

Prague: Panorama, 1985. 6 (=12) pages, printed on both sides (see photos). Minor rubbing, in all a very good copy. First edition.