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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.

London: Faber and Faber 2001. Publishers hardcover, w jacket. 350, (8) pp. Light edgewear else very good clean copy.

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.«

Bell and Daldy, London, 1869. 8vo in full red polished calf, bound by Relfe Brothers, gilt decoration in compartments, all borders gilt, all edges marbled. XXII, 320 pp. Rubbing to edges and mainly the corners of binding (see photo). Name to titlepage with smearing to the free front enpaper. Foxing to end-papers. Contents clean and sound Biography of the Spanish conquistador, and his expeditions that led to the Spanish conquest of the Inca Empire. Second edition. In fine binding.

Denmark - Holte: Gl. Holtegaard - Breda Fonden, 2005. Large oversize 4to. Original hardcover, with jacket. 216 pages, illustrated in color. Text in Danish with an English Summary. Dustjacket with minor wear, but complete and otherwise fine. First edition. Richard Winther's take on Johannes Wiedewelt - disguised as 'WIE' Richardo da Vinci plunges into new paintings and sculptures. Book was designed by Michael Jensen.

Strubes Forlag, 1988 (1981). Hardcover. 344 sider. Omslag med lidt brugsspor. Richard Wilhelms udgave på dansk.

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

University of Oklahoma Press, 1968. XVI, 208 pages. Text in both Spanish and English. Fine clean copy. First edition, softcover.

London, Typographical Systems International TSI, 2011. Folio. Orig. wrappers (complete with obi). 52 p. Ills. Very good clean copy with only some minor shelfwear to cover. On Jan Tschichold Typographische Gestaltung, Frank Guille Geometrics and more. 

Thames & Hudson / D. A. P. 2014. Heavy hardcover. 256 pages. Illustrated. Fine copy. " the first book to explore the radical shifts that have taken place in the practice of curating contemporary art over the last twenty years. Tracing a history of the field through its most innovative shows, renowned curator Jens Hoffmann selects the fifty exhibitions that have most significantly shaped the practice of both artists and exhibition curators. The book's nine thematic sections focus on a huge variety of exhibitions, including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and brought into the gallery other disciplines such as theatre and architecture. Short texts introduce and place each exhibition in context, accompanied by installation photographs and factual data about the participating artists, venues, dates, curators and publications, and many feature quotations from the originating curators exploring the premise of the show. The book concludes with a roundtable discussion by some of today's leading curators".

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 (...)"

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.

Per Kofoed, 1993. 121 pp. Hft.

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."

Copenhagen: SMK - 2013. 8vo in stapled wraps as issued. 30 pages. Text in English and Danish. Illustrated. Fine copy. 1. ed. "What are quirky salt and pepper shakers doing next to some of the main masterpieces of art history? Haim Steinbach is deeply interested in objects and how they are displayed. In this exhibition he challenged our perception of the art museum as an institution by showing important works of art side by side with small everyday objects. In his works Haim Steinbach arranges objects from all sorts of contexts on shelves and walls and in display units. In fact we all collect things and place them next to each other – on a windowsill, the kitchen worktop, or a bathroom shelf. On a previous occasion Steinbach has explained that he regards the act of collecting and displaying things as a fundamental human practice: With my work, the bottom line is that any time you set an object next to another object you´re involved in a communicative, social activity. Haim Steinbach includes works of art from different eras and genres in his exhibition, presenting them in a way that is completely different from the usual approach taken by museums, which typically display art in accordance with chronological, thematic, or monographic principles. By making a break with those principles Steinbach creates a whole new contex".

New York: Exit Art etc., 1989 / 1990. Tall 4to in wraps as issued. 48 pages. Text in English. Illustrated. Well preserved clean copy with only most minimal edgewear. First edition. Catalog of an exhibit of Wodiczko's photographs of the homeless community of New York and his installation piece "New York City Tableaux: Tompkins Square", also focusing on homelessness. Features essays by Wodiczko, Papo Colo, Neil Smith, David Lurie, Rosalyn Deutsche, and Julie Courtney.

Forlaget Lundtofte, 2007. 96 sider. Hft. Rigt illustreret med fine fotografier af bl.a. Gorm Valentin i s/h. Pænt eksemplar. From Burroughs visit to Copenhagen 1983, richly illustrated with photographs by Gorm Valentin among others. First edition.

Louisiana Museum, 1997. Small 4to hardcover with protected dustjacket. 136 pages, illustrated richly. English text version. Only light edgewear to jacket else an attractive near fine / fine clean copy. First edition, hardcover. On Michael Asher, Chris Burden, Sam Francis, David Hockney, Dennis Hopper, Mike Kelley, Edward Kienholz, Paul McCarthy, Bruce Nauman, Raymond Pettibon, Edward Ruscha, Bill Viola, Christopher Williams, among others.

Gyldendal, 2003. 88 pp. Hft. Lidt brugsspræget med nogle blyantsstreger i teksten.

Gyldendal 1967. Original hardcover, lidt slidt i ryg med solid. (30) pp. llustreret af Arne Ungermann. Navn på friblad foran. Første udgave.

Jrp Ringier, 2012. Small 4to in stiff wraps as issued. 216 pages, richly illustrated. Backcover with scraping from pricetag removed else clean and fine, unread copy. First edition. - "Sources in the Air" accompanies David Maljkovic's three-part exhibition of the same name at the Van Abbemusem, Eindhoven, BALTIC Centre for Contemporary Art, Gateshead and GAMeC, Bergamo. Including films, sculpture, collage and installations from the past ten years, "Sources in the Air" is the artist's most comprehensive survey to date.

Arena, 1983. 84 pp. Hft. Pænt eksemplar.

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."

San Francisco Cinemateque, San Francisco, 2004. Small tall 8vo in wraps as issued. 64 pages with illustrations. English text. Fine clean copy. 1st edition. " Images of the deconstruction of abandoned buildings and industrial structures are closely associated with "anarchitect" Gordon Matta-Clark. Often overlooked, however, are the film works through which Matta-Clark furthered his lifelong excavation of urban dwellings. In this book, San Francisco Cinematheque presents a retrospective of the moving-image works through which Matta-Clark explored his aesthetic assumptions and philosophical inquiry. Featuring rarely published images and a quartet of imaginative essays, City Slivers and Fresh Kills establishes Matta-Clarks films as perhaps his most surprising, and certainly most viscerally arresting body of work, characterized by the same creative provocation, rough aesthetic beauty, and intellectual insight that informed all of the artists famous architectura".

Slagmarks Skyttegravsserie, 1996. 131 pp. Hft. Tidligere ejers navnemærke foran ellers ren. Godt eksemplar.