Interviews compiled by Jessamyn Fiore. Introduction and selected texts by Louise Sørensen

112 Greene Street was more than a physical space—it was a locus of energy and ideas that with a combination of genius and chance had a profound impact on the trajectory of contemporary art...its permeable walls became the center of an artistic community that challenged the traditional role of the artist, the gallery, the performer, the audience, and the work of art.

112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974.

112 Greene Street: The Early Years (1970–1974)

 is the culmination of an exhibition by the same name that was on view at David Zwirner in New York in 2011. This extensively researched and historically important book brings together a number of works that were exhibited at the seminal space (including works by Gordon Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra); extensive interviews with many of the artists involved in the space; a fascinating timeline of all the activity at 112 Greene Street in the early years; and installation views of the 2011 exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.

112 Greene Street: The Early Years (1970-1974)

Edited by Michelle White, Bernice Rose and Gary Garrels. Contributions by Magdalena Dabrowski and Richard Shiff



As the focal point of numerous high-profile exhibitions, the sculpture of Richard Serra (b. 1939) has drawn international acclaim. Yet even those who have marveled at Serra's intellectually rigorous and large works of sculpture may not be familiar with his equally intriguing drawings. This handsome book brings together for the first time Serra's drawn work, considering the artist's investigation of medium as an activity both independent from and linked to his pioneering sculptural practice.

First working in ink, charcoal, and lithographic crayon on paper, Serra originally used drawing as a means to explore form and perceptual relations between his sculpture and the viewer. Over time, his drawings underwent significant shifts in concept, materials, and scale and became fully realized and autonomous works of art. The grand, bold forms he created with black paintstick in his monumental Installation Drawings were designed to disrupt and complement existent spaces and eventually began to occupy entire rooms. In the late 1980s, Serra explored the tension of weight and gravity through layering, and his most recent work experiments with surface effects, using mesh screens as intermediaries between the gesture and the transfer of pigment to paper.

Richard Serra Drawing: A Retrospective

A detail from a painting by Steven Shearer, titled The Collector's Visit, dated 2019.

Steven Shearer, The Collector's Visit, 2019

Adopting and elaborating upon stylistic repertoires drawn from the history of figure painting, Steven Shearer makes formal and thematic parallels between art history and the iconography associated with various contemporary subcultures including their modes of dissemination such as fanzines and image shrines on personal websites. He is interested in how contemporary society unconsciously echoes specific manners of appearance that have been explored by historical movements or schools. Seen in this light the resemblance between the long, flowing hair of his metal-head rockers and the tresses of Pre-Raphaelite heroines is not fortuitous. Central to Shearer's work is his ongoing compilation of an archive of thousands of images culled from magazines, songs and the internet. In his paintings, text-based works, sculptures and photographic compilations, these sources function generatively as they are combined and recycled across his works. By showing us aspects of popular culture anachronistically, Shearer exposes the false hierarchy of high and low art and prompts us to consider the differences between the cultural industries and the art world.

Steven Shearer: Exhume to Consume

An installation by Huma Bhabha, titled We Come in Peace, at the Metropolitan Museum of Art in New York, dated 2017.

Text by Thomas McEvilley and Julie Mehretu


Pakistan-born, New York-based artist Huma Bhabha (born 1962) makes fragile sculptures and assemblages composed from detritus, construction materials and found objects. This first survey of her work contains a wealth of full-color illustrations, an interview with Julie Mehretu and an essay by Thomas McEvilley.

Huma Bhabha

Louis Kaplan

Maria Muhle

Melanie O’Brian

Introduction by Melanie O’Brian. Texts by Louis Kaplan and Maria Muhle

Marking the first in a new series of scholarly readers called Power Plant Pages, this richly designed catalogue was published on the occasion of Stan Douglas’s 2011 solo exhibition at The Power Plant in Toronto. Titled 

Entertainment: Selections from Midcentury Studio

, the exhibition featured two complementary series, 

, recently created by the artist. Douglas has assumed the role of a fictional, anonymous photographer for both series, which were hypothetically produced between 1945-1951. 

 chronicles the burgeoning discipline of press photography in North America during the postwar period, depicting crime-scenes, curious and exotic artifacts, magicians, fashion, dance, gambling, and technology, while 

 comprises black-and-white portraits of the patrons and staff of a fictional 1950s nightclub. Also included are essays by Louis Kaplan, Professor of History and Theory of Photography and New Media at the University of Toronto, and art historian Maria Muhle.

Stan Douglas: Entertainment

Robert Graham

 brings together rarely seen works by this American artist, providing an overview and reconsideration of Graham’s initial engagement with Minimalism and figurative sculpture. The exhibition, held at David Zwirner in 2011, comprised one of the first major presentations of the artist’s early work in the United States since 1972. Modeled after images found on television or in popular magazines, such as 

, Graham’s early work presents Plexiglas-encased environments populated by miniature wax figurines engaged in leisurely or pleasurable activities. The ethereal surfaces of the artist’s plastic enclosures are evocative of the highly finished and meticulous objects that have become associated with the so-called “Finish Fetish” aesthetic, and their interior spaces are suggestive of the geography of 1960s California as well as the modernist domestic interiors popularized by John Entenza’s Case Study House Program. Over the course of his career, Graham went on to develop an exceptionally focused artistic practice characterized by a consistent preoccupation with scale and the human figure. Since the early 1970s, his works have been exhibited widely, at such venues as Kunstverein Hamburg, and the Whitney Museum of American Art, New York, among others. Work by the artist is held in major museum collections around the world, and Graham has also received numerous public commissions, including the 1984 Olympic Gateway in Los Angeles and the Duke Ellington Memorial in Central Park, New York (1997). Born in Mexico City in 1938, he died in Santa Monica, California, in 2008.

Robert Graham: Early Work 1963-1973

, is published on the occasion of the artist’s sixth solo exhibition at David Zwirner in 2011. The exhibition debuts a major new film, 

, alongside related drawings, sculptures, and dioramas. In the film, characters based on the classic game of chess, dressed in geometrically designed costumes and wearing elaborate masks, dance across a checkered board to challenge their opponents in fatal interchanges. Designed in collaboration with the artist in the format of a small sketchbook, this exhibition catalogue includes drawings, storyboards, dioramas, and film and production stills from the making of 

Marcel Dzama: Behind Every Curtain

Noam M. Elcott

Sylvia Lavin

Introduction by Noam Elcott. Text by Sylvia Lavin

Over the course of three years, from 2006 to 2009, James Welling (born 1951) photographed the Glass House, the architectural landmark estate that Philip Johnson built in New Canaan, Connecticut, in 1949. Welling's photos offer a decided departure from the familiar views of the house and grounds: using digital cameras set on a tripod and holding a variety of filters in front of the lens, he created tinted veils and distortions that transformed the image at the moment of exposure, endowing it with powerful swells of glowing color. As Welling described it in an interview with 

, the use of filters enabled his project to become "a laboratory for ideas about transparency, reflectivity and color." The 45 images presented here, which invite the viewer to draw associations between the camera's lens and the glass surfaces of the house itself, oscillate before our very eyes between photographic abstraction--a recurrent preoccupation for Welling--and depictions of architecture. With this body of work, Welling has located a wholly new approach to, and blend of, both genres.

James Welling: Glass House

Text by Richard Shiff. Interview with the artist by Jochen Poetter

One of the most important American artists of the postwar period, Donald Judd has come to define Minimalist art—though he continued to strongly object to this categorization throughout his life. His unaffected, straightforward approach to his work and his strong interest in color, form, material, and space led him to create striking art objects with a direct physical “presence,” eschewing grand philosophical statements.

Judd began his practice as a painter in the late 1940s; however, he soon introduced three-dimensional elements into the surface of his work. His first sculptural objects took the form of shallow reliefs, and by 1963 he had begun to create freestanding works that were presented directly on the floor and the wall. Throughout his practice, Judd used materials such as plywood, steel, concrete, Plexiglas, and aluminum and employed commercial fabricators in order to get the surfaces and angles he desired, creating declaratively simple, fundamental sculptural forms.

This publication documents an exhibition held at David Zwirner in New York in 2011, which brought together twelve identically scaled aluminum works from the artist’s seminal 1989 solo presentation at the Staatliche Kunsthalle Baden-Baden. That exhibition marked the first time Judd used colored anodized aluminum in such a large, floor-mounted format —thus comprising one of his few explorations of color on a large scale and providing a focused investigation of one of the key concerns within his practice. Although he had previously examined the qualities of an open box form, the works created for Baden-Baden display a distinct systematic approach in determining the interior space of each box, which Judd divided vertically in different spatial configurations, sometimes introducing color through the use of anodized elements or sheets of Plexiglas in blue, black, or amber. The combinations of materials, dividers, and colors —which differ from box to box—thus determine the singular nature of each work within a finite number of variable possibilities, each of the boxes being an individual work that represents one possibility within the given parameters.

Featuring new scholarship by art historian Richard Shiff, the book’s stunning visual elements are contextualized by such archival materials as Judd’s preparatory drawings, as well as an interview with the artist conducted in 1989 by Jochen Poetter.

Donald Judd

A gelatin silver print by Diane Arbus, titled Triplets in their bedroom, N.J. 1963, dated 1963.

Doon Arbus

Yolanda Cuomo

Afterword by Doon Arbus. Edited by Doon Arbus and Yolanda Cuomo

 is the only volume of Diane Arbus\s photographs devoted exclusively to a single project. The photographs were taken at residences for people with developmental disabilities between 1969 and 1971, in the last years of Arbus’s life. Although she considered doing a book on the subject, the vast majority of these pictures remained unpublished prior to this volume. These photographs achieve a lyricism, an emotional purity that sets them apart from all her other accomplishments. “Finally what I’ve been searching for,” she wrote at the time. The product of her consistently unflinching regard for reality as she found it, the images in this book have less in common with the documentary than with the mythic. 

 may well be Arbus’s most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us. For Diane Arbus, this is what making pictures was all about. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

Diane Arbus: Untitled

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence—even a legend—among serious photographers, although only a small number of her pictures were widely known. The publication of 

 in 1972, and the posthumous retrospective at the Museum of Modern Art, offered the public its first encounter with Arbus’s achievements. The response was unprecedented.

The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbus’s friend and colleague, and by her daughter Doon Arbus. Their goal was to remain faithful to the standards by which Arbus judged her own work, and to how she hoped it would be seen. Universally acknowledged as a timeless masterpiece, and translated into five languages, 

 remains the foundation of her international reputation.

Nearly fifty years has not diminished the impact of these pictures; they penetrate the psyche with the force of a personal encounter, and transform the way we see the world.

Fortieth-anniversary edition

Diane Arbus: An Aperture Monograph

 is the closest thing possible to a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbus’s correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the astonishing vision of an artist with the courage to see things as they are and the grace to permit them simply to be. The 

 also includes exhaustively researched footnotes, and biographies of fifty-five personalities, family members, friends, and colleagues, including Marvin Israel, Lisette Model, Weegee, and August Sander.

: “Arbus…wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens one’s understanding of her pictures…”

makes these invaluable texts, which originally appeared in 

, available in an accessible paperback for the very first time.

Diane Arbus: A Chronology

Sherrie Levine, Dark Blue Moonlight After Man Ray: 11, 2016

Howard Singerman

This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs “after Walker Evans”—taken not from life but from Evans’s famous depression-era documents of rural Alabama—became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to challenge both the label “artist” and the idea of oeuvre—and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levine’s work after Evans, Brancusi, Malevich, and others as an experimental art historical practice—material reenactments of the way the work of art history is always doubled in and structured by language, and of the ways the art itself resists.

Art History After Sherrie Levine

While he began his studio practice as a painter, in 1985 Al Taylor devised a uniquely innovative approach to process and materials that encompassed two-dimensional drawings and three-dimensional objects. Taylor ultimately sought to expand the possibilities of vision by creating new ways of experiencing and imagining space, and his work provides the viewer with an insight into the artist’s thinking and his investigations of perception across several dimensions. Published on the occasion of the exhibition

 at David Zwirner, this catalogue presents a comprehensive exploration of the two series: 

 [sic], which includes works from 1995 to 1997. Both series demonstrate Taylor’s spatial concerns through multi-dimensional composition.

Al Taylor: Rim Jobs and Sideffects

Alexander Alberro

Nora M. Alter

Serge Guilbaut

Sven Lütticken

Jesse Proudfoot

Texts by Nora M. Alter, Serge Guilbaut, Sven Lütticken, and Jesse Proudfoot. Interview with the artist by Alexander Alberro

 is a 44-foot mural installation by Stan Douglas on permanent display at The Woodward Complex in Vancouver. This beautifully designed monograph takes an in-depth look into this monumental work that depicts a staged reenactment of a violent event in Vancouver’s Downtown Eastside. The Gastown Riot, as it came to be known, was the culmination of mounting tensions between the city’s counterculture and police following weeks of drug-related arrests. Thousands of people had gathered in a peaceful “smoke-in” protest in the Gastown district, before police in riot gear broke up the event using batons, horses, and dogs to disperse the protesters. Douglas’s meticulous recreation captures the ensuing mayhem with its general atmosphere of confusion and panic. This monograph features essays by Nora M. Alter, Serge Guilbaut, Sven Lütticken, and Jesse Proudfoot and an interview with the artist by Alexander Alberro. Also included are supplementary works from Douglas’s 

 series and archival photographs of the Gastown Riot.

Stan Douglas: Abbott & Cordova, 7 August 1971

Jeff Koons

 paintings, including an extensive interview with the artist in his studio.

From the outset of his controversial career, Jeff Koons turned the traditional notion of the work of art and its context inside out. Focusing on unexpected yet banal objects as models for his work, he eschewed typical standards of "good taste" in art, instead embracing what he perceives as conventional middle-class values in order to expose the vulnerabilities of aesthetic hierarchies and value systems. Koons’s declared strategies are to make art beautiful, to strive for objectivity, to give back the familiar, and to reflect, and thus empower, the viewer. The works of Koons’s series Hulk Elvis burst with energy and precision yet mystify with their complex permutations and combinations of figurative and abstract elements. A charged mix of inflatable monkeys, geishas, birds, the Incredible Hulk, and the Liberty Bell jostle against realistically rendered landscapes, gestural paintings, steam engines and horse-drawn carriages, negative silhouettes, and underlying dot screens.

Jeff Koons: Hulk Elvis

Michael Almereyda

Lloyd Fonvielle

Kristine McKenna

Greil Marcus

Amy Taubin

Texts by Michael Almereyda, Lloyd Fonvielle, Kristine McKenna, Greil Marcus, and Amy Taubin

For Now is the result of filmmaker Michael Almereyda’s year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.

William Eggleston: For Now

Jeffrey Weiss

Texts by Jeffrey Weiss, Béatrice Gross, and Gila Strobel

This two-volume catalogue documents the collection of Helga and Walther Lauffs, one of Europe’s most important private collections of twentieth century post-war art, comprising key examples of Pop Art, Arte Povera, Minimalism, Post-Minimalism, and Conceptual Art.

The Lauffs built their collection over the course of the late 1960s through the 1970s with the guidance of curator and art historian Paul Wember, who was known for the visionary program of contemporary art that he developed as the director of the Kaiser Wilhelm Museum in Krefeld between 1947 and 1975. In its vision and scope, which is made evident by the rigorous and broad selection of the art of their times, they succeeded in building a collection that bridges the gap between European and American artistic sensibilities. Their collection provides a singularly focused overview of art produced around the 1960s and 1970s, offering connections among its diverse artworks, while pointing forward to the work of successive generations of artists.

In two fully-illustrated volumes, the catalogue incorporates over 100 color plates, with newly-commissioned scholarship and extensive research and documentation on the works in the collection, including important works by Joseph Beuys, Mel Bochner, Lee Bontecou, Christo, Joseph Cornell, Hanne Darboven, Jan Dibbets, Lucio Fontana, Eva Hesse, Donald Judd, On Kawara, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, John McCracken, Mario Merz, Robert Morris, Bruce Nauman, Louise Nevelson, Claes Oldenburg, Giulio Paolini, Michelangelo Pistoletto, Fred Sandback, George Segal, Richard Serra, Richard Tuttle, Cy Twombly, Günther Uecker, Tom Wesselmann, and Douglas Wheeler, among other key artists of the twentieth century.

This clothbound, slipcased edition was published after a series of major exhibitions drawn from the Lauffs Collection in the Spring and Fall of 2008 at Zwirner & Wirth and David Zwirner, New York, and Hauser & Wirth, Zurich.

The Helga and Walther Lauffs Collection

Luc Tuymans in his studio, 2022. Photo by Otman Q

Edited by Pablo Sigg and Tommy Simoens. Texts by Luc Tuymans, Pablo Sigg, Tommy Simoens, and Gerrit Vermeiren

Produced in close collaboration with the artist, this volume presents more than 100 paintings produced between 2004 and 2008. Beginning with 

, Luc Tuymans produced a landmark suite of seven thematically linked bodies of work. With a visual narrative that traces the philosophical and psychic roots of contemporary civilization, the series interweave a range of sources — from St. Peter’s Basilica to Disneyland to the 

 house — that together tell the banal and terrifying story of our times. Also included are photographs, preparatory drawings, watercolors, and installation views, all in full color.

Introducing each body of work is a text written by the artist. ‘Proper,’ an essay by Belgian art historian Gerrit Vermeiren, looks at one body of work in detail, tracing the themes of each painting and capturing the cultural atmosphere of the moment in which they were produced. ‘Tuymans, Loyola, Leibniz,’ specially commissioned from Pablo Sigg, an artist and writer based in Mexico, provides historical and philosophical context. An extensive interview by Belgian artist Tommy Simoens offers further insight into Tuymans’s thinking and motivations.

Luc Tuymans: Is It Safe?

Tiffany Bell

Dan Graham

Anne Rorimer

Alexandra Whitney

Texts by Tiffany Bell, Anne Rorimer, Richard Shiff, and Alexandra Whitney. Interview with Dan Graham

Described by fellow artist Mel Bochner as “one of the first artists to make use of a basically progressional procedure,” influential Minimalist artist Dan Flavin was known for his systematic arrangement of color and light. This major monograph was published on the occasion of 

—the first exhibition of the artist’s work held in 2009 at David Zwirner in New York since the gallery announced its representation of Dan Flavin. Featuring over fifty full-color plates of exemplary works made between 1963 and 1990, in addition to a comprehensive selection of installation views, archival photographs, and documents, this publication carefully examines Flavin’s use of progressions and serial structures, ideas that were central to his practice throughout his career. It also describes how his manipulations of color and light were aspects of his work that not only led to it being characterized as Minimal art but came to define and influence Conceptual artistic practices.

 includes new scholarship by noted Flavin scholar and curator Tiffany Bell (author of the artist’s catalogue raisonne´), Anne Rorimer, Richard Shiff, and Alexandra Whitney; an interview with Dan Graham; and a facsimile of the original catalogue from Flavin’s 1967–1968 exhibition alternating pink and ‘gold,’ at the Museum of Contemporary Art, Chicago. Additional context is provided by a detailed illustrated chronology, which documents historical exhibitions of Flavin’s work.

Dan Flavin: Series and Progressions

An installation view of the exhibition, Suzan Frecon: recent paintings, oil and water, at David Zwirner in London, dated 2022.

 at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon’s most recent large-scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist’s notebooks and sketches. Also included is the facsimile of a personal letter to the artist from poet Clark Coolidge.

Suzan Frecon: paintings 2006–2010

Diedrich Diederichsen

John Kelsey

Christopher Williams

Texts by Diedrich Diederichsen, John Kelsey, and Christopher Williams

For over 20 years Christopher Williams has worked in the field between photography as art and the application of the photographic medium to documentation, advertising, and journalism. The works involve volumes of such subtexts and themes, which are rarely fully apparent, but are concealed behind layer upon layer of circumstances and references, connotations, and background stories. Williams is a decided storyteller, and builds up his narratives by way of an almost essayistic juxtaposition of photographs that stand in relation – not directly obvious – with one another.

The exhibition in Bergen Kunsthall was the first solo presentation of Williams's work in Scandinavia and the title hints at a specific angle of approach to the complex network of connections. 

For Example: Dix-Huit Leçons Sur La Société Industrielle

 suggests a course of lessons that covers the industrial preconditions of the spread of photography, and which can in turn be applied to society in a larger perspective. The accumulation of loosely related events in European culture (decolonization, industrialization, the revolution of ‘68) is paralleled with inventions from the same era which have influenced photographic technology. The same title has been used for several exhibitions in recent years, but often with an addition that indicates that each new exhibition is a new experiment: a new revision. The way the titles begin with “For Example” also indicates the same experimental attitude.

The exhibition in Bergen Kunsthall was not a retrospective in the traditional sense, but brought out various aspects of the artistic oeuvre through a selection of both recent photographs and older works. The exhibition itself thus constituted a new revision of Williams’s ongoing project.

The exhibition catalogue collects, for the first time, a selection of Williams’s own writing in the form of press releases for recent exhibitions, each containing only minor changes from one exhibition to the next. The book also presents two new essays on the work of Christopher Williams by John Kelsey and Diedrich Diederichsen.

Christopher Williams: Program. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 10)

In 2007, Thomas Ruff completed his monumental 

 series in which he explored the distribution and reception of images in the digital age. Starting with images he culled primarily from the Web, Ruff enlarged them to a gigantic scale, which exaggerates the pixel patterns until they become sublime geometric displays of color. Many of Ruff’s works in the series focus on idyllic, seemingly untouched landscapes, and conversely, scenes of war, and nature disturbed by human manipulation. Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. A fittingly deluxe and oversized volume, 

 is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series. Also included is an essay by Bennett Simpson, Associate Curator at the Museum of Contemporary Art, Los Angeles.

Thomas Ruff: jpegs

This beautifully produced catalogue, Marcel Dzama: The Infidels, was published on the occasion of the artist’s fifth solo exhibition at Sies + Höke, Düsseldorf in 2009. In addition to featuring a variety of media including paintings, drawings, collages, and sculptures, the exhibition included a major new series of dioramas, which transport and expand his cast of recurring human, animal, and hybrid characters into three-dimensional space. This catalogue, housed in a beige cloth cover featuring a tipped-in image, is fully illustrated and includes sharp reproductions of the artist’s most recent work as well as installation views of the exhibition.

Marcel Dzama: The Infidels

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