Otobong Nkanga’s first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp. Its title encapsulates the complex concerns that underpin these shows: “luster,” the illustrious shining of materials; and “lucre,” profits and gains.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s

Olaf Holzapfel explores the interstices between craft and art, and consequently, between orality and literacy. Much of his work presented in this catalogue—framework installations, hay images, and straw images are displayed in this book—was made together with farmers and craftspeople; by transforming age-old handiwork into contemporary art, Holzapfel unsettles the division between nature and culture, and tradition and modernity.

This new collaborative publication, Dare to Count Phonemes and Graphemes, has evolved within the framework of these geographically separate yet collaboratively conceived exhibitions held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22).

For years now our lives have been shaped by a crisis impacting both our economy and our personal lives. But what is ultimately in crisis? Survival Kits offers twelve perspectives on this issue—from fields as diverse as philosophy, politics, media theory, environmental activism, feminism, post-human theory, literature, geopolitics, art, and economics.

Published on the occasion of his solo exhibition at Kunsthalle Basel (June–August 2012), this publication includes interviews and images of the work of the Los Angeles-based artist Paul Sietsema.

Decoy documents the eponymous exhibition at Landesgalerie Linz in 2011 in which Grubinger presented large-scale sculptural works, all of which referenced the fishing—lures, mooring rings, a dock—and both subtly and explicitly engaged a vocabulary of the alluring.

Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007.

Birgit Megerle’s figurative and abstract paintings are characterized by an artificial, rigid, and stage-like atmosphere. The female characters featured in her works are poised with a determination and a readiness to act, and while based in a tradition of representational painting, they are eerily unreal and remote.

This book brings together visual and written documentation of BLESS’s last twelve collections (N° 30–N° 41), continually prompting and challenging the question of where a product begins and ends.

Siblings and Twins, a catalogue of Haegue Yang’s installation works, documents the same-titled exhibition held at Portikus, Frankfurt am Main. The exhibition was part of a serial project designed by Yang in which she staged additional installations in other international exhibition sites.

This comprehensive catalogue documents for the first time Klaus Weber’s oeuvre and reveals a recurring sense of limit-experiences: accidents, organism mutations, altered states, incursions from the outside.

In A for Alibi, the Uqbar Foundation has invited a group of artists to perform research and develop projects using the impressive collection of optical instruments housed in the Utrecht University Museum. Exploring the boundaries of scientific practice and art, the book documents the various stages of this project and reflects on the origins of modern visual culture.

This fully illustrated book features for the first time the wide range of Bless’ activity and documents a unique mode of cultural production.