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This new artist's book is comprised of photographs Christopher Wool (born 1955) made between 2008 and 2017 in the surroundings of Marfa in West Texas, where Wool spends part of his time.These are pictures of found situations, rendered serendipitous by the power of the artist's photographic vision: pictures of backyard debris and improvised storage solutions, stray animals and strange constructions that once must have made sense but now appear undecipherable. Things set adrift and excerpts from the landscape that appear almost like sculpture for the split second of the open lens. Christopher Wool: Westtexaspsychosculpture is published in an edition of 1,200 copies, signed by the artist.

Road is the second of two new artist's books from Christopher Wool (born 1955).It collects photographs taken by the artist between 2015 and 2017--dust roads, gravel roads, roads partly overgrown or full of tire tracks, roads through desert and fields of rocks, through sparse woods and along precipices. Wool's roads are not purposeful trajectories toward destinations but the roads of perpetual, endless motion for motion's sake. In Wool's black-and-white photographs, only seldom does a fork in the road offer the viewer an apparent choice of which way to go. And though each photograph comes from a different location, the place changing from one shot to the next, it still feels like one long road traveled under the clear light of the sun. Christopher Wool: Road is available in a limited edition of 1,200 copies, all signed by the artist.

Zhang Wei (born 1952), a founder member of the legendary No Name Group, has long been internationally regarded as one of the most important Chinese painters. This volume showcases a series of new abstractions and reaches back over a long career to paintings on paper made in Beijing parks in the 1970s.

This volume presents the recent ceramic work of American sculptor Liz Larner (born 1960) in light of the artist's broader conceptual and material development.As Peter Pakesch writes in his essay, "ceramic in Larner's hands becomes a special combination of painting and sculpture, embodying the qualities of both worlds."

Swiss artist Eric Hattan (born 1955) engages with the everyday through interventions that may present furniture on the ceiling, displaced street lamps in gallery spaces or videos of the artist turning packaging inside out. This book surveys his complete work with hundreds of installation images and video stills.

This survey of recent work by British artist John Hilliard (born 1945) examines his conceptual approach to photography. Hilliard utilizes every means--double exposure, multiple perspectives, blow-ups, cutouts and superimpositions--to explore what an image can tell us about the world and where the medium determines the meaning.

A founding member of the Nouveau Realisme group, French artist Raymond Hains (1926-2005) was a perpetually restless innovator. In the 1940s he experimented with photograms and optical distortion; in the 1950s, he took torn posters from billboards and reprised them as paintings, pioneering an abstract realism, while also collaborating with the Lettrists; in 1960 he cofounded Nouveau Realisme alongside Klein, Spoerri, Tinguely and others, transposing construction hoardings into the gallery space and continuing his affichiste activities. In the '70s Hains worked with suitcases and narrative photographs; in his final phase, he devised his "macintoshages," collages of pop-up windows grabbed from a computer screen, and developed neon sculptures after the Borromean knots of Jacques Lacan. This book--the first comprehensive Hains monograph, created in collaboration with the artist's estate--follows his 60-year career, elaborating its context and references.

This volume documents a focused group of paintings from 2014-15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.

This catalogue accompanies a vast survey of the work of Mona Hatoum (born 1952) at Kunst-haus St.Gallen in Switzerland. The pieces range from the artist's body-centered early performances of the 1980s, through large sculptures of threatening household objects, to more recent, politically charged installations.

This book presents a recent series of large-format collage paintings by German artist Albert Oehlen (born 1954), utilizing cheerily cheap advertising posters. The compositions reveal themselves as interiors only on second gaze: edges of walls and floors, the elegant curve of a designer chair.

The uncommonly rich paintings and watercolors of Berlin-based Uwe Kowski (born in 1963 in Leipzig) walk a fine line between abstraction and representation. They are delicate, complex compositions whose layers of paint can hide written words or any of many art-historical references, from the Impressionists to Jasper Johns.

For his installation Terminus, the British artist Darren Almond relocates 14 socialist-era bus stops from the Polish town of Oswiecim to a gallery space in Berlin, activating a force field between the Auschwitz concentration camp, everyday life in Oswiecim and the way we experience historical proximity or distance. As Julian Heynen writes in his analysis of Terminus: "What we see with our own eyes of the reality of Oswiecim, the bus shelters, is only a temporary stop on a hypothetical journey to the 'real' place, the camp. In this waiting room the direction of the next step is shown, even as doubt is cast on the chances of us satisfying our desire for authenticity." Mark Godfrey (Abstraction and the Holocaust) discusses the work's genesis and context in a conversation with Almond, while Charity Scribner (Requiem for Communism) introduces her personal experiences from Poland. An extensive photographic record draws together the many aspects of this installation, summarizing them in photo essays.

As Tunga reveals in conversation with Beverly Adams, a performance to him is an opportunity to explore an installation piece. In 2006, he installed Laminated Souls--a "hyper-symmetrical" laboratory, in which systemization and metamorphosis interlock--in three rooms at the Botanical Gardens in Rio de Janeiro, and there he realized a performance with two scientists, flies, frogs and a host of performers. The artist went on to create related sculptures and exhibited the original installation at New York's P.S.1 in 2007. This volume traces the evolution of Laminated Souls in detail, and by juxtaposing research and result, it gets under the skin of this work complex.

A young boy and a dwarf give this book its title, but at first glance, it's hard to make out anything like them in Arturo Herrera's collages. Only a closer look will reveal the telling details in the work's rich texture: the bellows of an accordion, a dwarf's cap. Are these pictures representational or abstract? According to Herrera, "The challenge is, how can an image so recognizable, like a dwarf, have another meaning that I impose on it? Is it possible? Can I make something so clear ambiguous? Can I uproot it?" He can: The ambiguity of his collages slows down the gaze so that the figurative and the abstract cease to be simple opposites. And the repeated motif gives the eye free rein to study the method and virtuosity of Herrera's take on abstraction. This recent series of 74 large-format collage works on paper is based on two comic figures: an old dwarf and a young boy who plays accordion. The "front views" come from a children's coloring book, and Herrera commissioned an illustrator to draw "back views" of the figures. These are blown up, colored in and then layered with complex collage structures until the images almost disappear beneath the vivid surface abstraction.

The years 1993 and 1994 were bum years for Richard Phillips. Creative years too, since that was when he made the 30-odd drawings in this portfolio. With the air so cold and the heat not working and the rent going unpaid for eight months, Phillips, drawing in his kitchen, conjured one image after another: a homeless man is burned alive by a thug; a deranged blonde cuddles with a white rabbit, certain they must be sisters; a monumental god carved into a temple at Angkor Wat mirrors the face of Alice Cooper--two gods in one! Phillips' sources were discarded newspapers, but if you look behind the mottled surfaces the pictures really derive from the conflicted state of his soul. Each of these drawings is a complete work; none were intended only as studies. "They were meant to be entertaining," Phillips tells author Linda Yablonsky, "but they also pushed me to go farther and farther." Ultimately, these drawings gave Phillips the freedom to paint. What they give us is the power to see through the dark.

The first monograph on the colorful and disorienting painting of Wang JiajiaBeijing-born artist Wang Jiajia (born 1985) mixes video-game imagery with abstract expressionist techniques to produce densely layered paintings that engage us with eyes glowing behind thickets of brushwork. In the artist's words, "I want to create works that draw you to them, battle for your attention, that are like a counter to all the rest of the shiny stuff online."

On the joyfully cartoon-like and formally masterful paintings of Louise BonnetTreading a fine line between beauty and ugliness, the paintings of Swiss-born, Los Angeles-based artist Louise Bonnet (born 1970) feature voluptuous torsos and bulbous extremities, odd-looking noses, nipples and wig-like clusters of mostly blonde hair. With her eclectic approach to the figure, Bonnet challenges ideas of identity and representation.

An in-depth look at a key series in Albert Oehlen's early workIn the 1980s, German painter Albert Oehlen (born 1954) painted pictures of apartments and stage-like spaces on canvases with glued-on mirrors that slyly incorporate the viewer. An essay by Raphael Rubinstein accompanies this conceptually astute and subversively humorous series.

Silkscreen collage paintings of Hollywood stars alongside small-scale sculptures from Urs FischerUrs Fischer's (born 1973) silkscreen paintings in this series at Berlin's Galerie Max Hetzler feature publicity shots of male and female Hollywood film actors intercut with their own double images and naturally flowing abstractions. These paintings are juxtaposed with small gesso figures interacting with found objects around a mirror pond framed by potted plants.