A painting by Michael Armitage, titled Enasoit, dated 2019.

Portrait of Michael Armitage, 2021. Photo by Tom Jamieson

Edited by Hans Ulrich Obrist. Texts by Manthia Diawara, Jean-Marie Gallais, Salman Rushdie, and Ocean Vuong. Conversation between Hans Ulrich Obrist and Michael Armitage. 

"Michael Armitage responds to his time, to our time, using all the vocabulary, all the arsenal of art. He paints on

canvas, made from tree bark, and makes his fragility an asset, suggesting that his human subjects can also transform their own into strength, and that what can work this magic is beauty." — Salman Rushdie

 is the publication that accompanies the major exhibition of the same name that Pinault Collection dedicates to the British painter Michael Armitage in the exhibition spaces of Palazzo Grassi in Venice (from March 29, 2026 to January 10, 2027).

Armitage, born in Nairobi, Kenya, in 1984, is a leading figure in the new international figurative painting. His research combines references to the European pictorial tradition with elements of East African visual culture, creating images of great narrative force and remarkable visual impact thanks to an extraordinary and highly personal use of color.

The volume offers an in-depth overview of his production, which now covers more than a decade, presenting, through a wide selection of reproductions of the works on display, scenes suspended between reality and imagination that address themes such as cultural identity and collective memory, politics and social transformations, myths, traditions, and popular narratives.

Critical texts and testimonies by Manthia Diawara, Jean-Marie Gallais, Salman Rushdie and Ocean Vuong join a long and recent interview by Hans Ulrich Obrist with the artist and take shape with the extraordinary graphic and cartotechnical project of Irma Boom Office.

Michael Armitage: The Promise of Change

The first major biography on Anni Albers traces the complex personality and influential artistic career of the groundbreaking modern artist



Anni Albers (1899–1994) was a pioneer of twentieth-century modernism. As a textile designer, weaver, writer, and graphic artist, she inspired a reconsideration of fabrics as an art form, both in their functional roles and as wall hangings, and took the processes of printmaking into uncharted territory. This intimate biography draws on personal conversations with Albers from the 1970s up until Albers’s death and on unprecedented archival research to tell a fresh and full story of Albers’s life and the development of her unique and influential artistic vision.

Capturing Albers’s extraordinary perspective about the world around her, whether the milieu she was observing was the wealthy bourgeois Berlin of her childhood or the Mexican villages where she came to feel remarkably at home, Nicholas Fox Weber brings the artist’s pithy wit and imaginative mind to life. Weber presents a riveting narrative that follows Albers’s trajectory from her time at the Bauhaus and at Black Mountain College to her later years in Connecticut. He considers her complex relationship with her world-renowned husband, Josef Albers, as well as her encounters with luminaries such as John Cage, Buckminster Fuller, Walter Gropius, Wassily Kandinsky, Paul Klee, and Louise Nevelson. He also describes her torturous, late-life obsession with film star Maximilian Schell, thirty-one years her junior. Weber foregrounds Albers’s perpetual curiosity, originality, and humor, as well as her novelistic sense of the world around her.

Anni Albers: A Life

A detail from a painting by Oscar Murillo, titled manifestation, dated 2019.

Oscar Murillo in his studio, 2022. Photo by Jason Schmidt

Edited by Anna Schneider and Daniel Milnes

This elegantly designed publication explores Oscar Murillo’s ambitious reimagining of Monet through a contemporary lens.

What happens when the radical beauty of Claude Monet’s late paintings meets the political tensions of the present? Interdisciplinary artist Oscar Murillo explores that question in a sweeping body of work that reimagines perception, power, and place through the language of mark-making. At its core is 

—a series of large-scale, visually arresting paintings that echo Monet’s 

 while confronting the political dimension of seeing and not seeing by positing darkness as a space of speculation for a new reading of impressionism. These works appear alongside further paintings by Murillo as well as his long-running 

 project, created in collaboration with schoolchildren across the globe, and participatory pieces that extend his practice beyond the studio and into the public realm. The result is a layered meditation on visibility, landscape, and the politics of artistic labor—across borders and generations. 

Designed with a modern flair to reflect the energy and ambition of the project, the book includes full-bleed plates, striking installation photography, and images from community-based projects. Both a record of a major artistic undertaking and a reflection of Murillo’s socially engaged approach, it offers an immersive look at a practice that is as materially rich as it is conceptually urgent.

Oscar Murillo: Collective Osmosis

Yu Nishimura. Photo by Takashi Homma for MARFA

A new limited-edition zine by Yu Nishimura, 

 unfolds across 24 pages and presents a selection of exclusive drawings from his 

 series. The publication offers an intimate glimpse into Nishimura’s quiet, atmospheric visual language, capturing subtle gestures, fleeting moments, and the poetic nuances of daily life.

Produced in a compact format, the zine is printed in grayscale offset, emphasizing the delicate tonal shifts and soft textures characteristic of the artist’s work. The restrained printing process enhances the contemplative quality of the drawings while maintaining a refined and tactile presence.

Yu Nishimura: Outline

An artwork by Raymond Saunders, called Untitled, dated 1990. Copyright Raymond Saunders

Produced in conjunction with Raymond Saunders’s solo exhibition, 

, at David Zwirner Los Angeles, this collection of tearaway postcards feature artists’ responses on the frontside and exhibition information on the reverse with space to write a note of one’s own. 

Each contributor was invited to respond with a reflection on what it means to be an artist, the importance of formal arts education, and the experience of making work in Los Angeles. The project is deeply informed by Saunders’s personal archive of postcards, stamps, and correspondence with friends, colleagues, and students, much of which is presented as ephemera in the exhibition. This compendium also directly references 

 (1987), a series of postcards Saunders produced featuring excerpts from a conversation that reflect on the evolution of his artistic practice.

Proceeds from the sales of this publication will benefit 

, Los Angeles, which was founded in 1989 to provide quality arts instruction for students from underserved communities, integrated arts workshops for educators, and programming designed for the community.

Contributors include Raymond Saunders, Marcel Alcalá, Sadie Barnette, Dewey Crumpler, Derek Fordjour, Daniel T. Gaitor-Lomack, Nikita Gale, Chase Hall, Hanna Hur, Texas Isaiah, Ari Marcopoulos, Christina Quarles, Sterling Ruby, Cauleen Smith, P. Staff, and Leilah Weinraub.

Raymond Saunders: Notes from LA

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

Edited by Emilie Bouvard. Translated by Catherine Petit, Paul Buck, and Dennis Collins

Huma Bhabha has been asserting her keen interest in Alberto Giacometti’s work for a long time. The figures she makes are charged with a vigor, an energy at times intense, a sensibility which, in many respects, is in dialogue with those of the Swiss sculptor. In this book, recent as well as early works by Bhabha are shown, not without humor, alongside icons such as Giacometti’s 

This catalogue accompanies an exhibition presented at the Institut Giacometti from February 6 to May 24, 2026. 

Huma Bhabha / Alberto Giacometti

Designed by Andra Eggleston and featuring a drawing by William Eggleston, this pocket square brings a private language of line and color into everyday wear.

Andra and her father have long shared a love of great textiles and a good story. On trips to Memphis, Andra discovered boxes of William’s drawings—decades of work made before and after she was born, an artistic life that ran alongside his celebrated photography. Preserved and unpreserved, intimate and spontaneous, the drawings revealed a parallel legacy. She began, almost instinctively, to shape them into repeating patterns.

From that quiet collaboration grew Electra Eggleston: a collection of fabrics infused with William’s unmistakable sense of color and Andra’s eye for design. The textiles are bold yet livable, experiential rather than decorative, equally at home in fashion and interiors.

Printed on 100% linen with a vivid red embroidered edge, this pocket square carries that story in miniature—art meant to be folded, worn, and kept close.

William Eggleston Pocket Square

Contributions by Glenn Adamson, Karis Medina, Amy Jean Porter, and Jeffrey Saletnik

A beautifully illustrated look at the works of Anni Albers with a focus on the architectural dimensions of her work



Anni Albers (1899–1994) has long been revered as a trailblazing weaver, textile designer, and visual artist; she also was an insightful and eloquent writer, and her books 

 are canonical writings in design history. 

 explores the ideas of materiality, construction, and architecture across her body of work, establishing her legacy as a thinker, theoretician, and innovator.

The book’s essays include essential writings by Albers herself on the making and meaning of textiles, as well as new pieces by Glenn Adamson on her relationship to architecture, Karis Medina on the material and technique of her weavings, Amy Jean Porter on her writing, and Jeffrey Saletnik on East Asian influences in Albers’s work and thinking. Among the book’s hundreds of beautifully reproduced images are works held in private collections that have never before been published. An essential volume in the literature about modernism, this book reinforces Albers’s position as a leading figure in twentieth-century art.

Anni Albers: Constructing Textiles

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Contributions by Emanuele Coccia, Leontine Coelewij, Stephan Diederich, SooJin Lee, Katie Mack, Stefano Mancuso, Ralph McCarthy, Mouna Mekouar, Charlotte Sarrazin, Agata Marta Soccini, and Helen Westgeest

The definitive catalog offering an in-depth exploration of Yayoi Kusama's seven-decade career, including rare early works and new productions

This catalog accompanies the Fondation Beyeler's major autumn 2025 exhibition dedicated to the celebrated Japanese artist Yayoi Kusama (born 1929). As the first retrospective of Kusama's work in Switzerland, this landmark publication offers a comprehensive exploration of her more than seven-decade career. Developed in close collaboration with the artist and her studio, the catalog presents an in-depth look at Kusama's diverse body of work, from her early creations―some never before seen in Europe―to her most iconic pieces, as well as new productions and one of her renowned Infinity Mirror rooms. Richly illustrated, the catalog examines Kusama's signature artistic language, characterized by obsessive repetition and boundless mirrored spaces that transport viewers into infinite realms. It serves as an essential reference for anyone seeking to understand Kusama's enduring impact on contemporary art.

Yayoi Kusama (Fondation Beyeler)

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2020. Photo by Jason Schmidt

Texts by Ariel Levy, Barry Schwabsky, and Lena Dunham

The definitive monograph on innovative American painter Lisa Yuskavage

Lisa Yuskavage is one of the most acclaimed living painters. Known for her highly original approach to figurative painting, Yuskavage challenges conventional understandings of the genre. At times playful and at other times rueful, her bold, eccentric, exhibitionist, and introspective characters inhabit fantastical and vivid compositions, assuming the dual role of subject and object.

Although inspired by popular culture, the artist’s technique is deeply rooted in the history of painting, establishing an underlying tension between polar opposites such as high and low, sacred and profane, harmony and dissonance.

Yuskavage’s first proper monograph features more than 150 color images, including never-before-seen photographs of her studio, along with insightful text contributions from Barry Schwabsky, Lena Dunham, and Ariel Levy.

Lisa Yuskavage

Luigi Magnani

Stefano Roffi

Alice Ensabella

By Luigi Magnani. Translated by Antony Shugaar. Preface by Alice Ensabella. Introduction by Stefano Roffi

Available for preorder. Forthcoming June 2026

The Italian painter Giorgio Morandi is recounted as a friend and artist in this memoir by Luigi Magnani, an art historian and devoted collector of Morandi’s work

One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani.

is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation. Magnani’s personal collection of Morandi’s work was on view at David Zwirner, New York, in 2025. Originally published in 1982 in Italian, this memoir is accompanied by a new preface by curator and scholar Alice Ensabella and an introduction by Stefano Roffi, director of the Magnani Rocca Foundation.

My Morandi

Lynne Tillman

Elizabeth Schambelan

cover of a book titled Lynne Tillman: Paying attention published by david zwirner books in 2026

By Lynne Tillman. Edited and with an introduction by Elizabeth Schambelan

From award-winning novelist and cultural critic Lynne Tillman, 

 is the first collection of essays devoted to her incisive, singular reflections on art and culture.

 gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time.

Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in 

, these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. In a piece on the artist Robert Gober, she notes, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.”

In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself deftly layers the art, voice, and language of criticism. With cover art by Paul Chan, this collection is for ludic and serious readers alike.

Essays on Art and Culture

Lynne Tillman: Paying Attention

A portrait of Gerhard Richter by Werner Bartsch.

Contributions by Nicholas Serota and Dieter Schwarz

A catalog of the major exhibition of remarkable works of Richter at the Fondation Louis Vuitton in Paris, from October 17, 2025 to March 2, 2026

Gerhard Richter describes himself as a “classical painter,” and the exhibition at the Fondation Louis Vuitton in Paris aims to showcase the complete evolution of his career, spanning over six decades. It will highlight both the continuities and disruptions in his work, which includes not only painting but also exquisite drawings, over-painted photographs, and sculptures. Located in Frank Gehry’s iconic building in Bois de Boulogne, the exhibition will be organized chronologically, allowing visitors to appreciate the unique characteristics of each piece. Trained in Dresden, Richter is interested in historical genres of painting and seeks to reinterpret them in the context of contemporary times, revealing beauty and ethical issues through seemingly conventional subjects. He has also explored various painting techniques, creating works that range from quiet and refined to those bursting with energy, reflecting his physical engagement in the creative process.

Gerhard Richter (Foundation Louis Vuitton)

t presents the nonconformist and fascinating work of the British artist Rose Wylie. She has won global recognition with her unique artistic practice and wide range of themes. Wylie’s large-format paintings are a mixture of figurative representation, abstraction and stories in pictures. Expressive, direct and filled with subversive humour, they bear witness to the artist’s engagement with pop culture, literature, history, and personal experiences. Wylie’s artistic language is deliberately simple, and recalls the aesthetic of Bad Painting and Post-Pop.

With works from the last thirty years, the book provides an insight into the untamed oeuvre of an artist who overcomes conventional boundaries and occupies a unique place in the contemporary art scene. Individual works are also being painted specially for the exhibition in Bern, and shown to the public for the first time, just as Juergen Teller’s photographs, in their inimitable way, introduce us to the artists’ world in her different way.

Rose Wylie: Flick and Float

Hilma af Klint

Wassily Kandinsky

Daniel Birnbaum

Julia Voss

Hilma af Klint and Wassily Kandinsky: Dreams of the Future, David Zwirner Books, 2025



An important exploration of the lives and art of Hilma af Klint and Wassily Kandinsky, two pioneers of abstraction at the turn of the twentieth century

The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art.

While there is no indication that these artists, who both died in 1944, ever met, this publication presents a dynamic and visual conversation between them. Through this engrossing account of the affinities and divergences between af Klint’s and Kandinsky’s lives and work—supported by more than 100 striking illustrations—we gain a deeper understanding of the forces that shaped their artistic trajectories. By examining the spiritual, sociopolitical, and personal contexts that influenced their practices, this book invites us to witness a pivotal moment in which the art world was forever changed.

Hilma af Klint and Wassily Kandinsky: Dreams of the Future

Texts by Douglas Fogle and Marlene Dumas.

This catalog accompanies the exhibition "Marlene Dumas: Cycladic Blues" at the Museum of Cycladic Art in Athens, featuring over 40 paintings and works of paper, combined with over 30 antiquities from the museum’s collection. Grouped into categories—family, portrait, erotic figure, fragmented body, and portraits of sculptures—Dumas’s works enter into a timeless dialogue with the abstracted human forms of the Cycladic figurines created by unknown artists several millennia ago. 

As the artist states on the first page: "This is a book for all time; from being born, being young, being attractive and seductive, being betrayed and attacked, to being old and trying not to die."

Cover of a book titled Marlene Dumas: Cycladic Blues at the Cycladic, published by Roma Publications in 2025.

Marlene Dumas: Cycladic Blues at the Cycladic

Installation view of the exhibition titled Barbara Kruger at David Zwirner in New York, dated 2022.

Texts by Gary Indiane, Miwon Kwon, and Natalia Grabowska 

Thoughtfully curated volume that situates Kruger’s practice within decades of shifting cultural and political discourse

This book is published to coincide with the first comprehensive retrospective of this artist's work in Spain, at the Guggenheim Museum Bilbao. The publication includes an incisive 1999 essay by Gary Indiana, written with his characteristic sharpness and wit; Miwon Kwon’s foundational analysis of Kruger’s relationship to site, architecture, and institutional critique; Natalia Grabowska’s analysis of Kruger’s transformation of text into an architectural and special intervention; and a new conversation between Kruger and curator Lehka Hileman Waitoller, offering fresh insights into Kruger’s evolving engagement with language, media, and power.

Barbara Kruger: Another Day, Another Night

Edited by Stefano Collicelli Cagol. Texts by Stefano Collicelli Cagol, Giorgio Di Domenico, Filippo Bosco, Chiara Portesine, and Michele Bertolino

Following the great success of the first edition of 

—the volume accompanying the first institutional solo exhibition of the American artist held at Centro per l’arte contemporanea Luigi Pecci, Prato—Louis Fratino has revised and expanded the publication to include images of all the new works created specifically for the show.

 highlights the profound connection between Fratino’s practice and Italy, a country that has offered the artist with a wide range of topics, imagery, and sensibilities: bridging relationships, emotions, and landscapes, ultimately leading to reflect upon his own art. Satura includes artworks from the past decade, alongside numerous new pieces, providing a comprehensive exploration of the artist's practice.

The works presented in this richly illustrated volume draw inspiration from twentieth-century Italian artists such as Filippo de Pisis, Mario Mafai, Costantino Nivola, Felice Casorati, Carlo Carrà, Fausto Pirandello, and Guglielmo Janni; from the immersive experience of Italian landscapes and cities like Rome, Milan, and Genoa; and from an in-depth exploration of Italian culture, through the reading of poems by Sandro Penna, Patrizia Cavalli, Pier Paolo Pasolini, and writings by Italian gay activist Mario Mieli.

The special cover-poster features the painting 

Louis Fratino: Satura

Contributions by Eva Birkenstock, Kathleen Bühler, Jenny Nachtigall, Rose Higham-Stainton, Sabeth Buchmann, Julia Bryan-Wilson, Michelle Kup, and Amy Sillman

A beautiful gathering of the famed artist’s work of the last 15 years

In her painting, American artist Amy Sillman expands the standards of abstraction using material and conceptual interventions in the painting process. She destabilizes purported dichotomies and hierarchies between figuration and abstraction, intimacy and clumsiness, ability and self-negation, process and completion. Now the serial drawings and paintings are multicolored, now monochrome, now they show complex forms, now figures or body parts. And they are always filled with delight in the process. 

 highlights her critical exploration of the history of painting and conveys her complex and sophisticated painterly practice on the canvas and beyond. This inspiringly designed book provides broad insights into Sillman’s approach to painting as a time-based medium, presenting in detail around 30 paintings and 300 works on paper, several digital animations, and site-specific installations, all of which were created in the last 15 years.

Amy Sillman: Oh, Clock! 

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Each card in this 54-card deck designed by Chris Ofili features a different woman, man or flower from the artist’s Afro Muse series, a body of work exhibited by the Studio Museum in Harlem in 2005.

Although reminiscent of someone, somewhere at some moment in time, these intimate watercolour images are figurative expressions rather than portraits of individuals. Like the characters that populate Ofili’s larger paintings, they derive from impressions and references from everyday life, memory and the history of art.

Chris Ofili: Afro Muses Playing Cards

The definitive book on the life and career of internationally acclaimed artist Yoshitomo Nara

Yoshitomo Nara rose to prominence in the mid-1990s, a star in a generation of avant-garde Japanese artists associated with the neo-Pop "Superflat" movement. This book, made in close collaboration with Nara himself, explores more than three decades of his work and is the first truly authoritative monograph on the artist in more than a decade. Written by art historian Yeewan Koon and featuring texts by Nara himself, it includes his most recent work in painting, drawing, sculpture, and ceramics.

Yoshitomo Nara

Contributions by Charlotte Ickes, Josh T Franco, Julie Ault, Joshua Chambers-Letson, and Teresita Fernández

 examines Felix Gonzalez–Torres’s work in relation to portraiture and accompanies a major exhibition of the same name at the National Portrait Gallery and the Archives of American Art, Smithsonian Institution. As one of the leading artists of the twentieth century, Gonzalez-Torres broadened the horizon of portraiture from a genre associated with static representations of individuals to one with the capacity to change, remain resonant, and encourage collaboration. With no formal beginning or end point, the exhibition and monograph unfold at the intersection of Gonzalez-Torres’s groundbreaking work, the context of two Smithsonian collections, and the historically significant setting of Washington, DC.

 weaves together documentation of the exhibition with new scholarship by the exhibition’s curators, Josh T Franco and Charlotte Ickes; essays by Julie Ault and Joshua Chambers-Letson; and archival texts that shape the conceptual foundation for the exhibition. This in-depth look at the artist’s relationship to portraiture and historiography provides a new way into the practice of one the most significant artists of our time.

Felix Gonzalez-Torres: Always to Return

Detail view of Alice Neel's 1967 painting titled Richard

Contributions by Kelly Richman-Abdou, Jennifer Higgie, Mira Schor, and Annie Sprinkle

This catalog was conceived as a tool to discover and understand the work of Alice Neel, presented for the first time in Italy on the occasion of the retrospective of the same name at Pinacoteca Agnelli. Published in English and Italian, the book follows the exhibition layout: the authors’ contributions are followed by images of the 60 works presented, divided into six sections—

—mirroring the six rooms in the exhibition. Each of these thematic sections is preceded by an introductory text, and the publication concludes with a chronology, compiled by the editors, that links Neel’s life to analyses of 30 of her works in the exhibition. The author contributions includes an introduction by the curators, followed by four essays: Kelly Richman-Abdou examines Neel’s exploration of the theme of motherhood in the early phase of her artistic career, offering an interesting comparison with some of the works the artist may have seen during her visits to the Metropolitan Museum of Art; Jennifer Higgie reflects on Neel’s interest in self-portraiture, a genre that the artist rarely explored during her career; Mira Schor revisits her twenty-year research on the formal aspects that allow Alice Neel to be considered a great abstract artist; Annie Sprinkle, whose portrait is included in the exhibition, recounts her experience of posing for Neel and the development of their friendship.

Alice Neel: I Am the Century

This six-panel cotton hat features a custom embroidered design by R. Crumb for the Los Angeles gallery location of David Zwirner. 

David Zwirner Los Angeles Hat

All Books

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.