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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 They are delicate, complex compositions whose layers of paint can hide written words or any of many art-historical references, from the Impressionists to Jasper Johns.

With the complex installation From Sebastian to Olivia, Brazilian artist Ernesto Neto presents an artistic vision of organic relations. As the title suggests, this is a world of compressed spaces, originating from the knowledge that two people can share a room and still be cut off from one another by its architecture--unable to come into contact or communicate. Structurally, the work illustrates the isolation and loneliness of two spheres, male and female, while indicating that contact could become possible. "I am sculpture and think as sculpture," says Neto, describing his perception that sculpture is a living organism and knows no bounds. In addition to subtle lighting direction and the use of scents, the artist employs stairways, a viewing platform, a swing, stools, free-standing sculptural works, spice drawings and wall sculpture to demonstrate this blurring of boundaries. Here, spatial and sensual layers are linked to recreate a world of organic membranes.

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.

This is the first comprehensive monograph on the young Brazilian artist Marepe, who lives and works in Santo Antônio de Jesus in Bahia Province in northwestern Brazil. The cosmos of this location--Marepe's birthplace--provides the stimuli for his art. His works, exhibited worldwide at Biennale festivals and museums such as London's Tate Modern or Paris' Centre Pompidou, evolve from the region's history, the daily lives of its people and the creativity that helps them to survive. As Jens Hoffmann writes in his essay: "Marepe's world is fairly unique and his works of art are not just objects representing an idea or concept, they are witnesses of his life and the condensation of his experiences and his dreams. His interpretation of his surroundings is rendered into multifaceted, poetic and frequently beautiful works of art, which speak profoundly about some of the most relevant and even existential questions of our lives." Adriano Pedrosa analyzes the transformative impact of placing rows of water filters or replica market stalls in an art context. Statements, notes and poetry from the artist himself shed further light on the background of his pieces.

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.

"Through sheer compulsiveness, the book sharply elucidates the now considerable arc of Wool's engagement with photography for its own sake and for catalyzing the rest of his work." -Randy Kennedy, New York TimesIn the photographs that make up Bad Rabbit, Christopher Wool (born 1955) works with pieces of fencing wire that he found on the roads and littered backyards of Marfa, Texas. Their shapes reminded him of his own drawing line, and so he explored their sculptural qualities in a series of starkly black-and-white, digitally treated prints. For his sculptural practice, the artist enlarges the wire maquettes and casts them in bronze and steel; in the photo works collected here, the found object becomes a subject of observation, its sculptural form created in its framing and in the subsequent treatment of the images. This is the fifth artist's book in a series by Wool from the same publisher, which has become an important part of the artist's practice. The book comes in an edition of 1,200, each copy signed by the artist.

Glenn Brown's swirling, grotesque figures emerge from uncanny manipulations of old and new mastersIn this volume, British artist Glenn Brown (born 1966) presents a selection of recent works across painting, drawing and sculpture. Brown's work disarms common distinctions between beauty and abjection: he takes the protagonists of his paintings from old and new masters such as Raphael, Boucher, Delacroix or Baselitz, whose figures he alienates, mutilates, digitally manipulates and covers with seething color gradients and bands of swirling color.In Brown's drawings, the bodies and faces intertwine, bound together by looping lines, leaving the viewer with the uncanny impression of a "schizophrenic self," as the artist notes. In his sculptures, color grows into space: brushstrokes flee the plane into a third dimension, threatening to smother the antique bronze figurines they grow from. Conceptually distinct from appropriation art, Brown's artistic process demonstrates where his focus essentially lies; not in the base image, but rather in the possibilities that derive from it.

New paintings exploring the extreme hybridization of global cultureLos Angeles and Seoul-based artist Cody Choi (born 1961) responds to the global collision of cultures. Pitting Rococo against traditional Chinese sources in his paintings, adding a riff on Rodin's Thinker and a youthful dance performance in calibrated spotlights, his work achieves cultural hybridity.

ìDeep in the heart of my loneliness, I think of the art of my lioness.î German Fluxus artist Dieter Rothís enigmatic (and sometimes singsong) mail art for his lover, the artist Dorothy Iannone, was matched only by her responses and the sexually loaded non-mailable art she made featuring the two of them. Roth and Iannone met in 1967, broke up in 1974, and remained friends and lively correspondents until Rothís death. He painted over and dimmed the subjects of postcard photos to make himself the central figure; she needed no prompting to cast him in a starring role in her autobiographically based oeuvre. From ìmy dear old baby, will you please bring this check to the bank so we have some money when I come back, î to ìremember me?î they were a fascinating couple; now readers can encounter that passion themselves.

Two decades of painterly adventures in punk and psychedelia from Anselm ReyleThis catalog documents German artist Anselm Reyle's (born 1970) exhibition at the Aranya Art Center in China. It features a cross section of his work: abstract canvases and silver foil paintings, roughly molded and brightly colored ceramics, neon works and more, grouped around a kinetic sculpture hanging from the dome of the museum's auditorium.

The first in a planned series of postcard books, Rebecca Horn: 10 Works/20 Postcards presents works by one of the most highly regarded installation artists active today. Ten of Horn's iconic pieces, mainly sculptural installations, are shown here--each captured from two different angles. This book can be perceived as a publication in its own right, or as a complement to previous publications. But, of course, it also offers itself as a collection of postcards in the classic sense: as a thing of beauty to be passed on to others.

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.

Celebrating the freedom of painting, this book collects Tursic & Mille's recent forays into both abstract and figurative subjectsIn this survey of work since 2012, France-based artist duo Ida Tursic & Wilfried Mille (both born 1974) presents painting as a medium of freedom--figurative subjects such as portraits, landscapes, vintage porno and pets are balanced against or covered with colorful abstractions to rival the image overload of digital media.

On the art of Zhang Wei, pioneer of Chinese abstraction and member of the legendary No Name GroupThis volume focuses on the abstract paintings of Zhang Wei (born 1952), following his development from the abstractions of the late 1970s and early '80s--inspired by the ink paintings of Qi Baishi and the first Beijing exhibition of American abstract expressionism--toward his more fragile recent compositions.

An artist's book collecting Jeff Elrod's meditations on the ubiquity of the screenFor this publication, the Marfa- and Brooklyn-based artist (born 1966) has collected 132 inkjet and laser prints from 1996 to 2015, ranging from quick lines scratched out on a screen to painterly pieces that shimmer in deep blurriness.

The fourth in Christopher Wool's sumptuous slipcased series of limited-edition photobooksFollowing his previous limited editions with Holzwarth Publications, Road, Yard and Westtexaspsychosculpture (all published in 2017), New York-based artist Christopher Wool (born 1955) presents Swamp, a beautiful, slipcased, large-format (10 x 15 inches) paperback volume that likewise features images that have been created through processing and reproduction, in which the original photographic material acts as only the basic layer. Here, what initially appears as an unruly surface gives way to Wool's black-and-brown photographic superimpositions, fragments of motifs: backyards, abandoned car tires, huge cable drums, dead tree stumps, rusty bed frames or the wall of a shack with strange objects leaning against it. Published in an edition of 1,200, each copy is signed by the artist and dated 2019.

A signed, limited edition of Boris Mikhailov's portrait of contemporary Eastern and Western EuropeIn this hefty photobook, published in an edition of 500 copies, the celebrated Ukrainian photographer Boris Mikhailov (born 1938) mixes earlier pictures with photographs from 2017 that were taken in a Soviet-era crematorium in Kyiv. Other settings featured here include the crumbling corners of East and West European cities, private bedrooms and public hospitals, gardens and bars. Across more than 200 photographic diptychs, Mikhailov draws connections between histories and technologies, while playfully stressing formal correlations between motifs. Where earlier artist's books by Mikhailov, such as Case History and Unfinished Dissertation, explored life on Ukrainian streets or under Soviet rule, now, with Temptation of Life, he offers a more philosophical account of the everyday, of the perishability of all flesh, on sex, life and death.

Together, Chinese artists Zhang Wei (born 1952) and Wang Luyan (born 1956) have witnessed and helped write the story of Chinese contemporary art. The engaging conversation contained in this book follows the artists from the '70s as members of the No Name Group and the Stars Group to the worldwide success of Chinese art today.

Presenting one of the most important private collections of Günther Förg (1952-2013), this book presents the full range of the artist's oeuvre, from his concise yet spontaneous abstract paintings to his rough sculptures that take painting into three dimensions, and his architectural photographs.

As the Cold War drew toward its tumultuous close, artists in the United States and Germany such as Isa Genzken, Félix González-Torres, Mike Kelley, Martin Kippenberger, Jeff Koons, Zoe Leonard, Albert Oehlen, Richard Prince, Julian Schnabel, Cindy Sherman, Thomas Struth, Rosemarie Trockel, Franz West and Christopher Wool responded in ways direct and indirect to the shifting order happening under their feet. This volume, published on the occasion of a group show at Galerie Max Hetzler, travels between the centers of art in America and German-speaking Europe: Los Angeles and New York, Cologne and Vienna. As these cities, at the center of the world's realignment of values and politics, conversed with each other, it became apparent that their artistic rebellion was poised to overthrow the aesthetics of the past for a new freedom of idiosyncratic approaches.

Presenting one of the most important private collections of Günther Förg (1952-2013), this book presents the full range of the artist's oeuvre, from his concise yet spontaneous abstract paintings to his rough sculptures that take painting into three dimensions, and his architectural photographs.

This book documents French conceptual installation artist Loris Gréaud's (born 1979) transformation of Max Hetzler's galleries in Paris and Berlin into otherworldly landscapes featuring spores hanging from the ceiling, tree sculptures with flailing limbs and waste collected from locations in Andrei Tarkovsky's 1979 film Stalker.

Albert Oehlen (born 1954) and Julian Schnabel (born 1951) have been friends for three decades and now interconnect their artistic positions and shared past. Beside large-format canvases and smaller works on paper, the two present portraits they painted of each other.

In this artist's book, Christopher Wool (born 1955) layers photos of backyard debris and dusty roads, of Texan wilderness and scenes rife with sculptural properties. Two realities invade each other and their overlapping actualities collapse into an artistic reality beyond the moment caught by the artist's camera. Thus the pictures are imbued with the history of their own making. For Yard, Wool has resampled photographic images that appeared in the previous artist's books Road and Westtexaspsychosculpture, also available from Holzwarth Publications. The book is published in an edition of 1,200 copies, all signed by the artist.

For her 2017 exhibition at Galerie Max Hetzler in Paris, Bridget Riley (born 1931) installed eight canvases and two wall works--all part of her Disc Paintings series (2016-2017), in which colored discs are arranged in a diagonal grid, their palette--off-green, off-violet and off-orange--inspired by Seurat.