| RECENT POSTS DATE 3/25/2026 DATE 3/22/2026 DATE 3/21/2026 DATE 3/19/2026 DATE 3/18/2026 DATE 3/17/2026 DATE 3/17/2026 DATE 3/15/2026 DATE 3/14/2026 DATE 3/13/2026 DATE 3/11/2026 DATE 3/9/2026 DATE 3/8/2026
| | | RECENT POSTS CORY REYNOLDS | DATE 3/25/2026Wednesday, March 25, at 7 PM, Strand Book Store presents a launch event with American visual artist George Condo, discussing his new art catalog, 'George Condo: The Mad and the Lonely.' Condo will be joined in conversation by New Museum Artistic Director Massimiliano Gioni and Cypriot collector Dakis Joannou. This event will be hosted in the Strand's third-floor Rare Book Room.
CORY REYNOLDS | DATE 3/22/2026 Featured image, of Tom Lloyd on the opening night of his solo show Electronic Refractions II—the inaugural exhibition at the Studio Museum in Harlem, 1968—is from Tom Lloyd, the exhibition catalog to the museum’s current exhibition, which closes March 22 to great critical acclaim. “An early pioneer of using electric light as an artistic medium, Tom Lloyd developed a highly experimental and technologically advanced art practice in the 1960s that set him apart from many of his fellow artists,” curator Connie H. Choi writes. “Employing a purposely limited but defined vocabulary of colors, forms, and shapes, Lloyd challenged not only understandings of art at the time but, perhaps more important, the definition of art made by Black artists. He thereby promoted a relationship between abstraction and blackness that was greatly debated during the 1960s, and one that continues to animate conversations around artistic practices.”
 LACY SOTO | DATE 3/21/2026Saturday, March 21, from 3–5 PM PST, Artbook at Hauser & Wirth Los Angeles presents writer Eileen G’sell in conversation with writer and publisher JoAnna Novak for the Los Angeles book launch of 'Lipstick.' Lipstick today is as messy—and fascinating—as changing attitudes towards femininity. Mining the experience of women across culture, class and generation, this book tosses out expired ideas about beauty and power like so many tubes of melted wax. Conversation, followed by a signing.
 CORY REYNOLDS | DATE 3/19/2026Thursday, March 19–Sunday, March 22, 2022, AIGA presents '50 Books | 50 Covers: The Exhibition,' a four-day celebration showcasing the 2024 winners of AIGA’s 50 Books | 50 Covers, one of the most prestigious competitions in publishing design. Free exhibition with ticketed opening reception.
 CORY REYNOLDS | DATE 3/18/2026Wednesday, March 18, from 9–10:15 AM, Westweek annual design market presents a kickoff breakfast and talk with architect and 'Fire Island Modernist' author Christopher Rawlins, who will speak on Fire Island and the Modernist Beach House: Its Past, Present and Future.
 CORY REYNOLDS | DATE 3/17/2026This week, Letterform Archive releases a book like no other on our list. A sticker book collecting 330 vintage luggage labels from the golden age of travel, spanning from 1920 to 1970, today, “these small relics of early twentieth-century wanderlust” recall steamer trunks and intercontinental voyages by ocean liner and sleeper train. “The luggage label collection at Letterform Archive in San Francisco numbers in the thousands,” the editors write. “Many of its specimens came from a local source: San Francisco’s own historic Huntington Hotel, a luxury accommodation first opened in 1922, where a binder of treasured labels was assembled by a concierge whose name has also slipped from record. Acquired by the Archive as examples of appealing type and lettering from across the globe, these pieces of print ephemera attest to advertising’s early heyday, when stunning illustration, inventive letterforms and novel color printing made every surface—no matter how small—a vehicle for transport to a far-off land, if only in the imagination.”
 CORY REYNOLDS | DATE 3/17/2026It’s 272 pages, housed in a lay-flat, Swiss-bound, three-flap cover. It’s got thumb-index section tabs and button closures. It’s illustrated with 140 color reproductions and 60 black-and-white images. And it collects all of the unfinished or “failed” works of art so far conceived but abandoned by Sophie Calle in the course of a long career known especially for courting failure. Published to catalog the artist’s 2024 exhibition, À toi de faire, ma mignonne, this provocative inventory begins with a quote by Pablo Picasso: “I have a horror of something finished. Death is final. A revolver shot finishes off. The not completely achieved is life.” To which Calle responds: “But when my life comes to an end, what will become of all the ideas that went nowhere, waiting for their moment in drawers and boxes? Before I disappear, I decided to inventory the drafts, the attempts, the abandoned projects. To give life to my intentions. To finish the unfinished.”
 LUCIA ZEZZA | DATE 3/15/2026Sunday, March 15, from 4–5:30 PM EST, Artbook at MoMA PS1 Bookstore presents "At the Age of 50, I picked up a paintbrush again," a talk by artist Jin Mei live-interpreted by her daughter, artist Chang Yuchen, in celebration of the new book, 'Jin Mei: jm.' Jin Mei will speak about her art and life, and the unexpected turn of becoming an artist in her sixties. The talk will be followed by a Q&A and signing.
 LUCIA ZEZZA | DATE 3/14/2026Saturday, March 14, at 4 PM, Artbook at MoMA PS1 Bookstore presents a conversation between award-winning photographer and journalist J. Lester Feder and Miriam Elder, Executive Editor Features at CNN, for the New York City launch of 'The Queer Face of War: Portraits and Stories from Ukraine.' Followed by a Q&A and book signing.
 CORY REYNOLDS | DATE 3/13/2026Friday, March 13, at 7 PM, McNally Jackson Seaport presents MoMA curator Oluremi C. Onabanjo in conversation with the Parisian art collective Air Afrique on the current MoMA exhibition and catalog, 'Ideas of Africa: Portraiture and Political Imagination.'
 CORY REYNOLDS | DATE 3/11/2026Published to accompany the exhibition currently on view at SFMOMA, KAWS: FAMILY is back in stock at last. Organized thematically around the 2021 artwork featured on the cover of the book—also titled FAMILY—the exhibition includes not only paintings and sculpture, but drawings and select products that examine the complex and often dark filial and childhood relationships and circumstances that are at the center of human experience. Separated (2021), for example, was created when the artist “heard about families being separated at the border, with children being separated from their parents as they were trying to cross over from Mexico. There was this famous image in the paper of a girl sitting in a similar pose. As someone who has kids, I was devastated at the thought of that situation.”
 CORY REYNOLDS | DATE 3/9/2026Featured spreads are from Agnes Martin: On Beauty, Pace Publishing’s elegant new collection of the artist’s meditations on life, work, solitude and silence, which have influenced generations of painters. Featuring several key paintings, including debossed front and back cover images, the book is as poetic, airy and austere as Martin’s work itself. “Hold fast to your life, to beauty and happiness and inspiration, and to obedience to inspiration,” she writes in The Current of the River of Life Moves Us. “Do not imitate others or seek advice anywhere except from your own mind. No one can help you. No one knows what your life should be. No one knows what your life or life itself should be because it is in the process of being created.”
JACK TEEHAN | DATE 3/8/2026 Created by a consortium of Brazilian women united under the Coletivo Nacional de Mulheres do Movimento dos Atingidos por Barragens (MAB) umbrella, arpilleras—Spanish for burlap, or scraps of fabric embroidered on jute—became a language of female agency during the Pinochet regime. Primarily created by mothers, wives and relatives of political prisoners, these works depict scenes of everyday life, repression and the struggle for rights. This 2019 arpillera, titled Privatização que mata [Privatization That Kills] and produced by women from the state of Pará, depicts a scene of chaos. A large green triangle dominates half the composition, an oblique reference to the Brazilian mining company Vale, infamous for two catastrophic dam failures: Mariana, in 2015, and Brumadinho, in 2019. Embroidered on top of the logo is the MAB slogan “O lucro não vale a vida [Profit is not worth life].” Blood drips off of the logo, down to the earth below, where a post-traumatic maelstrom plays out in the mud. A helicopter hovers above, searching for missing bodies among the scene of devastation. Groups of protestors surround the appliqué, holding placards featuring messages such as “LUTO e RESISTENCIA” to express their outrage and demands for justice. “For many people, the arpillera may seem like just a piece of art to hang on the wall. For us, the political significance of this textile testimony lies in the organization of women, in the fight for their rights and in the political proposition—of dreams, of utopias, of what we long for. It’s a denunciation, but it’s also a project of hope,” writes Daiane Höhn, a MAB activist.
 CORY REYNOLDS | DATE 3/5/2026Venezuelan-American sculptor Marisol was well known among the early-1960s Pop artists before turning from the limelight in the late 1960s, when she began to experiment with political and environmental themes. In 1968, she participated in the Venice Biennale and then Documenta, where she was one of just four women among the 149 exhibiting artists. “Despite her success, she grew frustrated with the brutal police response to Vietnam War protests in the United States and spent much of the second half of 1968 traveling in India, Nepal, Cambodia, Sri Lanka and Thailand,” Cathleen Chaffee writes in the new Louisiana Museum of Modern Art exhibition catalog. “In 1969, she intensively trained to scuba dive in Tahiti. In new works made after these experiences, she explored human-animal interdependence as well as connections between the American military-industrial complex and the life of the oceans. These sculptures include her chimeralike The Fishman (1973, shown here) and sculptures of barracuda and needlefish, which she connected to missiles and other modern forms of weaponry. As she later told an interviewer, ‘I have always had a special communication with the world of animals. I wish humans were like that.’ In seeking to understand the life of underwater creatures through her remarkable sculptures, Marisol combined aspects of the evolutionary mimicry so common in the animal kingdom with a deeply sympathetic human approach. One of the most direct ways to understand another is to try to see from their perspective and feel what it is like to be them: to ‘walk in their shoes,’ swim in their water. In casts she appended to these deeply strange aquatic sculptures, Marisol studiously puckered and contorted her face to appear like the fish with which she was absorbed.”
 CORY REYNOLDS | DATE 3/4/2026“Woman in Café” (1975) is reproduced from Alice Neel: I Am the Century, a staff favorite for Women’s History Month. Published by Mousse Publishing to accompany an exhibition of the same name at Pinacoteca Agnelli in Turin—where Neel’s work will be in dialogue with many masterpieces of nineteenth and twentieth-century portraiture, all painted by men—this volume “highlights Neel’s revolutionary ability to subvert the patriarchal tradition that for centuries turned women into passive subjects of the male gaze,” according to curators Sarah Cosulich and Pietro Rigolo. “Upending the canons of art history, Neel since the 1930s courageously portrayed the female body freed from idealization or sexualization, demonstrating instead a new creative position that ran parallel to her rebellious emancipation as a woman and anticipated later feminist movements of the 1960s. At the same time, Neel applied the same, nongendered gaze to men, courageously stripping the male figure of his heroic status, portraying her subjects nude, at times in the classic pose of an odalisque conventionally reserved for women, and revealing the dualisms and stereotypes tied to the construction of identity and to the traditional conception of power and desire.”
CORY REYNOLDS | DATE 3/1/2026 Celebratory and serious, Let Us Gather in a Flourishing Way: Contemporary Latinx Painting opens this week at the Buffalo AKG Art Museum. Curated by Andrea Alvarez and representing the work of 58 Latinx artists based throughout the United States and Puerto Rico, it is a timely overview that “offers an antidote to the multiple forces that today pull people and cultures apart,” in the words of AKG Director Janne Sirén. Pictured here: “Garden Club” (2024) by Chicago-born, Okemos, Michigan-based artist and entrepreneur Lilian Martinez. Her specialty? Figures engaged in radical acts of everyday leisure. From the bilingual catalog.
 JACK TEEHAN | DATE 3/1/2026Kent Monkman’s Compositional Study for The Sparrow (2022) is reproduced from History is Painted by the Victors, published to accompany the enormously popular traveling exhibition of the same name. On view through March 8 at the Musée des beaux-arts, Montréal, the largest solo exhibition of Monkman’s work to date reopens in April at the Akron Museum of Art. In it, the artist’s heroic tableaux reverse the imperialist gaze inherent to Eurocentric academic painting, while scenes of erotic, decolonial drama unfurl against backgrounds lifted from canonical landscape artists like Canada’s Group of Seven. The work animates peoples and communities across Turtle Island (North America) representing a wide variety of societal concerns, from the climate crisis and environmental protection to intergenerational trauma and the visual agency of Two-Spirit, Queer and transgender Indigenous communities. Featuring 86 color reproductions, the accompanying monograph gathers prominent scholars Ned Blackhawk, Brenda J. Child, Léuli Eshrāghi, Adrienne Huard, Bryan C. Keene, John P. Lukavic and Patricia Norby, addressing themes such as Queer theory, historical and contemporary contexts, visual analysis and lived experience. Léuli Eshrāghi and Lukavic cite an interview in Toronto Life where Monkman states, “I started looking at landscape painting and North American art history as it was painted by Europeans and how they saw Indigenous people… that narrative needed to be challenged.”
 CORY REYNOLDS | DATE 2/26/2026Please join us Thursday, February 26 through Sunday, March 1, 2026, at Show LA, a new photography fair in Los Angeles featuring a curated selection of galleries, publishers, institutions and partners from around the world.
 CORY REYNOLDS | DATE 2/25/2026Wednesday, February 25, from 6–9 PM, Villa Albertine NYC presents Rémi Babinet, renowned French creative director and founder of the international BETC agency, launching his new book, 'No Ads Please: Advertising Stories From the Founder of the World’s Most Creative Agency,' published by JBE Books.
 CORY REYNOLDS | DATE 2/25/2026Self-Portrait with Injured Eye (1972) is reproduced from new release Francis Bacon: Paintings, The Complete Collection—an essential volume for any fan of the notoriously hedonistic Irish-born British artist’s raw and unsettling work—featuring more than 740 color reproductions over 568 pages. One of the most important, and yet consistently disturbing artists of the twentieth century, “Bacon created paintings that throb with life’s most harrowing truths,” author Laura Scalabrella Spada writes in her Introduction: “the fragility of flesh, the howling void of existence and the strange, grotesque beauty of human suffering. His paintings do not invite contemplation. They demand confrontation, thrusting viewers into visceral worlds where the boundaries of body and psyche dissolve into a raw, primal essence.” In addition to Spada’s texts, the book is interspersed with quotes by the artist and his wide circle of esteemed friends and colleagues, including Lucian Freud, Tracey Emin and J.G. Ballard, who writes, “Bacon’s paintings were screams from the abattoir, cries from the execution pits of World War II. His deranged executives and his princes of death in their pontiffs’ robes lacked all pity and remorse. His popes screamed because they knew there was no God.”
 CORY REYNOLDS | DATE 2/19/2026Published to accompany the exhibition currently on view at MFA Boston, Divine Color: Hindu Prints from Modern Bengal is a book unlike any other on our list. Filled with eye-popping, now-rare but once mass-produced vernacular religious lithographs from 19th- and early 20th-century Kolkata—aka colonial Calcutta—it shows how Bengali artists insisted upon and represented their own religious traditions and icons, while incorporating new printing techniques from the west. Pictured here, “Hari Hara Milan (Union of Shiva and Vishnu),” produced around 1895–1910 by Chore Bagan Art Studio. It’s an example of the “rainbow roll” printmaking technique that became popular among local presses, where several colors of ink were blended on a roller to create a seamless, dynamic, almost psychedelic gradient behind traditional compositions. The print depicts “an encounter between Shiva and Vishnu, each riding an animal mount and accompanied by his consort,” according to curator Laura Weinstein. “The heads of Vishnu’s elephant and Shiva’s bull merge in a visual trick with roots in South Asian art over a millennium old. While the chromolithograph resembles an earlier version by Calcutta Art Studio, certain iconographic and stylistic changes are evident. Most notably, the blue-gray sky with puffy white clouds has been replaced by a candy-colored rainbow roll.”
CORY REYNOLDS | DATE 2/16/2026 For Chinese New Year, what could be more beautiful than Chinese Patchwork? The subject of the exhibition One Hundred Stitches, One Hundred Villages, on view now at MFA Boston, the hand-patchworking tradition has been passed down via generation upon generation of rural Chinese women. Dating back even to the garments of ancient Buddhist and Daoist monks, who dressed in patched rags to convey humility, today, the practice continues across the provinces, as highlighted by the contemporary makers featured in this catalog. Pictured here, Ma Yunfang, Yujiahe Vilage. Photo by Lois Conner.
 CORY REYNOLDS | DATE 2/14/2026“Ponyo loves Sosuke! I will be a human, too!” So says the unforgettable titular goldfish-princess-turned-mischevious-girl of Hayao Miyazaki’s 2008 hand-drawn masterpiece, Ponyo. A surreal yet childlike adaptation of The Little Mermaid, Ponyo is both a love story and a tale of powerful female curiosity and self-confidence. This Japanese poster for the film is reproduced from Hayao Miyazaki, published by DelMonico Books and the Academy Museum of Motion Pictures on the occasion of the museum’s inaugural exhibition in 2021—and on our minds anew this Valentine’s weekend as the Academy Museum’s highly-anticipated Ponyo exhibition opens to the public. “Having used CGI in his previous three feature films, Miyazaki decided, with Ponyo, to return to hand-drawn animation and once more push its potential by rendering the shapes and movements of a fluid world ‘where magic and alchemy are accepted as part of the ordinary,’ curator Jessica Niebel writes. “Miyazaki instructed Ghibli’s creative team to ‘get rid of straight lines. Use gently warped lines that allow the possibility of magic to exist liberating us from the curse of perspective drawing.’ The singularity of Ponyo lies in its flowing organic lines, which express a world dynamic defined by the living presence of the sea, ‘where even the horizon swells, dips and sways.’”
 CORY REYNOLDS | DATE 2/11/2026Wednesday, February 11, from 6:30–8 PM GMT (1:30–3 PM EST), London's Architectural Association School of Architecture presents the UK launch of 'Archigram: The Magazine' with an audiovisual presentation by Dan Crompton, Dennis Crompton’s son, and contributions from Director of the Zaha Hadid Foundation, Aric Chen; facsimile co-editor, Thomas Evans; Programme Director of the World Architecture Festival, Paul Finch; professor and author, David Grahame Shane; and architect and Columbia GSAAP assistant professor, Amelyn Ng. Peter Cook and David Greene of Archigram will speak and sign copies. [In-person event sold out; click through to sign up for livestream.]
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