Weekly New Releases

New from Toronto artist and writer Derek McCormack and San Francisco publisher Cushion Works, a book designed to offend Ole Nashville and confound the rest of us—in the best possible way. An auction catalogue-esque, bright yellow paperback with generous flaps and surprising spot varnish on the nicely isolated cover images, this unjustifiably appealing and darkly satirical / vampirical artist’s book documents “100s of pieces of shit priced & pictured” that purport to have been designed by SEX and Sex Pistols provocateurs Malcolm McLaren and Vivienne Westwood in the 1950s to service a clan of bloodsucking hillbillies who then preyed upon the unsuspecting stars of Music City. “These hillbilly vampires in 1950 … they were so punk, so Podunk … so we created a collection for them and called it Hillbilly Heaven,” McLaren (supposedly) writes in the Foreword. Pictured here: Item AC-4499–J, Punk Fangs #1 (plastic fangs, safety pins, jump ring).

Artbook @ MoMA PS1 Bookstore presents the launch of Ben Thorp Brown's 'Cura's Garden'

Sunday, May 17 at 4 PM, Artbook @ MoMA PS1 Bookstore presents artist Ben Thorp Brown in conversation with Valentijn Goethals, Annie Godfrey Larmon and Robert Wiesenberger for the launch of 'Cura’s Garden,' published by Inventory Press, Roma Publications and Kunsthal Gent.

Rizzoli Bookstore presents Pieter Henket and Justin Gaspar in conversation for the launch of 'Birds of Mexico City'

Tuesday, May 19, at 6 PM, Rizzoli Bookstore presents a conversation between photographer Pieter Henket and editor Justin Gaspar to celebrate Henket's new book, 'Birds of Mexico City,' a collection of beautiful portraits of young people in Mexico City, interweaving themes of gender, sexuality, heritage and self-expression. The talk will be followed by a signing.

Now considered an icon of the French Fauvist movement, this 1905 portrait of Henri Matisse’s wife, Amélie, is at the center of the exhibition Matisse’s Femme au chapeau: 1905 to Today, opening next week at SFMOMA. When Matisse first presented the painting at the Salon d’Automne in Paris, “shortly after applying the final dabs of paint in the early fall of 1905, the canvas was received with laughs and jeers from visitors, confusion and skepticism from critics, but also with admiration for its innovation,” curators Janet Bishop and Maria Castro write in the catalog. “The American expatriate collector Leo Stein encompassed both sides of the argument, calling the painting ‘the nastiest smear of paint [he] had ever seen,’ and then going on to purchase the work, with his sister Gertrude Stein, on the last day of the exhibition.” Lovers of this painting will delight in this sumptuous, clothbound exhibition catalog which positions “Femme au chapeau” in dialogue with Matisse’s artistic influences and contemporaries, as well as the many generations of painters and sculptors who have taken off from this work.

Join Artbook | D.A.P. & DelMonico Books at MSA Forward 2026

Join us May 21–22, 2026, for MSA Forward, the annual conference of the Museum Store Association. Together with DelMonico Books, our booth (3212) features the best new and forthcoming monographs, exhibition catalogs and gift books of the 2026 season, alongside classic backlist titles and museum store best-sellers.

Behold, the reality of yesteryear’s Soviet Scientific Institutes, as documented by French photographer Eric Lusito in this newest release in FUEL’s acclaimed series on Soviet architectural relics. Housed in a tactile hardcover with laser-cut patterns based on antiquated, punched-paper computer tape, the volume spans the Baltic nations, Ukraine, Central Asia and East Central Europe, but does not include sites in territories that are still under authoritarian rule: Russia, Azerbaijan and Belarus. Pictured here: the Big Solar Furnace of the Institute of Materials Science, Academy of Sciences of Uzbekistan, comprised of 10,700 mirrors that focus light from an array of heliostats onto a single focal point; the Carl Zeiss telescope pavilion in Kazakhstan, opened in 1981 and currently under reconstruction; and the Ukrainian T-Shaped Radio Telescope (Second Modification) antenna control panel a few weeks before the 2022 Russian invasion.

“WHAT TO DO IF YOU SEE A NAKED ANIMAL: 1. Provide temporary covering for the animal using an overcoat, shawl or blanket. 2. If no immediate covering is available, lead animal gently to nearest shed or areas hidden from public view. 3. Report the location, complete description of animal and any identifying marks by telephone to your nearest SINA headquarters. REMEMBER: ‘Decency today means Morality tomorrow.’”
Featured image is reproduced from Inside SINA The Society for Indecency to Naked Animals, editor Andrew Lampert’s wild new scrapbook exposé of a years-long media hoax led by Alan and Jeanne Abel with actor Buck Henry. Collecting original documents, news reports, correspondence, photos and texts by the perpetrators, Alan and Jeanne Abel, this mind-boggling album tells the preposterous true story of the mediagenically successful, yet entirely fake moralist campaign to clothe all animals taller than four inches and longer than six.

Despite considerable cultural significance, the period of dynamic transformation from dynastic to republican rule in Chinese fashion has long been overlooked by Western art museums. New release Fashioning Chinese Women: Empire to Modernity—published to accompany the eponymous LACMA exhibition opening in June—seeks to demystify and redefine the patrimony of transnational Chinese communities through a material exploration of the attire of a “society in flux.” The garments from this corpus come via a 2020 donation from Berkeley-based artist Chere Lai Mah, whose familial collection of twentieth-century Chinese women’s clothing reflects the changing social mores and increased influence of Western culture during the transition from late Qing dynasty up to the Cultural Revolution. Evolving at an unprecedented speed, fashion during this period, particularly women’s clothing, became a barometer of social norms, and was central to passionate debates regarding the female body and women’s roles—both highly contested issues related to a new Chinese modernity and national identity. Consumer illustrations, such as the February 1935 cover of Liangyou (The Young Companion) magazine, shown here, depict young women sporting this new style while engaging in modern activities, such as riding bicycles or playing tennis. These images evince a fresh sense of physical autonomy and vividly express the emerging feminist sentiment that advocated for the liberation of women from their traditional domestic roles.

“Vertigo” (2019) is reproduced from new release Matthew Wong: Interiors, published on the occasion of an exhibition of the same name, opening next week at Palazzo Tiepolo Passi to coincide with the 2026 Venice Biennale. “Many of Wong’s interiors mark time,” Nancy Spector writes in the catalog, published by The Matthew Wong Foundation. “Apparently, he painted furiously, on occasion making up to three works per day, so there could conceivably be morning, afternoon and evening canvases. Like the Impressionists—another central source for his practice—the artist was keenly aware of the changing effects of light throughout the day and how that could impact the optical effects of color. But his paintings were created indoors, a product of the imagination. The light described is thus an inner light, the kind that radiates in one’s dreams.”

Matthew Wong. VERTIGO, 2019. Oil on canvas. 36 x 30 in. / 91.4 x 76.2 cm. © 2026 Matthew Wong Foundation / Artists Rights Society (ARS), New York. Photography by Alex Yudzon.

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