Leonilson emerged as a seminal figure of the Brazilian contemporary art world during the 80s. Leonilson travelled extensively throughout Europe, and his paintings, drawings, and installations were featured in solo and group shows in France, Germany, Italy, and Spain, in addition to many exhibitions held in Brazil. In 1991, the artist tested positive for HIV. This diagnosis compelled a decisive shift in his career, as Leonilson began to develop his intimate embroideries, a practice he continued until his death in 1993 at the age of 36. Drawn: 1975-1993 will be the first comprehensive retrospective of Leonilson's work in Europe and will present over 150 works produced between 1975 and 1993. The comprehensive catalogue will include essays by Lisette Lagnado, Ivo Mesquita, Adriano Pedrosa and Krist Gruijthuijsen, as well as interviews with Leonilson, Jan Fjeld and Edoardo Brandao.

The first retrospective monograph on internationally acclaimed Danish artist's collective Superflex, "An Artist with 6 Legs" catalogues the group's work from 1993 to 2013. The first major museum retrospective for this group--known for their participatory, politically engaged projects which they call "tools"--is appropriately unconventional, comprised of eight individual retrospectives curated by Eungie Joo, Yuko Hasegawa, Toke Lykkeberg, Daniel McClean and Lisa Rosendahl, Adriano Pedrosa, Agustin Perez Rubio, Hilde Teerlinck and Rirkrit Tiravanija. Kunsthal Charlottenborg also signed a contract prohibiting the institution, the artists or the curators from mentioning the group by name during the exhibition's run--hence the replacement of the name "Superflex" with a black bar or the characters "XXXXXXX throughout the catalogue. "An Artist with 6 Legs" is both conceptual provocation and an essential reference.

Lina Bo Bardi is regarded as one of the most important architects in Brazil's history. Beginning her career as a Modernist architect in Rome, Bo Bardi and her husband emigrated to Brazil following the end of WWII. Bo Bardi quickly resumed her practice in her adopted homeland with architecture that was both modern and firmly rooted in the culture of Brazil. In 1951 she designed "Casa de Vidro" ("Glass House"), her first built work, where she and her husband would live for the rest of their lives. She also designed the Museu de Arte de Sao Paulo (Sao Paulo Art Museum), a landmark of Latin American modernist architecture which opened in 1968. It was for this museum she created the iconic glass easel display system, which remains radical to date. This book presents a comprehensive record of Bo Bardi's overarching approach to art and architecture and shows how her exhibition designs, curatorial projects, and writing informed her spatial designs. Essays on Bo Bardi's life and work accompany archival material such as design sketches and writings by the artist, giving new insight into the conceptual and material processes behind this radical thinker and creator's projects.