This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew.

Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

Described by The New York Times art critic Roberta Smith as a "precocious art star," German artist (Blinky) Palermo (1943-1977) has been associated with distinct twentieth-century art practices, from abstraction to Minimalism and Conceptual art. But his diverse body of work in fact defies easy classification. Throughout his brief and influential career-leading all the way up to his untimely death at the age of 33 - Palermo executed paintings, objects, installations, and works on paper that mined various contextual and semantic issues at stake in the construction, exhibition, and reception of works of art, eternally "stretching and questioning" the boundaries of every medium he touched. This fully illustrated catalogue features new scholarship by Christine Mehring and Christoph Schreier and documents the 2013 exhibition at David Zwirner in New York. It is the first publication to tackle Palermo's late work, which is characterized by explorations of the tensions between material and color, surface and depth, and figuration and abstraction- focusing in particular on the paper works he produced between 1976 and 1977, the last year of his life. "Less a system builder than an analyst working on intuition," writes Schreier in his catalogue essay, Palermo "explored surface, shape, and color - the constituent elements of the image - with the aim of turning them into actors with a lively and delicately balanced play of forces." The simplicity of the artist's vision is beautifully evinced by the catalogue's vibrant color plates, which reveal every stroke and each grain of paper shining through from behind the pigment.

Ted Stamm’s paintings, drawings and performative works show the New York artist’s constant engagement with his time and his tireless experimental way of working. He developed a minimalist visual language that often appears strictly geometric and simple, yet conveys a great sense of freedom. His iconic works and cross-media conceptual approaches went on to influence a wide range of artists in the generation that followed. This new monograph on the work of this American artist is the most comprehensive published to date. Examining Ted Stamm’s series and artistic language through essays by renowned scholars that place his work in the context of its time and discuss his contribution to the art historical canon, it provides an in-depth insight into Stamm’s multifaceted oeuvre.

This richly illustrated volume offers an in-depth look into artist Sadie Benning's exhibition Shared Eye, presented at the Renaissance Society and the Kunsthalle Basel. The forty mixed-media panels in Shared Eye defy easy categorization: they include collage, painting, photography, and sculpture. The seriality of the installation also nods to the artist's history with the moving image. Throughout the 1990s, Benning created an extraordinary body of experimental video work, improvising with materials at hand and a toy camera. More than two decades later, in Shared Eye we see the handmade aesthetic, grainy imagery, and durational logic of Benning's early videos take on different forms to correspond to our current moment. The catalog documents the exhibition in full color, and it features an interview between the artist and Julie Ault, essays by John Corbett and Christine Mehring, and an introduction by the Renaissance Society's executive director, Solveig Ovstebo, and Elena Filipovic, director of Kunsthalle Basel. These texts provide illuminating framework for the exhibition and key insights into how Benning pushes the limits of abstraction in response to our present political climate.

From the 1980s, many Chinese artists have experimented with a range of unconventional materials. Their works-in plastic, paper, silk, ash, and tobacco-form a major trend in Chinese art. The Allure of Matter offers the first serious consideration of these ground-breaking material explorations, coining the term Material Art to describe works that place "matter" itself as the primary vehicle of investigation and expression. The book contains four ground-breaking essays, profiles of twenty-five artists, and corresponding color images.