This book provides a comprehensive overview of the fabric works from the last two decades in the career of legendary artist Louise Bourgeois. "I've always had a fascination with the needle," she said, "the magic power of the needle. The needle is used to repair damage. It's a claim to forgiveness." This body of work began when the artist started incorporating clothes from all stages of her life into her art, and later expanded to include a range of other textiles such as bedlinen, handkerchiefs, tapestry, and needlepoint. The fabric works mine the themes of identity and sexuality, trauma and memory, guilt and reparation, and serve as metaphors for emotional and psychological states. The catalog - which accompanies the exhibition at the Hayward Gallery, London and the Gropius Bau, Berlin - features works from numerous series, including the monumental Cell installations, figurative sculptures, and abstract drawings.

Zoe Leonard is among the most influential artists of her generation. Her work merges photography, sculpture, and installation, balancing rigorous conceptualism with a distinctly personal vision. Al Rio / To the River, initiated in 2016, is an ambitious photographic project addressing the more than one-thousand miles of river boundary shared by the United States and Mexico. Leonard approaches the river, known as Rio Bravo in Mexico and Rio Grande in the United States, as a multifaceted leitmotif in which cultural, ecological, historical, social, political and economic concerns intersect. Published in two volumes, the first will feature Leonard’s photographs, while the second will bring together written contributions from a remarkable group of international artists, essayists, journalists, poets and scholars. Conceived as an alternate form of circulation for the work, the publication also provides an interdisciplinary reference for people interested in the river, environmental issues, borderlands culture and contemporary border issues. Writers: C.J. Alvarez, Ariella Azoulay, Cecilia Ballí, Remijio "Primo" Carrasco, Dolores Dorantes, Darby English, Álvaro Enrigue, Catherine Facerias, Nadiah Rivera Fellah, Josh T. Franco, Esther Gabara, Adolfo Guzman Lopez, Aimé Iglesias Lukin, Elisabeth Lebovici, Jose Rabasa, Cameron Rowland, Roberto Tejada, Karla Cornejo Villavicencio. Languages: English, French, Spanish

Taryn Simon’s earliest body of work, The Innocents (2002), documents the stories of individuals who served time in prison for violent crimes they did not commit. The series centres on the question of photography as credible witness and arbiter of justice, since the primary cause of wrongful conviction is mistaken identification. Suspected perpetrators are identified through photographs and lineups, a procedure that relies on the assumption of precise visual memory. But through exposure to composite sketches, mug shots, Polaroids, and lineups, eyewitness memory can change. In these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime, or the scene of the alibi. The Innocents was first exhibited at MoMA PS1 in 2003. The 2021 edition of the book includes previously unpublished images, a new essay by Innocence Project co-founders Peter Neufeld and Barry C. Scheck, and an interview by professor and curator Nicole R. Fleetwood with criminal justice reform activist Tyra Patterson.