Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Bonnet, Louise

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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André Butzer
Texts Daniel Mendel-Black, Philipp Schwalb, discussion with the artist

German / English
34 x 32 cm
64 pages
29 color and 2 b/w illustrations
35.00 Euro


André Butzer has been known for roughly executed figure paintings in a style he once labeled sci-fi expressionism. This book highlights his recent black-and-white colorfield paintings that explore two anti-geometrical rectangles and their balancing act between movement and stagnation. With two essays by fellow artists and a lengthy exchange with Butzer himself, the complete inner workings of this shift toward an anti-geometric orthogonality are explored in sympathetic detail on nuanced full color plates.



Part 1: The Number

André Butzer: The holiness of the pictorial field is connected to a measurement. Is that true, and if so, how do you measure it?

Daniel Mendel-Black: I’m not looking for a mathematical answer such as the Golden Ratio. The solution probably isn’t 1.6180339887 . . . Pythagoras, Euclid, Leonardo of Pisa, Kepler, and many others tried to quantify beauty, to discover a secret universal formula in numbers. Neither, as with the Golden Mean, do I search out the answer in ideology. I doubt that beauty is somehow located in the perfect balance of moral extremes, that the place where ethics and aesthetics touch is in any way average. These philosophical belief systems may provide elements of truth, certain clues, directions to pursue, others less fruitful to avoid, but they alone cannot contain the whole answer.

AB: That’s right. These numbers are wrong and don’t exist. Though I myself believe in the holy thing. So there is a number in terms of a relation, but unknown. It’s just something very close to the holy thing. It says: here I am, I can’t be counted.

DMB: Newton’s devotion to the discovery of the Philosopher’s Stone is a good example. He spent hours on end locked away in his dark dormitory experimenting with alchemy. Then, one day, he dons his powdered wig (the fashion of the day) and emerges into the light of morning with the manuscript of Mathematical Principals of Natural Philosophy tucked under his arm, miraculously reintegrated into his academic community—except in one key regard: he refused to take the holy orders. Why? Because he rejected the trinity. He was apparently pretty sure the secret number wasn’t 3. Perhaps I am less concerned with which number than I am with the notion that, whatever it is, it declares itself, insists on its existence.

AB: I don’t know anything about existence. For me, it’s a dream. I have to destroy only. I have destroyed the Readymade. We paint for churches only.

Every painting destroys endlessly anything else. I am alone and I can see a proportion of light. We are half man, half god, or no one. We cannot create. I wait for the holy thing, and I have seen it already in perspective.


In collaboration with Galerie Max Hetzler, Berlin