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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Günther Förg: Works from the Friedrichs Collection
Texts Hans Werner Holzwarth, Brunhilde & Günther Friedrichs, Christian Malycha, Florian Rehn, Andreas Denk, Uwe Schröder, Herbert Kopp, Olaf Metzel, Paul Schimmel, Max Hetzler, André Butzer, Hannah Eckstein, Ulrich Loock, Regine Ehleiter

German / English
Hardcover with dust jacket
24 x 30 cm
198 pages
163 color and 5 b/w illustrations
60.00 Euro

Leaf through the book


Günther Förg united the antagonistic extremes of modernism, perpetuating their unredeemed possibilities and keeping them alive. He stood on the brink of a present in which modernity hasn’t been lost but remains as yet unaccomplished. In all their sensuality, Förg’s paintings are “temporal images.” They have a history which may be hidden but can always be felt beyond their ostensible abstractness. And his often small, simple and laconic gestures are elementarily human; they gain greatness due to their vulnerability...

This book engages with the complete scope of Günther Förg’s oeuvre, driven by the passion of the collectors Brunhilde and Günther Friedrichs. The main focus is on Förg’s abstract paintings, which interrogate modernist art in loosely executed colorfields and patterns. With the rough surfaces of his masks, stelae and reliefs, Förg extends painting into the exhibition space, and with his wall paintings he turns that space itself into a work of art. In his photographs, he captures modernist architecture with the vibrancy of a snapshot, and in his exhibitions, he opens up a dialog between all these elements.

Starting from a conversation with the collectors, the book explores each of these fields in its own essay: Christian Malycha writes about Förg’s paintings, Hannah Eckstein about the work’s sculptural development into the space. Ulrich Loock analyses the photographic oeuvre and Regine Ehleiter discusses the numerous artist’s books in which Förg expanded on his artistic concepts. The work’s relationship with architecture is illuminated by Andreas Denk and architect Uwe Schröder, who built the Haus auf der Hostert for the Friedrichs with their art collection on mind. There are personal reminiscences from fellow artists Herbert Kopp, Olaf Metzel and André Butzer, as well as curator Paul Schimmel in conversation with gallerist Max Hetzler, in which we get closer to the personality of an often unruly artist. Through these different perspectives, the multi-faceted relationships between the works in the collection, and more generally Förg’s artistic thought, become more evident, while the collectors’ own view of his work is reflected in their comprehensive yet precise selection.


(excerpt from the essay by Christian Malycha)

By and by Förg forges his own tradition reaching from early Expressionism via Abstract Expressionism and Minimal Art up to Conceptualism, uniting both cool analytical seriality and fragile gestural sensuousness. Independently, and unlike any other painters of the late 1970s and early 1980s, Förg, with a keen sense, opts for precise form as well as for expressive gesture. He adopts conceptual austerity as well as an unbound painterly expression. He takes the liberty to bring together such incompatible counterparts as Judd and Baselitz in order to unite them as one – in order ‘to explore a contradictory clarity of form with an expressionist handling’.

In 1973 he paints his first paintings. Grey paintings and sienna ones. In vast sways he applies black paint onto white canvases with a sponge. Albeit these paintings are quite colourous as they are highly receptive of the chromatic ambient light. Consistently, and with utmost consequence, Förg paints one painting per week. With every painting he assures himself of his material, acquaints himself with his colour, his own idiom and language, his own expression. Förg’s paint is never thick and pastose but thin. He incorporates the ground and lifts it into attendance through the transparent colour. From the outset, Förg lays bare his paintings in all openness.

In 1976, he substitutes the canvas in his paintings for copper or aluminium sheets, ‘to see how this changed the feel of them’. Small, relief-like image-objects emerge: raw copper on wood. An upright plane, open at the top and bottom, lined with a protruding edge on each side. The shining surface is self-contained and still absorbs the surrounding space in tender reflections. Actually, a work like that seems to be extracted from architecture with its obvious frame, possibly from wall panelling. It appears pictorially and, at the same time, like an architectural module. Due to this, Förg leaves behind the two-dimensionality of the canvas and gradually moves into physical space.

His first solo exhibition in 1980, in a picturesque Art Nouveau building, is nearly a ‘non-exhibition’. The space and the walls remain empty. And all that Förg shows is one grey painting covering the gallery’s ceiling. Architecture becomes his vantage point and he meets it with elemental severity. His gesture is elemental because it hones the aesthetic experience towards space, place, body. In face of the spatial structure and the painterly intervention, every beholder is physically challenged to find and uphold his or her uncertain position. The wall paintings have ‘to be opposed by one’s own body…the counterweight of one’s body…’