Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

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

Scully, Sean: Dark Yet

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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John Hilliard: Accident and Design
Texts David Campany, John Hilliard

English / German
24 x 28.2 cm
104 pages
59 color illustrations
45.00 Euro


Leaf through the book


The photographs of British conceptual artist John Hilliard (born 1945) pose intricate questions to their medium. Since the end of the 1960s, the artist has taken that medium’s representational capacities to the proof, has made photos that are theses on perception, that critically expose photography’s inherent possibilities and flaws, while in turn creating his own striking images. In ever new experimental set-ups, he utilizes every means offered by the medium: double exposure, multiple points of view, changing perspectives, blow-ups, cut-outs, sequencing, superpositions, and much more. By these means, Hilliard explores what an image can tell you about the world and to what extent the apparatus itself will determine the meaning.

Accident and Design surveys the artist’s work of recent years, with additions of selected earlier pieces to arrive at a focused stocktaking of artistic themes and issues. The essay by David Campany elucidates how through photography Hilliard was able to forge new paths after the endgame of conceptual art. Three programmatic texts by the artist reveal the theoretical foundations and practical approaches of his different work series.

(excerpt from the essay by John Hilliard)

Assuming photography’s most common purpose in representing the appearance of its objects to be mimetic, and given its origins in a period of naturalism in nineteenth-century European art, then as a strategy it can be compared to parallel endeavours within descriptive painting and drawing. The exactitude implicit in such practices seems to militate against a tolerance of the accidental – that is, occurrences beyond the intent or awareness of the creator. Nevertheless, unforeseen incidents may be seen to occur in the end-products of either discipline, although their locus may differ.

As with a fisherman’s net, in addition to the main catch, the camera has the capacity to scoop up the unexpected. Indeed, such inclusions may even evade detection, unnoticed at the moment in which the picture is taken, overlooked during the printing process, only to be discovered (if at all) in the finished image – eliciting a frisson of pleasure or a pang of dismay, depending upon their perceived suitability. Such accidental inclusions may escape the initial awareness of the photographer as a result of the very nature of the process of recording. Within a practice ranging from spontaneous snapshots to painstakingly prepared pictures, most images will be ‘captured’ by the camera in a fraction of a second. Looking through the viewfinder immediately prior to that moment, elements may be moving unpredictably in front of the lens, a priority may be to target only a specific subject from within a complex field of view, and in any case the capability of eye and brain to have an equal and particular awareness of everything in the frame may be severely limited by time and restricted by the size and/or luminosity of the viewing screen. In such circumstances, a great deal of responsibility will be delegated to the disinterested mechanism of the camera itself.

In the above description, it is the lack of conscious attention to, or lack of engagement with, every detail of the image during its production that leads to after-the-fact discoveries which can be seen, in retrospect, as accidents waiting to happen... The unheralded details found lurking in peripheral areas of the photograph are most likely to be acknowledged as a bonus at the very least, and at best elevated to pivotal status within the finished work. Recognising the significance of such accidental inclusions in a retrospective assessment is a legitimate part of creative responsibility. There is what is intended to be there and there is what has actually arrived, and the artist/photographer needs to be alert to both ends of the process. They must also be allowed the pleasure of discovering their own work – of knowing what they set out to achieve and seeing what has transpired: aware of both the similarities and the differences within that endeavour, prepared to be critical of any shortfall yet also willing to celebrate the presence of the unexpected and to welcome some accidental guests at an otherwise designed event.


In collaboration with Galerie Max Hetzler Berlin | Paris