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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Inge Mahn
Texts Robert Fleck, Noemi Smolik, Stephan von Wiese

German / English
Hardcover with dust jacket
21 x 28 cm
78 pages
23 color and 19 b/w illustrations
45.00 Euro

Leaf through the book


The sculptures of Inge Mahn take their cue from everyday objects. Dog houses and bird boxes, a traffic tower, a set of classroom furniture, steeples and chimneys have been recreated, refashioned and bizarrely alienated in white plaster and other common materials. Their silken surfaces absorb the light and render their forms more abstract, like phantoms in the room. In the artist’s exhibitions, the sculptures are installed in different constellations to include the spectator in a tension field between public space and personal experience.

Inge Mahn (born 1934) studied at the Academy of Arts in Düsseldorf where until 1972 she was a master student of Joseph Beuys. In the year of her graduation, she was invited to documenta 5 by curator Harald Szeemann. Since then she has widely exhibited in national and international solo and group shows. In 1983 she became professor first at the Academy of Arts in Stuttgart and later at the Weißensee Academy in Berlin. Today she lives and works in the village of Groß Fredenwalde in northeastern Germany.

(excerpt from the essay by Robert Fleck)

Several sculptures by Inge Mahn are positioned in a space, receiving their form from it. Others assert themselves like architecture, self-confidently and discreetly, in a surrounding space that is not made precise. The irregular white surfaces reveal the traces of numerous fabrication processes and absorb the light that should be intensified by their large surface area and pale colour. This circumstance explains the sculptures’ peculiar presence. Despite their formal relation to Minimal art, they do not demand attention, unfolding instead a particular poetry from this modest, though very decisive, stance. Their uniform whiteness and their irregular surfaces, which break the ambient light, evoke an impression in the viewer of standing before clear bodies, which, like phantoms, do not occupy the space they define, but keep it open.

Another aspect of Mahn’s sculptures likewise reveals her oeuvre to represent a position in the recent discourse on three-dimensional art that has been given far too little attention. Each work by Mahn evokes seen things, mostly architectural in nature, but displaces them into a subjective image-mode through coarse execution and the obvious unusability of the resulting form... Works not immediately related to an architectural context, such as Polizeikanzel (Police pulpit, 1973), one of the first large works Mahn completed after leaving art school, take up structures from the public sphere – in this case, an elevated platform used by traffic police. Mahn created the form, however, in such an obviously handmade and functionally useless way that an endless chain of quasi-metaphorical meanings arises: the posturing of state power, the evocation of East German watchtowers along the intra-German border at the time, and the ironic link between the police platform and the Christian preacher’s pulpit...


In collaboration with Galerie Max Hetzler Berlin | Paris