A meditation on one of the world's best-known Conceptual artists.

The publication of this fully illustrated catalogue coincided with Donagh's most comprehensive exhibition to date at Ikon in September 2005. Comprising paintings, drawings, collages and sculptural pieces, her various series of works centre on particular themes that combine personal and political concerns. Donagh's most recent project, for example, takes the Black Country as its subject, a place significant as the cradle of the Industrial Revolution, where she was born and grew up. Includes an essay, list of works and artist biography.

This illustrated publication accompanied the On Kawara exhibition at Ikon in Summer 2006. Eternal Return documents On Kawara's Today Series, an ongoing project begun in 1966, a series of paintings, each made in a day, bearing the inscribed date on which they were made. Text by Jonathan Watkins.

Published on the occasion of the exhibition of the same title, coorganized by the Hayward Gallery, London and the Japanese Foundation, Tokio, as part of the Festival of Japan 2001.

Das fragment an sich (The fragment in itself) 29 November 2006 - 21 January 2007. Kinoshita subscribes to a kind of existentialism. It is most evident perhaps in her installations of rooms inside the gallery spaces. Usually makeshift, they contain furniture, DIY contraptions, video, interactive devices and other objects that are fragments (in themselves), subject to the imaginative projection of the viewer.

foreword by Jonathan Watkins and Hans-Werner Schmidt essay by Barbara John This is the first major presentation of Max Klinger's extraordinary work in the UK for many years. Drawn from the collection of the Museum der Bildenden Kunste, Leipzig, the final list of works was determined by a curatorial team that included Christiane Baumgartner, the Leipzig-based artist whose solo exhibition took place at Ikon at the same time. For Max Klinger, printmaking, and specifically etching, was a major part of his artistic output. He insisted that this kind of work, drawn and monochrome, had the greatest potential for poetic invention, and that painting, by contrast, was more suitable for the representation of the material world. Born in 1857, Klinger finally achieved public acclaim through an exhibition at the Leipzig Museum in 1892.

From the book's foreword: Focusing on Cornelia Parker's recent work with fireworks and meteorites. A combination of wonderful images and Jessica Morgan's intelligent text, it effectively conveys the vision of and extraordinary artist.

Published on the occasion of a four part exhibition, realised in four separate locations during 2002-2003, in the form of a site specific response to each place. The four parts were curated by different curators, each of whom has written a contribution for this catalogue. The colour in Katharina Grosse's temporary art installations spreads freely across the walls and ceilings, suggesting something of the anarchic power of street graffiti.