This gorgeous, over-sized book accompanied the 2013 Mnuchin Gallery show "Donald Judd Stacks." In addition to installation view photographs, the catalog contains numerous illustrations, essays, and a chronology of the artist's work.

Donald Judd: Stacks

Jim Jacobs

Flavin Judd

Judd Tully

Peter Bonnier

Mnuchin Gallery

Printed for Mnuchin Gallery upon the occasion of the exhibition, Bronze in the XXth Century: Casting Modernity, April 24-June 7, 2014. This hardcover catalogue is covered by a beautiful blue velvet with the title deboss printed on the cover in gold. The artists works are printed on semigloss paper that is casebound and includes a foldout in the center of Henri Matisse's works: Jeannette I, II, III, IV and V. The catalogue measures 9.55 x 11.75 inches and includes 144 pages.

Casting modernity: Bronze in the XXth Century

Ekserdjian, David

Morris Louis: Veils

Karen Wilkin

Louis, Morris

Diane Upright

Mnuchin Gallery Exhibition Catalogue. Title: SIMON HANTAI Pliage: The First Decade Exhibition date: April 28 - June 26, 2015 Introduction by Daniel Hantaï Essays by Alfred Pacquement and Robert Storr ISBN: 9780989290951 Hardcover, 83 pages.

SIMON HANTAI Pliage: The First Decade. Mnuchin Gallery Catalog

Pacquement, Alfred et al.

David Hammons: Five Decades. A comprehensive monographic catalogue surveying the work of the influential American artist David Hammons, from the late 1960s to 2015, including Hammons' major series from the past five decades, including Body Prints, found-object assemblages such as the Heads, Basketball Drawings, Basketball Chandeliers, Tarps, Fur Coats, and Mirrors. Published to coincide with the artist's first retrospective in twenty-five years, which took place at Mnuchin Gallery in New York City (Mar 15 - May 27, 2016). The catalogue is authored by Dr. Kellie Jones, Associate Professor in Art History and Archaeology and the Institute for Research in African American Studies at Columbia University, with an introduction by Dr. Robert Storr, former Dean of the Yale School of Art, and a contribution by Alanna Heiss, founder and former director of P.S. 1 and current founder and director of Clocktower Productions.

David Hammons Five Decades

David Hammons

Sean Scully began his "five-year love affair with minimalism," as he later called it, in 1975, just after moving from the U.K. to New York. His paintings of that period were cold, "severe, invulnerable canvases," he once said, often done only in gradations of black. From here, with everything taken out of painting but its name, there was no clear way forward; if Scully was to avoid repeating himself, he would have to begin putting feeling back in. "The Eighties," a show of around twenty pictures dating from between 1982 and 1989, looks at how he slowly softened his tone, expanded his palette, and relaxed his lines, ultimately arriving at his truest discovery: that "all profoundly original art looks ugly at first," as the art critic Clement Greenberg once wrote. In Scully's words, his works of this period are "romantic portraits of the city: all based on collision, pressure, and disharmony."

Sean Scully : The Eighties

Scully, Sean

Cindy Sherman: Once Upon a Time 1981 - 2011

Unnamed, Unnamed

The exhibition will present Minimalist masterworks of the 1960s alongside painting and sculpture of the following decades that both elaborate upon and disrupt Minimalism's formal language to a diverse range of ends, from the playful and the personal to the subversive and the political. Taking as its starting point iconic works by Carl Andre, Dan Flavin, Donald Judd, Agnes Martin, Robert Ryman, and Frank Stella, the exhibition continues with Postminimalist figures such as Eva Hesse, Robert Morris, On Kawara, and Bruce Nauman. It carries on with works from the 1980s and 90s by artists including Robert Gober, Felix Gonzalez-Torres, David Hammons, Jeff Koons, Cady Noland, and Christopher Wool. The exhibition culminates with contemporary examples by Carol Bove, Wade Guyton, Rashid Johnson, Glenn Ligon, and Rudolf Stingel, artists who employ the supposedly "neutral" aesthetic tropes of Minimalism to explore the politics of race, class, and technology.

Minimalism & beyond, Mnuchin gallery

Pobric, Pac

When we opened our first exhibition with Sean in 2016, it was a revelation. Brought together for the first time in the United States, his breakthrough 1980s paintings were at the same time monumental and emotionally tenuous, their sculptural and quasi-architectural forms of abutting panels boldly confronting the viewer in his physical and psychological space. They captured the first moments of Sean's mature style and set the course for the decades to follow.

Sean Scully: Wall of Light

curated by Sukanya Rajaratnam

The Joy of Color

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Books by Mnuchin Gallery