Iwan Wirth and Ursula Hauser in Lenzerheide, c. 1988

Iwan Wirth and Ursula Hauser in Los Angeles, 1992

Exterior view of the gallery on Sonneggstrasse in Zurich, 1992

Manuela Wirth visiting the storage of The State Russian Museum, St. Petersburg, May 1994

Ursula Hauser and Iwan Wirth visiting the storage of The State Russian Museum, St. Petersburg, May 1994

Invitation, ‘Alexander Calder. Mobiles and Gouaches’, ‘Joan Miró. Sculptures and Paintings’, Hauser & Wirth Collection, 1992

Photo: Stefan Altenburger Photography Zürich

‘Hôtel Carlton Palace. Chambre 763’, Editor: Hans-Ulrich Obrist, Co-published with Oktagon, 1993

Paul-Armand Gette. Nymphaeum’, Editor: Hans-Ulrich Obrist, Co-published with Oktagon, 1993

Hans Ulrich Obrist, c. 1998

Installation view, ‘Spanisches Kaleidoskop’, Hauser & Wirth Zürich, 1992

Photo: Bruno Weber

Invitation, ‘Spanisches Kaleidoskop’, Sammlung Hauser & Wirth, 1992

Photo: Stefan Altenburger Photography Zürich

Brochure with exterior view of the townhouse on Franklin Street, c. 1993

Iwan Wirth at Franklin Street, New York, 1993

Exterior view of the space on Hardturmstrasse in Zurich, 1993

Photo: Bruno Weber

Nam June Paik, layout for the exhibition, 1993

Invitation, ‘Nam June Paik. Jardin Illuminé’, Hauser & Wirth Zürich, 1993

Nam June Paik Estate. Photo: Stefan Altenburger Photography Zürich

Interior view, 1993

Nam June Paik Estate. Photo: Bruno Weber

Iwan Wirth and Nam June Paik, 1993

Nam June Paik Estate. Photo: Bruno Weber

Interior view, 1994

Photo: Bruno Weber

‘Egon Schiele. Arbeiten auf Papier / Works on Paper’, Text by Annette Vogel, Co-published with Oktagon, 1994

Exterior view with Parkett Edition by Felix Gonzalez-Torres (part of the exhibition ‘10 Jahre Parkett – 61 Künstlereditionen’), 1994

© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York

Installation view, ’10 Jahre Parkett’, Hauser & Wirth Zürich, 1994

Photo: Bruno Weber

‘10 Years of Parkett’, Editors: Bice Curiger, Jacqueline Burckhardt, Diter von Graffenried, Louise Neri, Parkett Verlag, 1994

Invitation, ‘10 Jahre Parkett – 61 Künstlereditionen’, Sammlung Hauser & Wirth, 1994

Photo: Stefan Altenburger Photography Zürich

Installation view, ’10 Jahre Parkett’, Hauser & Wirth Zürich, 1994

Photo: Bruno Weber

Invitation, ‘Bruce Nauman. A Large Scale Work’, Sammlung Hauser & Wirth, 1994

© Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Harald Szeemann to Iwan Wirth, August 1995

Installation view, ‘Richard Artschwager. Archipelago’, Hauser & Wirth Zürich, 1994

© ARS, NY and DACS, London 2017. Photo: Bruno Weber

Invitation, ‘Richard Artschwager. Archipelago’, Sammlung Hauser & Wirth, 1994

© ARS, NY and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Gerhard Richter: Editionen 1965-1993’, Hauser & Wirth Zürich, 1995

© Gerhard Richter, 2017 (130217). Photo: Bruno Weber

‘Bilder / Paintings 1964 – 1994’, Texts by Roman Kurzmeyer, Iwan Wirth, Interview with the artist by Hans-Ulrich Obrist, Co-published with Oktagon, 1995

Invitation, ‘Gerhard Richter. Editionen 1965 – 1993’, Sammlung Hauser & Wirth, 1995

© Gerhard Richter, 2017 (130217). Photo: Stefan Altenburger Photography Zürich

Marcel Broodthaers. Correspondances / Korrespondenzen’, Text by Dorothea Zwirner, Co-published with Oktagon, 1995

Invitation, ‘Gerhard Richter. Bilder 1964 – 1994’, Sammlung Hauser & Wirth, 1995

© Gerhard Richter, 2017 (130217). Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Gerhard Richter. Bilder 1964-1994’, Hauser & Wirth Zürich, 1995

© Gerhard Richter, 2017 (130217). Photo: Bruno Weber

Exterior view, 1996

Photo: Bruno Weber

Interior view before renovation, 1995

Photo: Bruno Weber

Interior view, 1996

Photo: Bruno Weber

Exhibition space, 1996

Photo: Jon Etter

Iwan Wirth, Manuela Wirth and Annabelle Selldorf in the new space, 1996

Art store, 1996

Bruno Weber

Installation view, ‘Malerei aus Deutschland’, Hauser & Wirth Zürich, 1996

© Georg Baselitz 2017. Photo: Bruno Weber

‘Galerie Hauser & Wirth’, Editor: Iwan Wirth, Publisher: Galerie Hauser & Wirth, 1996

Sketch and invitation for the exhibition ‘Jason Rhoades. The Creation Myth’, Hauser & Wirth & Presenhuber, 1998

Drawing from Jason Rhoades to Iwan Wirth, no date

Jason Rhoades and Iwan Wirth at the gallery in Zurich, 1998

Jason Rhoades with Iwan and Elias Wirth in his exhibition ‘Perfect World’ at the Diechtorhallen Hamburg, Hamburg, 1999

Photo: Manuela Wirth

Installation view, ‘Jason Rhoades. The Creation Myth’, Hauser & Wirth & Presenhuber, 1998

Photo: Bruno Weber

Jason Rhoades, ‘IWAN Happy-Birth Day 29’, 1999, and ‘For Manuela 30 something (Pee-wee p.p.’s)’, 2000

Jason Rhoades with Iwan Wirth in his studio, Pasadena, 2004

Photo: Manuela Wirth

Jason Rhoades and his daughter Rubi, Los Angeles, 2004

Photo: Manuela Wirth

Jason Rhoades signing the visitors’ book at the Kronenhalle restaurant, Zurich, 2004

Photo: Manuela Wirth

Drawing from Jason Rhoades to Iwan Wirth, no date

Installation view, ‘Jason Rhoades. My Medinah – In pursuit of my ermitage’, Hauser & Wirth Collection, St. Gallen, 2004

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Jason Rhoades. The Black Pussy… and the Pagan Idol Workshop’, Hauser & Wirth London, Piccadilly, 2005

Photo: Ann-Marie Rounkle

Jason Rhoades, ‘Tijuanatanjierchandelier’ (2006). Installation view, ‘Jason Rhoades. Installations, 1994 –2006’, Hauser & Wirth Los Angeles, 2017

© The Estate of Jason Rhoades. Courtesy the estate, Hauser & Wirth, David Zwirner and lender. Photo: Fredrik Nilsen

Manuela Wirth and Dan Graham on the occasion of the exhibition ‘Dan Graham. New Works / New Age’, Hauser & Wirth Zürich, 1997

Photo: Bruno Weber

Dan Graham, ‘Two Joined Cubes’ (1996-1997). Installation view, ‘Dan Graham. New Works / New Age’, 1997

Photo: Bruno Weber

Manuela Wirth and Dan Graham on the occasion of the exhibition ‘Dan Graham. New Works / New Age’, Hauser & Wirth Zürich, 1997

Photo: Bruno Weber

Opening of ‘Wechselstrom’, Hauser & Wirth Collection, St. Gallen, 2001

Dan Graham to Iwan Wirth, 24 January 2000

Dan Graham with Rodney Graham in St. Gallen, 2001

Dan Graham, ‘Sine Wave/Zig Zag’ (2007-2008). Installation view, ‘Dan Graham. More of the Same’, Hauser & Wirth Zürich, 2008

Stefan Altenburger Photography Zürich

Dan Graham, ‘Pavilion For Showing Rock Videos/Films (Design I)’ (2012). Installation view, ‘Dan Graham. Rock ‘n’ Roll Show. Unrealised Projects for Children and Boutique Architecture’, Hauser & Wirth Zürich, Hubertus Exhibitions, 2012

Photo: Stefan Altenburger Photography Zürich

Wedding invitation designed by Franz West, 1996

Iwan Wirth at his wedding with Jason Rhoades, 1996

Photo: Manuela Wirth

Invitation, ‘Sculpture’, Hauser & Wirth Zürich, 1996

© 2017 Calder Foundation, New York/DACS London

Installation view, ‘Sculpture’, Hauser & Wirth Zürich, 1996

Installation view, ‘Sculpture’, Hauser & Wirth Zürich, 1996

© 2017 Calder Foundation, New York/DACS London. Photo: Bruno Weber

Invitation, ‘Joseph Cornell’, Hauser & Wirth Zürich, 1996

© The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2017

Invitation for film screening

Installation view, ‘Joseph Cornell’, Hauser & Wirth Zürich, 1996

© The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2017

Installation view, ‘Louise Bourgeois. Sublimation’, Hauser & Wirth London, Piccadilly, 2005

© The Easton Foundation/ DACS. Photo: John Spinks

Louise Bourgeois, ‘The Couple’ (2003). Installation view, Sculpture Park at Frieze Art Fair, London, 2009

© The Easton Foundation/ DACS. Photo: Mike Bruce

Louise Bourgeois, ‘The Red Room (Parents)’ (1994). Installation view, ‘Louise Bourgeois. Red Room’, 1996

© The Easton Foundation/ DACS. Photo: Bruno Weber

Louise Bourgeois, ‘Untitled’ (2004)

© The Easton Foundation/ DACS

Louise Bourgeois, 40th birthday gift to Iwan Wirth, 2010

© The Easton Foundation/ DACS

Louise Bourgeois, ‘Untitled’ (2000)

© The Easton Foundation/ DACS

Louise Bourgeois, ‘Happy Birthday, Ursula’ (1999)

© The Easton Foundation/ DACS

Installation view, ‘Louise Bourgeois. Turning Inwards’, Hauser & Wirth Somerset, 2016

© The Easton Foundation/ DACS. Photo: Ken Adlard

Interview with Richard Jackson, Los Angeles, 2017

Richard Jackson, ‘Deer Beer’ (1998). Installation view, ‘Richard Jackson. deer beer’, Hauser & Wirth Zürich, 1998

Photo: Stefan Altenburger Photography Zürich

Richard Jackson with Rachel Khedoori and Iwan Wirth, 1997

Iwan Wirth, Ursula Hauser and Richard Jackson after the opening of ‘Ballerina in a Whirlpool. Works by Isa Genzken, Richard Jackson, Roman Signer and Diana Thater from the Hauser & Wirth Collection’, Staatliche Kunsthalle Baden-Baden, 2006

Photo: Manuela Wirth

Richard Jackson, ‘IWAN IWIN Neon ’99’ (1999)

Richard Jackson and Iwan Wirth with the exhibition layout for ‘The Laundry Room’, 2009

Photo: Manuela Wirth

Installation view, ‘Richard Jackson. The Laundry Room’, Hauser & Wirth Zürich, 2009

Photo: Stefan Altenburger Photography Zürich

Richard Jackson, ‘Pig Hunt’ (2000-2001). Installation view, Hauser & Wirth Collection, St. Gallen, 2002

Stefan Altenburger Photography Zürich

Richard Jackson and Marc Payot in the artist’s studio, 2011

Photo: Karin Seinsoth

Richard Jackson at Hauser & Wirth London, Savile Row, 2014

Photo: Tristan Fewings/Getty Images for Hauser & Wirth

Manuela Wirth during the installation of ‘Bruce Nauman. Shadow puppet spinning head’, Hauser & Wirth Zürich, 1997

Installation view on the first floor with Bruce Nauman’s work, ‘Falls, Pratfalls and Sleights of Hand’, Hauser & Wirth Zürich, 1997

© Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2017

Invitation, ‘Bruce Nauman. Shadow puppet spinning head’, Hauser & Wirth Zürich, 1997

© Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2017

Mary Heilmann, Mendes Bürgi and Iwan Wirth at the opening of Heilmann’s first show at Hauser & Wirth in Zurich, 1997

Photo:Bruno Weber

Mary Heilmann to Isabelle Cart, with the list of movies and music to play at the opening party of her show in 1999

Installation view, ‘Mary Heilmann’, Hauser & Wirth London, Piccadilly, 2004

Goswin Schwendinger

Mary Heilmann to Iwan and Manuela Wirth, 3 January 2000

Mary Heilmann. The All Night Movie’, Designed by Mary Heilmann and Mark Magill, Text by Jutta Koether, Offizin Verlag, Zürich, 1999

Letter from Mary Heilmann to Iwan and Manuela Wirth, no date

Mary Heilmann at Hauser & Wirth New York, 18th Street, 2016

Photo: Barbara Cor

Mary Heilmann with the Wirths, Bridgehampton, December 2014

Photo: Manuela Wirth

Mary Heilmann with the Wirth family, Bridgehampton, December 2014

Photo: Manuela Wirth

Installation view, ‘Mary Heilmann. Visions, Waves and Roads, Hauser & Wirth London, Savile Row, 2012

Photo: Alex Delfanne

‘Francis Picabia. Fleurs de chair, fleurs d’âme’, Texts by Harald Szeemann, Carole Boulbès and Hans Rudolf Reust, Interview with Olga Picabia and Pierre Calté by Hans-Ulrich Obrist and Stefan Banz, Co-published with Oktagon, 1997

Installation view, ‘Francis Picabia. Fleurs de chair, fleurs d’âme’, Hauser & Wirth Zürich, 1997

© ADAGP, Paris and DACS, London 2017. Photo: Bruno Weber

Interview with Roman Signer, Zurich, 2017

Roman Signer installing ‘Objekt (Object)’ (1980) in Henau, 1992

Photo: Stefan Rohner

Roman Signer and Iwan Wirth in Poland, 1993

Roman Signer with Iwan and Manuela Wirth, installing his exhibition at Hauser & Wirth Zürich, 1999

Installation view, ‘Roman Signer. Neue Arbeiten’, Hauser & Wirth Zürich, 2001

Photo: Peter Hunkeler

Roman Signer, ’21 Barrels’ (2003). Installation view, ‘Roman Signer’, Hauser & Wirth Collection, St. Gallen, 2003

Photo: Aleksandra Signer

Roman Signer, ‘Installation mit Kajaks (Installation with Kayaks)’ (2003). Installation view, Hauser & Wirth Collection, St. Gallen, 2003

Photo: Aleksandra Signer

Installation view, ‘Roman Signer’, Hauser & Wirth London, Piccadilly, 2008

Photo: Andrew Smart, AC Cooper Ltd

Installation view, ‘Roman Signer. Skuptur – Installation’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roman Signer. Skuptur – Installation’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

Interview with Pipilotti Rist, Zurich, 2017

Reworked announcement card for Premio 2000 award, 1997

Pipilotti Rist with Elias Wirth, 1997

Photo: Manuela Wirth

Bodo Wirth and Ursula Hauser in ‘Pipilotti Rist. Liberty Statue for Löndön’, Hauser & Wirth London, Piccadilly, 2005

Photo: Manuela Wirth

Letter from Pipilotti Rist to Iwan and Manuela Wirth, Venice, 1999

Installation view, ‘Pipilotti Rist. Liberty Statue for Löndön’, Hauser & Wirth London, Piccadilly, 2005

Photo: Neil Gavin

Iwan Wirth, Pipilotti Rist, Paul McCarthy and Manuela Wirth, Hauser & Wirth Somerset, 2012

Photo: Manuela Wirth

Installation view, ‘Pipilotti Rist. Worry Will Vanish’, Hauser & Wirth London, 2014

© Pipilotti Rist. Courtesy the artist, Hauser & Wirth and Luhring Augustine, New York. Photo: Alex Delfanne

Interview with Paul McCarthy, Los Angeles, 2017

Paul McCarthy, ‘Henry Moore Bound to Fail (Bronze)’ (2004). Installation view, Hauser & Wirth Somerset, 2016

Photo: Ken Adlard

Installation view, ‘Paul McCarthy. Santa Chocolate Shop’, 1997

Photo: Stefan Altenburger Photography Zürich

Paul McCarthy, Jason Rhoades, Richard Jackson and Iwan Wirth at the locomotive shed in St. Gallen, December 1998

Installation view, ‘Paul McCarthy. The King, The Island, The Train, The House, The Ship’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Installation view, ‘Paul McCarthy and Damon McCarthy: Rebel Dabble Babble’, Hauser & Wirth New York, 18th Street, 2013

Photo: Genevieve Hanson

Paul and Karen McCarthy with Marc Payot in the artist’s studio, 2014

Photo: Manuela Wirth

Paul and Damon McCarthy working on ‘Mountain’ at Hauser & Wirth in Zurich, 2009

Photo: Louisa Sun McCarthy

Paul McCarthy with Iwan Wirth in his exhibition at Henry Art Gallery, Seattle, 2016

Photo: Manuela Wirth

Paul McCarthy at Hauser & Wirth New York, 18th Street, 2016

Yuta Nakajima

‘Someone else with my Fingerprints’, Editor: Wilhelmm Schürmann, Texts by Hanjo Berressem and Susanne Lange, Co-published with Salon Verlag, 1997

Invitation, ‘Someone else with my Fingerprints’, Hauser & Wirth Zürich, 1997

Installation view, ‘Someone else with my Fingerprints’, Hauser & Wirth Zürich, 1997

Rachel Khedoori, Jason Rhoades and Richard Jackson in Venice, 1999

Rachel Khedoori, ‘Untitled’ (2001). Installation view, Hauser & Wirth Collection, St. Gallen, 2002

Rachel Khedoori, ‘Untitled (Blue Room)’ (1999). Installation view, Hauser & Wirth Collection, St. Gallen, 2000

Stefan Altenburger Photography Zürich

Rachel Khedoori, ‘Untitled (Iraq Book Project)’ (2008-2010). Installation view, ‘Rachel Khedoori’, Hauser & Wirth London, Piccadilly, 2010

Photo: Peter Mallet

Rachel Khedoori, Iwan Wirth and Mary Heilmann, Bridgehampton, 2014

Photo: Manuela Wirth

Installation view, ‘Rachel Khedoori’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

Dieter Roth, ‘Grosse Tischruine (Large Table Ruin)’ (1978-1998). Installation view, 1998

Photo: Stefan Altenburger Photography Zürich

Poster, 1998

Installation view, ‘Dieter Roth / Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

Photo: Manuela Wirth

Iwan Wirth and Björn Roth at the opening of Paul McCarthy’s exhibition at the Moderna Museet, Stockholm, 2006

Photo: Manuela Wirth

Installation view, ‘Dieter Roth. Reykjavik Slides (31,035) Every View of a City’, Hauser & Wirth London, Savile Row, 2011

Photo: Alex Delfanne

Dieter Roth, ‘Zuckerturm (Sugar Tower)’ (1994-2013). Installation view, ‘Dieter Roth. Björn Roth’, Hauser & Wirth New York, 18th Street, 2013

Photo: Bjarni Grímsson

Installation view, ‘Roth Bar & Studio. Dieter Roth, Björn Roth and Oddur Roth’, Hauser & Wirth Zürich, 2015

Photo: Stefan Altenburger Photography Zürich

Opening dinner at the restaurant Kronenhalle, with Dieter Roth, Theo Hotz and Eva Presenhuber, Zurich, 1997

Sticker for ‘Bar 2’, 1997

Dieter Roth, ‘Bar 2’ (1983 – 1997). Installation view, Fabrikstrasse, Zurich, 1997

Dieter Roth in ‘Bar 2’, Zurich, 1997

Guestbook for ‘Bar 2’, Zurich, December 1997

Photo: Stefan Altenburger Photography Zürich

Eva Presenhuber and Iwan Wirth, 1998

Installation view, ‘Jason Rhoades. The Creation Myth’, Hauser & Wirth Zürich, 1998

Photo: Bruno Weber

David Zwirner, Jason Rhoades and Zdenek Felix, director of the Diechtorhallen Hamburg (from left to right) during the opening, 1998

Dorothea Zwirner, Iwan Wirth and Jason Rhoades (from left to right), with Harald Szeemann (in the background), during the opening, 1998

Invitation, ‘Marcel Broodthaers. Un Jardin d’Hiver’, Hauser & Wirth Zürich, 1998

Photo: Stefan Altenburger Photography Zürich

Franz West and Marie Gilisen during the opening, 1998

Exterior view, 1998

Exterior view, prior to renovation, 1998

Jason Rhoades, ‘Don King (for Ursula)’, 1998

Invitation, ‘On Kawara’, Hauser & Wirth Zürich, 1999

© On Kawara. Photo: Stefan Altenburger Photography Zürich

Fax from On Kawara to Mirella Roma, 1999

Iwan Wirth, Manuela Wirth, and Ursula Hauser, 1999

Exterior view, 1999

Poster for ‘Paul McCarthy. Dimensions of the Mind. The Denial and the Desire in the Spectacle’, Hauser & Wirth Collection, St. Gallen, 1999

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Paul McCarthy. Dimensions of the Mind. The Denial and the Desire in the Spectacle’, Hauser & Wirth Collection, St. Gallen, 1999

Marc Payot with his daughter, 2004

Installation view, ‘Jason Rhoades. My Medinah – In pursuit of my ermitage’, Hauser & Wirth Collection, St. Gallen, 2004

Photo: Stefan Altenburger Photography Zürich

Marc Payot, 2015

Photo: Scott Rudd

Exterior view of the gallery with an installation by Diana Thater, New York, 2005

Installation view, ‘Eva Hesse. Transformations – The Sojourn in Germany 1964/65’, Hauser & Wirth Zürich, 2004

Photo: Stefan Altenburger Photography Zürich

View of the opening of ‘Eva Hesse’ at Hauser & Wirth New York, 69th Street, 2010

Photo: Manuela Wirth

Installation view, ‘Eva Hesse’, Hauser & Wirth New York, 69th Street, 2010

Photo: Thomas Müller

‘Eva Hesse. Diaries’, Editor: Barry Rosen, with the assistance of Tamara Bloomberg, Co-published with Yale University Press, 2016

Installation view, ‘Eva Hesse, Transformations — The Sojourn in Germany 1964/65’, Hauser & Wirth Zürich, 2004

Installation view, ‘Eva Hesse 1965’, Hauser & Wirth London, 2013

Photo: Alex Delfanne

Interview with Diana Thater, Los Angeles, 2017

Installation view, ‘Diana Thater. Delphine’, Hauser & Wirth Zürich, 2000

Photo: Stefan Altenburger Photography Zürich

Diana Thater, ‘Untitled (Butterfly Videowall #2)’ (2009). Installation view, 2009

Photo: Mike Bruce

Installation view, ‘Diana Thater. Chernobyl’, Hauser & Wirth London, Piccadilly, 2011

Photo: Peter Mallet

Installation view, ‘Diana Thater. Life is a Time-Based Medium’, Hauser & Wirth London, 2015

Invitation, ‘Palermo. Bilder’, Hauser & Wirth Zürich, 2000

© DACS 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Palermo. Bilder’, Hauser & Wirth Zürich, 2000

© DACS 2017

Iwan Wirth and Guillermo Kuitca at the artist’s studio, 2008

Photo: Manuela Wirth

Iwan Wirth and Guillermo Kuitca, 2008

Photo: Manuela Wirth

Guillermo Kuitca with the Wirth children, 2008

Photo: Manuela Wirth

View of Guillermo Kuitca’s studio, 2008

Photo: Manuela Wirth

Guillermo Kuitca in his studio, 2008

Photo: Manuela Wirt

Installation view, ‘Guillermo Kuitca’, Hauser & Wirth London, Piccadilly, 2008

Photo: Andrew Smart, AC Cooper Ltd

Guillermo Kuitca at Durslade Farmhouse, July 2013

Photo: Aaron Schuman

Installation view, ‘Guillermo Kuitca’, Hauser & Wirth London, Savile Row, 2012

Photo: Alex Delfanne

Manuela Wirth and Guillermo Kuitca in his exhibition at Hauser & Wirth London, 2016

Photo: Yuta Nakajima

Guillermo Kuitca, ‘Untitled (Exodus)’ (2015). Installation view, ‘Guillermo Kuitca’, Hauser & Wirth London, 2016

Photo: Ken Adlard

Installation view, ‘Gordon Matta-Clark’, Hauser & Wirth Zürich, 2001

© Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York, DACS London 2017

Invitation, ‘Gordon Matta-Clark’, Hauser & Wirth Zürich, 2001

© Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York, DACS London 2017. Photo: Stefan Altenburger Photography Zürich

Pipilotti Rist at Hauser & Wirth Zürich prior to renovation, Zurich, 2000

Photo: P. Tschumi

Layout for the exhibition architecture and offices on the ground floor of the Löwenbräu, 2000

Interior view after renovation, 2001

Pipilotti Rist in her exhibition, ‘Pipirotti List’, Hauser & Wirth Zürich, 2001

Installation view, Dan Graham, ‘S-Curve for St. Gallen’ (2001), Hauser & Wirth Collection, St. Gallen, 2001

Photo: Stefan Altenburger Photography Zürich

Installation view, Dan Graham, ‘S-Curve for St. Gallen’ (2001), Hauser & Wirth Somerset, 2015

Photo: Ken Adlard

Installation view, ‘Anri Sala. A Second Look’, Hauser & Wirth London, Piccadilly, 2007

Installation view, ‘Anri Sala. The Present Moment (in B-flat)’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Anri Sala’, Hauser & Wirth London, Piccadilly, 2004

Photo: Goswin Schwendinger

Installation view, ‘Anri Sala. A Second Look’, Hauser & Wirth London, Piccadilly, 2007

Installation view, ‘Anri Sala. Amplified Absorbers’, Hauser & Wirth Zürich, 2002

Photo: Stefan Altenburger Photography Zürich

Anri Sala, ‘Clocked Persepctive’ (2012). Installation view, Hauser & Wirth Somerset, 2015

Photo: Heather Edwards

Illustrated menu by Paul McCarthy on the occasion of Hauser & Wirth’s 10th anniversary, 2002

Iwan and Manuela Wirth with Aleksandra Signer (second from left), Jason Rhoades (far right), and Lukas and Margret Willen (in the background), 2002

Richard Jackson, Paul McCarthy, Kristin Schmidt, Karen McCarthy and Dan Graham (from left to right), 2002

Gallery staff members give performances and presentations at the 10th anniversary celebration, 2002

Jason Rhoades and Rachel Khedoori, 2002

Gallery staff perform at the 10th anniversary celebration: Sabine Sarwa, Claudia Friedli, Marc Payot and Esther Flury (from left to right), 2002

Installation view, ‘Ten Years Galerie Hauser & Wirth’, Hauser & Wirth Zürich, 2002, with works by Roman Signer, Rachel Khedoori and Jason Rhoades

© Raymond Pettibon. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Ten Years Galerie Hauser & Wirth’, Hauser & Wirth Zürich, 2002, with works by Raymond Pettibon, Mary Heilmann and Richard Jackson

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Works 1946 – 1985’, Hauser & Wirth Zürich, 2015

Photo: Stefan Altenburger Photography Zürich

André Thomkins, ‘Untitled’ (1982)

Installation view, ‘André Thomkins. Sorti du Labyrinthe’, Hauser & Wirth Zürich, 2004

Installation view, ‘André Thomkins’, Hauser & Wirth London, Piccadilly, 2009

Photo: Andrew Smart

Installation view, ‘André Thomkins’, Hauser & Wirth London, Piccadilly, 2009

Photo: Andrew Smart

Installation view, ‘André Thomkins’, Hauser & Wirth London, Piccadilly, 2009

Photo: Andrew Smart

Rodney Graham, ‘3 Musicians’ (2006)

Photo: José Luis Gutierérriez

Installation view, ‘Rodney Graham’, Hauser & Wirth Zürich, 2003

Photo: Stefan Altenburger Photography Zürich

Rodney Graham in his studio, May 2006

Photo: Scott Livingstone

Rodney Graham’s ‘Weathervane’ installed at Hauser & Wirth Somerset, 2014

Photo: Aaron Schuman

Rodney Graham, ‘Dinner Break (Salisbury Steak)’ (2017)

Wilhelm Sasnal, ‘Untitled’ (2013)

Wilhelm Sasnal, ‘Untitled’ (2001)

Wilhelm Sasnal, ‘Anka and Ewa’ (2003)

Installation view, ‘Wilhelm Sasnal. The Band’, Hauser & Wirth Zürich, 2004

Photo: Mike Bruce

Wilhelm Sasnal, Parkett, 2007

Installation view, ‘Wilhelm Sasnal’, Hauser & Wirth Zürich, 2007

Photo: Stefan Altenburger Photography Zürich

David Claerbout, ‘The Rocking Chair’ (2002-2003). Installation view, ‘David Claerbout’, Hauser & Wirth Zürich, 2003

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘David Claerbout’, Hauser & Wirth London, Piccadilly, 2009

David Claerbout, ‘Sunrise’ (2009). Installation view, ‘David Claerbout’, Hauser & Wirth London, Piccadilly, 2009

David Claerbout, ‘Riverside’ (2009). Installation view, ‘David Claerbout’, Hauser & Wirth London, Piccadilly, 2009

Invitation, ‘David Hammons’, Hauser & Wirth Zürich, 2003

© David Hammons. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘David Hammons’, Hauser & Wirth Zürich, 2003

© David Hammons

Installation view, ‘David Hammons’, Hauser & Wirth Zürich, Zurich, 2003

© David Hammons

Installation view, ‘Tony Smith’, Hauser & Wirth Zürich, 2003

© ARS, NY and DACS, London 2017

Invitation, ‘Tony Smith’, Hauser & Wirth Zürich, 2003

© ARS, NY and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Exterior view, Hauser & Wirth London, Piccadilly, 2003

Photo: Goswin Schwendiger

Interior view after renovation, 2004

Photo: Goswin Schwendiger

Interior view of the American Room after renovation, 2004

Photo: Goswin Schwendiger

Installation view, ‘Paul McCarthy. Piccadilly Circus’, Hauser & Wirth London, Piccadilly, 2003

Photo: Goswin Schwendinger

‘Paul McCarthy. Piccadilly Circus. Bunker Basement’, Texts by Ralph Rugoff and Robert Storr, Scalo, Zürich, 2004

Maria Lassnig installing her show in Zurich, 2007

© Maria Lassnig Foundation

Maria Lassnig, ‘Insektenforscher I’ (2003). Installation view, ‘Maria Lassnig. Paintings’, 2004

© Maria Lassnig Foundation. Photo: Goswin Schwendinger

Manuela and Iwan Wirth with Maria Lassnig at the opening of her exhibition at Hauser & Wirth London, Piccadilly, 2004

Maria Lassnig with Hans Ulrich Obrist (left) and Iwan Wirth (right) in her studio, Gurkgasse, Vienna, 2007

‘Maria Lassnig, The Pen is the Sister of the Brush – Diaries 1943-1997’, Edited and introduced by Hans Ulrich Obrist, Steidl Hauser & Wirth, 2009

Maria Lassnig installing her show in Zurich, 2007, with ‘Zweifel’ (2004/05)

© Maria Lassnig Foundation

Installation view, ‘Maria Lassnig. A Painting Survey, 1950 – 2007’, Hauser & Wirth Los Angeles, 2016

© Maria Lassnig Foundation. Photo: JR Doty

Maria Lassnig installing her show in Zurich, 2007, with ‘Sprachgitter’ (1999, left) and ‘Du oder Ich’ (2005, right)

© Maria Lassnig Foundation

Installation view, ‘CHURCH OF FEAR (COF) / 1st International Pole-Sitting Contest’, Venice Biennale, 2003

Photo: Edzard Piltz

Installation view, ‘CHURCH OF FEAR (COF) / 1st International Pole-Sitting Contest’, Venice Biennale, 2003

Photo: Edzard Piltz

Installation view, ‘CHURCH OF FEAR (COF) / 1st International Pole-Sitting Contest’, Venice Biennale, 2003

Photo: Edzard Piltz

Christoph Schlingensief, ‘Kaprow City’ (2006-2007). Installation view, ‘Christoph Schlingensief: Querverstümmelung’, Migros Museum für Gegenwartskunst, Zurich, 2007

Photo: Stefan Altenburger Photography Zürich

Christoph Schlingensief, ‘African Twintowers. Stairlift to Heaven’ (2007). Installation view, ‘Christoph Schlingensief: Querverstümmelung’, Migros Museum für Gegenwartskunst, Zurich, 2007

Photo: Stefan Altenburger Photography Zürich

Christoph Büchel, ‘The House of Friction (Pumpwerk Heimat)’ (2002), St. Gallen

Christoph Büchel, ‘The House of Friction (Pumpwerk Heimat)’ (2002), St. Gallen

Christoph Büchel, ‘The House of Friction (Pumpwerk Heimat)’ (2002), St. Gallen

Installation view, ‘Christoph Büchel. Simply Botiful’, Hauser & Wirth London, Coppermill, 2006

Photo: Mike Bruce

Installation view, ‘Christoph Büchel. Simply Botiful’, Hauser & Wirth London, Coppermill, 2006

Photo: Mike Bruce

Installation view, ‘Christoph Büchel. Simply Botiful’, Hauser & Wirth London, Coppermill, 2006

Photo: Mike Bruce

Installation view, ‘Christoph Büchel. Simply Botiful’, Hauser & Wirth London, Coppermill, 2006

Photo: Mike Bruce

Installation view, ‘(In Search of) The Perfect Lover’, Hauser & Wirth London, Piccadilly, 2004, with works by Marlene Dumas

© Marlene Dumas

Installation view, ‘(In Search of) The Perfect Lover’, Hauser & Wirth London, Piccadilly, 2004, with works by Raymond Pettibon

© Raymond Pettibon

Installation view, ‘David Zink Yi. 6 x Yta Moreno’, Hauser & Wirth Zürich, 2004

Photo: Stefan Altenburger Photography Zürich

David Zink Yi installing ‘Untitled (Architeuthis)’ (2010) at Hauser & Wirth New York, June 2011

Production view of ‘Neusilber (New Silver)’ at Kunstgiesserei, St. Gallen, 2009

Photo: Katalin Deér

David Zink Yi, ‘Untitled (Architeuthis)’ (2010). Installation view, ‘Pneuma’, Hauser & Wirth New York, 69th Street, 2011

Installation view, ‘David Zink Yi. Why am I here and not somewhere else – Independencia II’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Neusilber (New Silver)’ (2015), Hauser & Wirth Somerset, 2015

Photo: Aaron Schuman

Elias Wirth and David Zink Yi, Madrid, 2017

Photo: Manuela Wirth

Installation view, ‘Isa Genzken. Ground Zero’, Hauser & Wirth London, Piccadilly, 2008

Iwan Wirth and Isa Genzken in the exhibition, ‘Isa Genzken. Wasserspeier and Angels’, Hauser & Wirth London, Piccadilly, 2004

Photo: Manuela Wirth

Invitation, ‘Isa Genzken. Hallelujah’, Hauser & Wirth Zürich, Hubertus Exhibitions, 2012

Installation view, ‘Isa Genzken’, Hauser & Wirth London, Savile Row, 2012

Photo: Alex Delfanne

Isa Genzken and Iwan Wirth at the artist’s studio, 2012

Photo: Manuela Wirth

Installation view, ‘Isa Genzken. Hallelujah’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

Installation view, Isa Genzken, ‘Rose III’ (2016), Hauser & Wirth Los Angeles, 2016

Photo: Phoebe Solomon

Installation view, ‘Berlinde De Bruyckere’, Hauser & Wirth Zürich, 2004

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Berlinde De Bruyckere. Schmerzensmann’, Hauser & Wirth London, Piccadilly, 2006

Photo: Mike Bruce

Installation view, ‘Berlinde De Bruyckere. WE ARE ALL FLESH’, Hauser & Wirth London, Old Bond Street, 2009

Berlinde de Bruyckere, ‘Doornenkroon II’ (2008). Installation view, ‘Berlinde De Bruyckere, Luca Giordano. WE ARE ALL FLESH’, Hauser & Wirth London, Old Bond Street, 2009

Photo: Mike Bruce

Installation view, ‘Berlinde De Bruyckere. Three Sculptures’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

Berlinde De Bruyckere and Manuela Wirth at the artist’s studio, Ghent, 2012

‘Berlinde De Bruyckere. Romeu, ‘my deer”, Text by Caroline Lamarche, Skira, 2012

Berlinde De Bruyckere, ‘Kreupelhout – Cripplewood, 2012-2013’ (2013). Installation view, ‘Berlinde De Bruyckere. No Life Lost’, Hauser & Wirth New York, 18th Street, 2016

Photo: Mirjam Devriendt

Interview with Martin Creed, London, 2017

Martin Creed and Iwan Wirth installing his exhibition at Hauser & Wirth London, Piccadilly, 2004

Photo: Manuela Wirth

Martin Creed and Iwan Wirth installing the exhibition at Hauser & Wirth London, Piccadilly, 2004

Photo: Manuela Wirth

Martin Creed and Manuela Wirth at Hauser & Wirth London, Coppermill, 2007

Photo: Manuela Wirth

Martin Creed, ‘Work No. 673’ (2007), shown in performance at Hauser & Wirth London, Coppermill, 2007

Photo: Hugo Glendinning

Martin Creed, ‘Work No. 1092: MOTHERS’ (2011). Installation view, ‘Mothers’, Hauser & Wirth London, Savile Row, 2011

Photo: Hugo Glendinning

Martin Creed with Iwan Wirth installing his exhibition at the Hayward Gallery, London 2014

Photo: Manuela Wirth

Martin Creed performing at the opening of ‘Martin Creed. What You Find’ at Hauser & Wirth Somerset, 2016

Martin Creed, ‘Work No. 2656: Understanding’ (2016). Installation view, ‘Martin Creed: What You Find’, Hauser & Wirth Somerset, 2016

Billboard for ‘Roni Horn. Portrait of an Image’, 2006

Detail, Roni Horn, ‘Rings of Linspector (Agua Viva)’ (2004)

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roni Horn. Portrait of an Image’, Hauser & Wirth Zürich, 2006

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roni Horn’, Hauser & Wirth London, Old Bond Street, 2008

Photo: Mike Bruce

Installation view, ‘Roni Horn’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roni Horn. Recent Work’, Hauser & Wirth London, Savile Row, 2011

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roni Horn. Butterfly Doubt’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Installation view, ‘Roni Horn. Butterfly Doubt’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Ellen Gallagher, ‘DeLuxe’ (2004-2005)

Installation view, ‘Ellen Gallagher. Salt Eaters’, Hauser & Wirth London, Piccadilly, 2006

‘Ellen Gallagher. Murmur. Orbus’, Ellen Gallagher, in collaboration with Edgar Cleijne, Hauser & Wirth London/Fruitmarket Gallery Edinburgh (ed.), 2005

Manuela Wirth and Ellen Gallagher, 2012

Photo: Manuela Wirth

Installation view, ‘Ellen Gallagher. New Work’, Hauser & Wirth London, 2014

Installation view, ‘Ellen Gallagher. New Work’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Installation view, ‘Lee Lozano’, Hauser & Wirth Zürich, 2008

Photo: Stefan Altenburger Photography Zürich

Lee Lozano, ‘No Title’ (1968)

Photo: Barbora Gern

‘Lee Lozano. Drawings’, Barry Rosen and Jaap van Liere (ed.), Yale University Press / Hauser & Wirth Zürich, London, 2006

Installation view, ‘Lee Lozano. No Title, 1969’, Hauser & Wirth London, Piccadilly, 2007

Installation view, ‘Lee Lozano’, Hauser & Wirth Zürich, 2008

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Lee Lozano. Drawings & Paintings’, Hauser & Wirth New York, 18th Street, 2015

Installation view, ‘Caro Niederer. Waiting for Returns’, Hauser & Wirth Zürich, 2008

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Caro Niederer, Alba’s Birthday. New Paintings and Tapestries’, Hauser & Wirth London, Piccadilly, 2007

Photo: Mike Bruce

Installation view, ‘Caro Niederer. Paintings’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Installation view, ‘Michael Raedecker. volume’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Installation view, ‘Michael Raedecker. Show’, Hauser & Wirth Zürich, 2005

Photo: Stefan Altenburger Photography Zürich

Michael Raedecker in his studio, 2005

Michael Raedecker with Phyllida Barlow, Ursula Hauser and Manuela Wirth at the private view of ‘Michael Raedecker. volume’, Hauser & Wirth London, 22 February 2012

Photo: Michaela Unterdörfer

Installation view, Martin Creed, ‘Work No. 551 Half the air in a given space’ (2006), Hauser & Wirth London, Swallow Street, 2006

Photo: Hugo Glendinning

Installation view, ‘Sweet Troubled Souls’, Yola Noujaim’s private apartment, Paris (organized by Hauser & Wirth and Silverbridge), 2007

Photo: Jean Louis Leibovitch

Andy Hope 1930, ‘Kardinal Julian’ (2006). Installation view, ‘This Island Earth’, Hauser & Wirth London, Piccadilly, 2006

Photo: Neil Gavin

Installation view, ‘air tsu dni oui sélavy’, Hauser & Wirth London, Piccadilly, 2009

Installation view, ‘UNappropriated Activities’, Hauser & Wirth Zürich, 2015

Photo: Stefan Altenburger Photography Zürich

Street view, ‘Medley Tour London by Andy Hope 1930’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

View of the storage space, 2011

Installation view, Paul McCarthy, ‘White Snow Dwarf 7’, (2010-2011), Henau, 2011

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Phyllida Barlow: mix’, Kunstmuseum St. Gallen, Lokremise, 2015

Photo: Stefan Rohn

Installation view, ‘Christopher Orr’, Hauser & Wirth Zürich, 2007

Photo: Stefan Altenburger Photography Zürich

Christopher Orr, ‘Darkness Visible’ (2006)

Installation view, ‘Christopher Orr’, Hauser & Wirth Zürich, 2011

Photo: Stefan Altenburger Photography Zürich

Christopher Orr, ‘Untitled (Tower)’ (2007)

Ursula Hauser and Zhang Enli, September 2007

Installation view, ‘Zhang Enli’, Hauser & Wirth London, Piccadilly, 2010

View of Zhang Enli’s studio in Shanghai, September 2007

Photo: Manuela Wirth

Installation view, ‘Zhang Enli’, Hauser & Wirth New York, 69th Street, 2011

Photo: Thomas Müller

Iwan Wirth and Zhang Enli in the artist’s exhibition at Hauser & Wirth London, 2014

Photo: Manuela Wirth

‘Zhang Enli. Four Seasons’, Texts by Gregor Muir and Robin Marriner, DISTANZ and Hauser & Wirth, 2015

Zhang Enli installing ‘The Box’, Hauser & Wirth London, 2014

Zhang Enli and Iwan Wirth in the artist’s exhibition at Hauser & Wirth Somerset, 2015

Photo: Manuela Wirth

Installation view, ‘Zhang Enli. Intangible 无形’, Hauser & Wirth Zürich, 2016

Photo: Stefan Altenburger Photography Zürich

Zhang Enli paints a Space Painting at Hauser & Wirth Somerset, 2015

Installation view, ‘Warhol’s World’, Hauser & Wirth London, Picccadilly, 2006

© 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London. Photo: Mike Bruce

Invitation, ‘Warhol’s World. Photography & Television’, Hauser & Wirth London, Piccadilly, 2006

© 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London. Photo: Stefan Altenburger Photography Zürich

‘Warhol’s World’, Text by Glenn O’Brien, Steidl, Goettingen, March 2006

Exterior view, Hauser & Wirth London, Coppermill, 2006

Exterior view, 2007

Interior view, 2006

Installation view, ‘Dieter Roth, Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

Photo: Manuela Wirth

Installation view, ‘Dieter Roth, Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

Photo: Mike Bruce

Björn Roth and Iwan Wirth at the opening of ‘Dieter Roth / Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

Installation view, ‘Dieter Roth, Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne

Installation view, ‘Dieter Roth, Martin Kippenberger’, Hauser & Wirth London, Coppermill, 2006

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne

Exterior view, 2006

Iwan Wirth, Guillermo Kuitca and Martin Creed in the library on the fourth floor, 2006

Photo: Manuela Wirth

Invitation, ‘Francis Picabia. The Nudes’, Hauser & Wirth London, Old Bond Street, 2006

© ADAGP, Paris and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Francis Picabia. The Nudes’, Hauser & Wirth London, Old Bond Street, 2006

© ADAGP, Paris and DACS, London 2017. Photo: Mike Bruce

Jakub Julian Ziolkowski, ‘Timothy Galoty & The Dead Brains’ (2010)

Installation view, ‘Jakub Julian Ziolkowski’, Hauser & Wirth London, Piccadilly, 2006

Photo: Mike Bruce

Installation view, ‘Jakub Julian Ziolkowski’, Hauser & Wirth Zürich, 2008

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Jakub Julian Ziolkowski. Raw Thoughts’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Old School’, Hauser & Wirth London, Old Bond Street, 2007

Photo: Mike Bruce

Invitation, ‘Old School’, Hauser & Wirth London, Old Bond Street, 2007

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Old School’, Hauser & Wirth London, Old Bond Street, 2007

Photo: Mike Bruce

Installation view, ‘Joan Mitchell. Leaving America’, Hauser & Wirth London, Piccadilly, 2007

Photo: Mike Bruce

Installation view, ‘Joan Mitchell. Sunflowers’, Hauser & Wirth Zürich, 2009

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Joan Mitchell. The Last Paintings’, Hauser & Wirth London, Piccadilly, 2012

Photo: Alex Delfanne

Allan Kaprow, ‘Fluids’ (1967)

Allan Kaprow, ‘Sawdust (Happening)’ (1970/2005), reinvention at Hauser & Wirth Zürich, 2005

Allan Kaprow, ‘Sawdust (Happening)’ (1970/2005). Reinvention at Hauser & Wirth Zürich, 2005

Allan Kaprow, ‘Yard (Sign)’ (1961/2009). Reinvention by Sharon Hayes at New York Marble Cemetery for the exhibition ‘YARD’, 2009

Photo: Laura Selfridge Black

‘Allan Kaprow. Yard’, Design by An Art Service, Hauser & Wirth, 2009

Allan Kaprow, ‘FLUIDS’ (1967/2005), reinvention at Art Basel, 2005

Photo: Stefan Altenburger Photography Zürich

Interview with Verena Josephsohn and Ulrich Meinherz, Zurich, 2017

Josephsohn and visitors at Kesselhaus Josephsohn, St. Gallen, 2004

Photo: Katalin Deér

Installation view, Kesselhaus Josephsohn, St. Gallen, 2006

Photo: Katalin Deér

Installation view, Kesselhaus Josephsohn, St. Gallen, 2006

Photo: Katalin Deér

Iwan Wirth with Felix Lehner and Ulrich Meinherz in Josephsohn’s exhibition at the Museum für Moderne Kunst, Frankfurt, 2008

Photo: Manuela Wirth

Installation view, ‘Josephsohn’, Hauser & Wirth London, Piccadilly, 2008

Installation view, ‘Josephsohn’, Hauser & Wirth London, Piccadilly, 2008

Photo: Andrew Smart

Installation view, ‘Josephsohn’, Hauser & Wirth Zürich, 2015

Photo: Katalin Deér

Installation view, ‘Selections from the Collection of Helga and Walther Lauffs’, Hauser & Wirth Zürich, 2008

© ARS, NY and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

‘The Helga and Walther Lauffs Collection’, By Jeffrey Weiss and Helga and Walther Lauffs, Steidl Zwirner & Wirth, 2010

‘Henry Moore – Ideas for Sculpture’, Edited by Gregor Muir. With text by Mary Moore and essays by Matthew Collings and Anne M. Wagner, JRP|Ringier, 2010

Installation view, ‘Works on Paper from the Henry Moore Family Collection’, Hauser & Wirth Zürich, 2010

© The Henry Moore Foundation. All Rights Reserved, DACS / www.henry-moore.org 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Henry Moore. Ideas for Sculpture’, Hauser & Wirth London, Old Bond Street, 2008

© The Henry Moore Foundation. All Rights Reserved, DACS / www.henry-moore.org 2017. Photo: Neil Gavin

Henry Moore, ‘The Artist’s Hands’ (c. 1974). Installation view, ‘Henry Moore. Ideas for Sculpture’, Hauser & Wirth London, Old Bond Street, 2008

© The Henry Moore Foundation. All Rights Reserved, DACS / www.henry-moore.org 2017

Installation view, ‘Henry Moore. Ideas for Sculpture’, Hauser & Wirth London, Old Bond Street, 2008

© The Henry Moore Foundation. All Rights Reserved, DACS / www.henry-moore.org 2017. Photo: Neil Gavin

Installation view, ‘Ian Wallace’, Hauser & Wirth London, Piccadilly, 2008

Ian Wallace, ‘In the Studio (Le Livre)’ (1993/2005)

Ian Wallace, ‘Work in progress (29 August 2008)’ (2008)

Installation view, ‘Ian Wallace’, Hauser & Wirth Zürich, Hubertus Exhibitions, 2011

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Joseph Beuys. Early works on paper from the collection of Helga and Walther Lauffs’, Hauser & Wirth London, Piccadilly, 2008

© DACS 2017. Photo: Andrew Smart

Men holding chairs during the shooting of ‘VIA INTOLLERANZA II’ at the Opera Village, April 2010

The Opera Village hospital ward, 2014

Christoph Schlingensief, April 2010

A film screening at the Opera Village, date unknown

Invitation, ‘White Light / White Heat’, Hauser & Wirth London, Old Bond Street, 2009

© DACS 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘White Light / White Heat’, Hauser & Wirth London, Old Bond Street, 2009

© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York, © DACS 2017, © Robert Ryman / DACS, London 2017, © The Pollock-Krasner Foundation ARS, NY and DACS, London 2017. Photo: Mike Bruce

Matthew Day Jackson, ‘Always anyone, anywhere, anything, anytime and for any reason’ (2012). Installation view, Hauser & Wirth Outdoor Sculpture, London, 2013

Photo: Alex Delfanne

Installation view, Thomas Houseago, ‘Rattlesnake Figure (aluminium)’ (2011), Hauser & Wirth Outdoor Sculpture, London, 2013

Photo: Alex Delfanne

Installation view, reinvention of Allan Kaprow, ‘Yard (To Harrow)’ (1961), by William Pope.L, Hauser & Wirth New York, 69th Street, 2009

Photo: Hanna Heinrich

Exterior view, 2009

Exterior view, entrance after renovation, 2009

Visit to the exhibition, ‘Line of Control’ with Subodh Gupta at Arario Beijing, 2008

Photo: Manuela Wirth

Installation view, ‘Common Man’, Hauser & Wirth London, Old Bond Street, 2009

Photo: Mike Bruce

Subodh Gupta and Bharti Kher at the gallery in Old Bond Street, 2009

Photo: Manuela Wirth

Subodh Gupta installing ‘Everyday’ and ‘A Penny for Belief II’ at Hauser & Wirth London, Piccadilly, 2009

Photo: Manuela Wirth

Subodh Gupta and Ursula Hauser in the artist’s studio, New Delhi, 2010

Photo: Manuela Wirth

Subodh Gupta, Sara Harrison and Iwan Wirth at Qutub Minar, Delhi, 2013

Photo: Manuela Wirth

Subodh Gupta with Iwan Wirth in his exhibition at the National Gallery of Modern Art, New Delhi, 2014

Photo: Manuela Wirth

Installation view, ‘Subodh Gupta. What does the vessel contain, that the river does not’, Hauser & Wirth London, 2013

Photo: Alex Delfanne

Subodh Gupta, ‘Chanda Mama door ke (From Far Away Uncle Moon Calls)’ (2015). Installation view, ‘Subodh Gupta. Invisible Reality’, Hauser & Wirth Somerset, 2016

Photo: Ken Adlard

Installation view, ‘After Awkward Objects’, Hauser & Wirth London, Piccadilly, 2009

© The Easton Foundation/ DACS. © ADAGP, Paris and DACS, London, © Lynda Benglis. DACS, London/VAGA, New York 2017, © Lynda Benglis. DACS, London/VAGA, New York 2017. Photo: Mike Bruce

Invitation, ‘After Awkward Objects’, Hauser & Wirth London, Piccadilly, 2009

© ADAGP, Paris and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Durslade Farm, 2009

Photo: Iwan Wirth

Durslade Farm, 2009

Photo: Iwan Wirth

Installation view, ‘Ida Applebroog’, Hauser & Wirth London, 2011

Photo: Alex Delfanne

Ida Applebroog and Marc Payot at dOCUMENTA (13), Kassel, 2012

Photo: Manuela Wirth

Detail, Ida Applebroog, ‘Monalisa’ (2009)

Photo: Alex Delfanne

Ida Applebroog and Manuela Wirth at dOCUMENTA (13), Kassel, 2012

Photo: Manuela Wirth

Ida Applebroog and Iwan Wirth during the installation of the artist’s exhibition at Hauser & Wirth New York, 18th Street, 2015

Photo: Manuela Wirth

Ida Applebroog and Barry Rosen during the installation of the artist’s exhibition at Hauser & Wirth New York, 18th Street, 2015

Photo: Manuela Wirth

Installation view, ‘Ida Applebroog. The Ethics of Desire’, Hauser & Wirth New York, 18th Street, 2015

Photo: Abby Robinson, New York

Installation view, ‘Ida Applebroog. The Ethics of Desire’, Hauser & Wirth New York, 18th Street, 2015

Photo: Abby Robinson, New York

Installation view, ‘Ida Applebroog’, Hauser & Wirth London, 2011

Photo: Alex Delfanne

Installation view, ‘Bharti Kher. inevitable undeniable necessary’, Hauser & Wirth London, Piccadilly, 2010

Photo: Andy Keate

Bharti Kher with ‘Warrior with Cloak and Shield’ (work in progress), 2008

Bharti Kher, ‘Solarium Series I’ (2007-2008)

Photo: Stefan Altenburger Photography Zürich

View of Bharti Kher’s studio, New Delhi

Photo: Manuela Wirth

Bharti Kher and Subodh Gupta

Photo: Gauri Gill

View of Bharti Kher’s studio, New Delhi, 2007

Photo: Anoop Sood

Installation view, ‘Martin Eder’, Hauser & Wirth London, Old Bond Street, 2009

Photo: Uwe Walther

Installation view, ‘Martin Eder. The Collective Unconscious’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Interior view before renovation, early 2010

Exterior view, Summer 2010

Installation view, ‘Louise Bourgeois / Alex Van Gelder. Armed Forces’, Hauser & Wirth Zürich, Hubertus Exhibitions, 2011

© The Easton Foundation/ DACS. Photo: Stefan Altenburger Photography Zürich

Office spaces with installation by Pipilotti Rist, 2011

Photo: Vanessa Rubinick

Installation view, ‘Ian Wallace’, Hauser & Wirth Zürich, Hubertus Exhibitions, 2011

Photo: Stefan Altenburger Photography Zürich

Exterior view prior to opening, 2010

View of the library, 2010

Installation view, ‘Louise Bourgeois. The Fabric Works’, Hauser & Wirth London, 2010

© The Easton Foundation/ DACS. Photo: Peter Mallet

Installation view, ‘Louise Bourgeois. The Fabric Works’, Hauser & Wirth London, 2010

© The Easton Foundation/ DACS. Photo: Peter Mallet

Interview with Anj Smith, London, 2017

Installation view, ‘Geometry of Bliss’, Hauser & Wirth New York, 69th Street, 2010

Photo: Thomas Müller

Installation view, ‘Phosphor on the Palms’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Anj Smith, ‘Portrait of a Boy in Glass’ (2014)

‘Anj Smith. Paintings’, Text by Caoimhín Mac Giolla Léith / conversation with the artist and Alison Gingeras, MACK, London, 2013

Anj Smith, ‘R.’ (2010)

Installation view, ‘Flowering of Phantoms’, Hauser & Wirth New York, 69th Street, 2013

Photo: Genevieve Hanson

Monika Sosnowksa, ‘Handrail’ (2010). Installation view, Hauser & Wirth New York, 69th Street, 2010

Photo: Thomas Müller

‘Monika Sosnowska. Tower’, Text by Andrzej Turowski, Hatje Cantz and Hauser & Wirth, 2015

Monika Sosnowksa, ‘Spiral’ (2010). Installation view, Hauser & Wirth New York, 69th Street, 2010

Monika Sosnowksa, ‘Stairs’ (2010). Installation view, Hauser & Wirth New York, 69th Street, 2010

Photo: Thomas Müller

Monika Sosnowska with Iwan Wirth in her exhibition at Hauser & Wirth New York, 18th Street, 2014

Photo: Manuela Wirth

Installing ‘Monika Sosnowska. Tower’, Hauser & Wirth New York, 18th Street, 2014

Photo: Yuta Nakajima

Installation view, ‘Tower’, Hauser & Wirth New York, 18th Street, 2014

Photo: Genevieve Hanson

Interview with Matthew Day Jackson, New York, 2017

Matthew Day Jackson, ‘Axis Mundi’ (2011)

Photo: Peter Mallet

Matthew Day Jackson and Marc Payot in Venice on the occasion of the 54th Venice Biennale, 2011

Photo: Manuela Wirth

Installation view, ‘Everything Leads to Another’, Hauser & Wirth London, 2011

Photo: Peter Mallet

Matthew Day Jackson, ‘Food golem (sweet)’ (2011)

Photo: Peter Mallet

Matthew Day Jackson, ‘Food golem (savory)’ (2011)

Photo: Peter Mallet

Richard Jackson, Elias Wirth and Matthew Day Jackson at the Kronenhalle restaurant, Zurich, 2014

Photo: Manuela Wirth

Matthew Day Jackson, ‘Magnificent Desolation’ (2013). Installation view, Hauser & Wirth Somerset, 2016

Photo: Aaron Schuman

Installation view, ‘Matthew Day Jackson. Something Ancient, Something New, Something Stolen, Something Blue’, Hauser & Wirth New York, 18th Street, 2013

Photo: Genevieve Hanson

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Photo: Alex Delfanne

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Photo: Guilhem Alandry

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Photo: Guilhem Alandry

Installation view, ‘Piccadilly Community Centre’, Hauser & Wirth London, Piccadilly, 2011

Photo: Guilhem Alandry

Interview with Phyllida Barlow, London, 2017

Installation view, ‘Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016’, Hauser & Wirth Los Angeles, 2016

Photo: Fredrik Nilsen

Installation view, ‘RIG’, Hauser & Wirth London, Piccadilly, 2011

Installation view, ‘RIG’, Hauser & Wirth London, Piccadilly, 2011

Photo: Peter Mallet

Installation view, ‘Phyllida Barlow. …later’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Installation view, ‘Phyllida Barlow. …later’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Phyllida Barlow at Tate Britain, 2014

Photo: David Levene

Installation view, ‘Phyllida Barlow. Fifty Years of Drawings’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Rashid Johnson constructing ‘Shea Wall’ (2015) at FIAC 2015, a reimagining of Allan Kaprow’s Activity, ‘Sweet Wall’ (1970)

Photo: Emilie Pillot

Installation view, ‘Rashid Johnson. RUMBLE’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Installation view, ‘Rashid Johnson. The Gathering’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Rashid Johnson. Fly Away’, Hauser & Wirth New York, 18th Street, 2016

Rashid Johnson with André Remund in his exhibition at Hauser & Wirth New York, 18th Street, 2016

Photo: Manuela Wirth

Installation view, ‘Rashid Johnson.Fly Away’, Hauser & Wirth New York, 18th Street, 2016

Photo: Martin Parsekian

Installation of ‘Rashid Johnson. Fly Away’, Hauser & Wirth New York, 18th Street, 2016

Installation view, ‘Tell them I said something…’, Hauser & Wirth Zürich, 2010

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Who Say Jah No Dread’, Hauser & Wirth Zürich, 2013

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Brave New World’, Hauser & Wirth Somerset, 2017

Photo: Ken Adlard

Djordje Ozbolt and Iwan Wirth in the artist’s exhibition at Hauser & Wirth Somerset, 2017

Photo: Manuela Wirth

Installation view, ‘Brave New World’, Hauser & Wirth Somerset, 2017

Photo: Ken Adlard

Djordje Ozbolt in his exhibition at Hauser & Wirth Somerset, 2017

Photo: Dea Vanagan

Installation view, ‘The Historical Box’, with Wally Hedrick, ‘War Room’ (1967/68-2002), Hauser & Wirth Zürich, 2011

Image courtesy of the artists and The Box, LA. Photo: Stefan Altenburger Photography Zürich

View of Simone Forti’s Dance Construction, ‘Hangers’ (1961), Hauser & Wirth Zürich, 2011

Photo: Karin Seinsoth

Invitation, ‘The Historical Box’, Hauser & Wirth Zürich / Hauser & Wirth London, Piccadilly, 2011

Image courtesy of the artist and The Box, LA. Photo: Stefan Altenburger Photography Zürich

Interview with Thomas Houseago, Los Angeles, 2017

Thomas Houseago, ‘Monumental Woman Reclining I (Pour)’ (2012)

Photo: Fredrik Nilsen

Installation view, ‘I’ll be your sister’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Installation view, ‘Moun Room’, Hauser & Wirth New York, 18th Street, 2014

Photo: Fredrik Nilsen

Installation view, ‘Moun Room’, Hauser & Wirth New York, 18th Street, 2014

Photo: Fredrik Nilsen

Thomas Houseago and Iwan Wirth, February 2014

Photo: Manuela Wirth

Ron Mueck, ‘Woman with sticks’ (2008). Installation view, ‘Ron Mueck’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Ron Mueck, ‘Drift’ (2009). Installation view, ‘Ron Mueck’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Ron Mueck, ‘Still life’ (2009). Installation view, ‘Ron Mueck’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Ron Mueck, ‘Youth’ (2009). Installation view, ‘Ron Mueck’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Ron Mueck, ‘Couple under an Umbrella’ (2013). Installation view, ‘Ron Mueck’, Fondation Cartier pour l’art contemporain, Paris, 2013

Photo: Patrick Gries

Hauser & Wirth Zürich

Photo: Thies Wachter

Interior view of the staircase, 2012

Photo: Stefan Altenburger Photography Zürich

Exterior view and terrace after renovation, 2012

Marc Payot and Iwan Wirth at one of the new windows created on the ground floor, 2012

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Roni Horn. Selected Drawings 1984-2012’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

Invitation, ‘Hans Arp. Ovi Bimba’, Hauser & Wirth Zürich, 2012

Installation view, ‘Hans Arp. Ovi Bimba’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

‘Hans Arp. Ovi Bimba’, JRP Ringier, 2012

Installation view, ‘Hans Arp. Ovi Bimba’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

Renovations in progress at Hauser & Wirth Somerset, 2012

Photo: Vincent Evans

Renovations in progress at Hauser & Wirth Somerset, 2012

Photo: Vincent Evans

Renovations in progress at Hauser & Wirth Somerset, 2012

Photo: Vincent Evans

Renovations in progress at Hauser & Wirth Somerset, 2012

Photo: Vincent Evans

Alice Workman, Iwan Wirth, Luis Laplace, and others at Hauser & Wirth Somerset during its renovation, 2014

Photo: Bjarni Grímsson

Rita Ackermann, ‘A Study on the Aesthetic of Disappearance – Hair Wash’ (2014). Installation view, Art Unlimited, Art Basel, 2014

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Fire by Days’, Hauser & Wirth London, 2012

Photo: Alex Delfanne

Installation view, ‘Negative Muscle’, Hauser & Wirth New York, 69th Street, 2013

Photo: Genevieve Hanson

Installation view, ‘KLINE RAPE’, Hauser & Wirth New York, 22nd Street, 2016

Photo: Genevieve Hanson

Invitation, ‘A Visual Essay on Gutai at 32 East 69th Street’, Hauser & Wirth New York, 69th Street, 2012

Painting © Kanayama Akira and Tanaka Atsuko Association

‘A Visual Essay on Gutai at 32 East 69th Street’, Hauser & Wirth, New York, 2012

Installation view, ‘A Visual Essay on Gutai at 32 East 69th Street’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Installation view, ‘A Visual Essay on Gutai at 32 East 69th Street’, Hauser & Wirth New York, 69th Street, 2012

Photo: Genevieve Hanson

Anna Maria Maiolino with Iwan Wirth at her studio, 2012

Photo: Manuela Wirth

Anna Maria Maiolino, ‘Untitled, from Ações Matéricas (Matter Actions) series’ (1996/2013)

Anna Maria Maiolino and Marc Payot in her exhibition at Hauser & Wirth New York, 69th Street, 2014

Photo: Genevieve Hanson

Anna Maria Maiolino, ‘Na Horizontal (On the Horizontal)’ (2014)

Photo: Everton Ballardin

Installation view, ‘Anna Maria Maiolino. TUDO ISSO (ALL THAT)’, Hauser & Wirth Zürich, 2016

Photo: Stefan Altenburger Photography Zürich

Anna Maria Maiolino installing ‘TUDO ISSO (ALL THAT)’ at Hauser & Wirth Zürich, 2016

Photo: Nicole Keller

Installation view, ‘Philippe Vandenberg. Selected Works’, Hauser & Wirth London, Piccadilly, 2013

Photo: Alex Delfanne

Installation view, ‘Philippe Vandenberg. Dog Day’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

Philippe Vandenberg, ‘No Title’ (2009)

Guests at the private view for ‘Philippe Vandenberg. Selected Works’, Hauser & Wirth London, Piccadilly, 2013

Hélène, Guillaume and Mo Vandenberghe in their father’s studio, Brussels, 2016

Photo: Jake Floreal

Installation view, ‘Sterling Ruby. EXHM’, Hauser & Wirth London, 2013

© Sterling Ruby Studio. Photo: Alex Delfanne

Installation view, ‘Sterling Ruby. EXHM’, Hauser & Wirth London, 2013

© Sterling Ruby Studio. Photo: Alex Delfanne

Installation view, ‘Sterling Ruby. SUNRISE SUNSET’, Hauser & Wirth New York, 18th Street, 2014

© Sterling Ruby Studio. Photo: Farzad Owrang

Installation view, ‘Sterling Ruby. SUNRISE SUNSET’, Hauser & Wirth New York, 18th Street, 2014

© Sterling Ruby Studio. Photo: Farzad Owrang

‘Hauser & Wirth 20 Years’, Hatje Cantz, Ostfildern, 2013

‘Hauser & Wirth 20 Years’, Hatje Cantz, Ostfildern, 2013

‘Hauser & Wirth 20 Years’, Hatje Cantz, Ostfildern, 2013

Exterior view of Hauser & Wirth London to celebrate the gallery’s 20th anniversary, 2013

Photo: Alex Delfanne

Installation view, ‘Mark Bradford. Be Strong Boquan’, Hauser & Wirth New York, 18th Street, 2015

Photo: Genevieve Hanson

Installation view, ‘Mark Bradford. My Head Became a Rock’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

‘Mark Bradford. My Head Became a Rock’, Edition of 500, 2014

Photo: Jon Etter

Rashid Johnson and Mark Bradford at Hauser & Wirth New York, 18th Street, on the occasion of Mark Bradford’s exhibition, 2015

Photo: Manuela Wirth

Mark Bradford and Iwan Wirth, April 2015

Photo: Manuela Wirth

Installation view, ‘Mark Bradford. Be Strong Boquan’, Hauser & Wirth New York, 18th Street, 2015

Photo: Genevieve Hanson

Installation view, ‘Mark Bradford. Be Strong Boquan’, Hauser & Wirth New York, 18th Street, 2015

Photo: Genevieve Hanson

The announcement for the opening of Hauser & Wirth New York, 18th Street, 2012

Exterior view from the Highline, 2012

Photo: Genevieve Hanson

Interior view during renovation, 2012

Interior view during renovation, 2012

Installation view, ‘Dieter Roth. Björn Roth’, Hauser & Wirth New York, 18th Street, New York, 2013

Photo: Bjarni Grimsson

Iwan Wirth and Björn Roth installing the exhibition, ‘Dieter Roth. Björn Roth’ at Hauser & Wirth New York, 18th Street, 2013

Photo: Manuela Wirth

Paul McCarthy, Mary Heilmann and David Wirth, Hauser & Wirth New York, 18th Street, 2013

Photo: Manuela Wirth

Anna Maria Maiolino, Hauser & Wirth New York, 18th Street, 2013

Photo: Manuela Wirth

Martin Creed, ‘Work No. 1461’, 2013, permanent installation at Hauser & Wirth New York, 18th Street

Photo: Genevieve Hanson

‘Dieter Roth. Bjorn Roth’, Film by Bjarni Grímsson, Photos by Bjarni Grímsson and Björn Roth, 2013

Björn Roth, Oddur Roth and Einar Roth at the Roth New York Bar, Hauser & Wirth New York, 18th Street, 2013

Photo: Bjarni Grímsson

Björn Roth / Oddur Roth / Einar Roth, ‘Roth New York Bar’, Hauser & Wirth New York, 18th Street, 2013

Oddur Roth building the Roth New York Bar, Hauser & Wirth New York, 18th Street, 2013

Photo: Bjarni Grímsson

Installation view, ‘Bruce Nauman / mindfuck’, Hauser & Wirth London, 2013

© Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2017. Photo: Alex Delfanne

‘Bruce Nauman / mindfuck’, By Philip Larratt-Smith, Distributed by DAP, 2013

Bruce Nauman, ‘Carousel (Stainless steel version)’ (1988). Installation video, ‘Bruce Nauman / mindfuck,’ Hauser & Wirth London, 2013

Takesada Matsutani in his studio, September 2016

Takesada Matsutani with Sara Harrison in his studio, September 2016

Photo: Yuta Nakajima

Takesada Matsutani, ‘Stream’, Hauser & Wirth London, 2013

Installation view, ‘Takesada Matsutani. A Matrix’, Hauser & Wirth London, 2013

Photo: Alex Delfanne

Takesada Matsutani installing his exhibition at Hauser & Wirth Zürich, 2016

Takesada Matsutani and Marc Payot in his exhibition at Hauser & Wirth New York, 69th Street, 2015

Photo: Melissa MacRobert

Installation view, ‘Takesada Matsutani. A Matrix’, Hauser & Wirth London, 2013

Photo: Alex Delfanne

Installation view, ‘Takesada Matsutani’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

Installation view, ‘Sensitive Geometries. Brazil 1950s – 1980s’, Hauser & Wirth New York, 69th Street, 2013

Photo: Genevieve Hanson

‘Sensitive Geometries’, Texts by Claudia Saldanha, translated by Fabiana Lopes, Hauser & Wirth, 2013

Installation view, ‘Sensitive Geometries. Brazil 1950s – 1980s’, Hauser & Wirth New York, 69th Street, 2013

Photo: Genevieve Hanson

Iwan Wirth and Olivier Renaud-Clément in the exhibition, ‘Re-View: Onnasch Collection’, Hauser & Wirth New York, 18th Street, 2014

Photo: Manuela Wirth

Installation view, ‘Re-View. Onnasch Collection’, Hauser & Wirth London, 2013

© DACS 2017. Photo: Alex Delfanne

Installation view, ‘Re-View. Onnasch Collection’, Hauser & Wirth London, 2013

© Frank Stella. ARS, NY and DACS, London 2017, © Maryland College Institute of Art (MICA), Rights Administered by ARS, NY and DACS, London, All Rights Reserved 2017. Photo: Alex Delfanne

‘Re-View Onnasch Collection’, Editors: Paul Schimmel / Michaela Unterdörfer, Snoeck, 2014

Installation view, ‘Re-View. Onnasch Collection’, Hauser & Wirth New York, 18th Street, 2014

© Dedalus Foundation, Inc. /VAGA, NY/DACS, London 2017, © ARS, NY and DACS, London 2017. Photo: Genevieve Hanson

Mira Schendel, ‘Variantes II (Variants II)’ (1965)

‘Mira Schendel. Monotypes’. Conceived with Olivier Renaud-Clément, Snoeck with Hauser & Wirth, 2015

Installation view, ‘Mira Schendel. Monotypes’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Installation view, ‘Mira Schendel’, Hauser & Wirth New York, 69th Street, 2014

Photo: Genevieve Hanson

Installation view, ‘Mira Schendel’, Hauser & Wirth New York, 69th Street, 2014

Photo: Genevieve Hanson

Installation view, ‘Hans Arp. Chance – Form – Language (and a FRANZWESTigation)’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

‘Hans Arp. Chance – Form – Language (and a FRANZWESTigation)’, DISTANZ Verlag, Berlin, 2014

Installation view, ‘Hans Arp. Chance – Form – Language (and a FRANZWESTigation)’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Installation view, ‘Hans Arp. Ovi Bimba’, Hauser & Wirth Zürich, 2012

Photo: Stefan Altenburger Photography Zürich

Hans Arp, ‘Ruhendes Blatt / Feuille se reposant (Resting Leaf)’ (1959)

Photo: Dominique Uldry

Installation view, ‘LINES’, Hauser & Wirth Zürich, 2014

Photo: Stefan Altenburger Photography Zürich

Maria Lassnig and Iwan Wirth installing at Hauser & Wirth Zürich, 2007

Hauser & Wirth Los Angeles before renovation, 2014

Photo: Daniel Han

Hauser & Wirth Los Angeles before renovation, 2014

Hauser & Wirth Los Angeles before renovation, 2014

Oddur Roth with Iwan and Manuela Wirth at The Maltings during its renovation, 2014

Photo: Bjarni Grímsson

The Maltings, Bruton, 2014

Photo: Jamie Woodley

Björn Roth in residence at The Maltings, Bruton, 2014

Photo: Vincent Evans

The Maltings, Bruton, 2014

Photo: Jamie Woodley

Oddur and Einar Roth at The Maltings, Bruton, 2014

Photo: Bjarni Grímsson

Oddur Roth in residence at The Maltings, Bruton, 2014

Photo: Vincent Evans

Exterior view, Durslade Farmhouse, Hauser & Wirth Somerset

Photo: Jamie Woodley

The living room at Durslade Farmhouse with installation by Pipilotti Rist, 2013

Photo: Aaron Schuman

The living room at Durslade Farmhouse with installation by Pipilotti Rist, 2013

Photo: Aaron Schuman

Luis Laplace, Iwan Wirth, Manuela Wirth, Björn Roth, Oddur Roth, and others, Hauser & Wirth Somerset, 2014

Photo: Bjarni Grímsson

The dining room at Durslade Farmhouse with installation by Guillermo Kuitca, 2013

Photo: Aaron Schuman

Felix Lehner, Katalin Deér, Subodh Gupta and Zhang Enli (left to right) at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Installation view, ‘Phyllida Barlow. GIG’, Hauser & Wirth Somerset, 2014

Photo: Alex Delfann

Iwan and Manuela Wirth at the Hauser & Wirth Somerset opening, 2014

Photo: Vincent Evans

Björn Roth and Manuela Wirth, Hauser & Wirth Somerset, 2014

Photo: Manuela Wirth

Alice Workman, Piet Oudolf, Luis Laplace, Björn Roth and Oddur Roth (left to right) at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Hauser & Wirth Somerset opening, 2014

Photo: Owen Lucas

Hauser & Wirth Somerset opening, 2014

Photo: Vincent Evans

Rashid Johnson at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

David and Yoamis Zink Yi at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Manuela Wirth and Andy Hope 1930 at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Alice Workman, Luis Laplace, Piet Oudolf, Phyllida Barlow, Oddur Roth, Björn Roth, Manuela and Iwan Wirth (left to right), Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Muna El Fituri, Bharti Kher, Subodh Gupta and Thomas Houseago (left to right) at the opening of Hauser & Wirth Somerset, 2014

Photo: Vincent Evans

Oddur Roth and Manuela Wirth, Hauser & Wirth Somerset, 2014

Photo: Manuela Wirth

Oudolf Field, Hauser & Wirth Somerset, September 2014

Photo: Heather Edwards

Oudolf Field, Hauser & Wirth Somerset, September 2014

Photo: Heather Edwards

Oudolf Field, Hauser & Wirth Somerset, September 2014

Photo: Heather Edwards

Björn Roth installing the Roth Bar & Grill, Hauser & Wirth Somerset, 2014

Photo: Bjarni Grímsson

Oddur and Einar Roth installing the Roth Bar & Grill, Hauser & Wirth Somerset, 2014

Photo: Bjarni Grímsson

Oddur Roth and Manuela Wirth, Somerset, 2014

Photo: Bjarni Grímsson

The Roth Bar & Grill, Hauser & Wirth Somerset

Ursula Hauser, Iwan Wirth, Rachel Khedoori, Björn Roth, Manuela Wirth, Oddur Roth, and others, Roth Bar & Grill, Hauser & Wirth Somerset, 2014

Photo: Bjarni Grímsson

James Koch at Hauser & Wirth Gstaad, 2017

Photo: Raphaël Faux

Installation view, ‘RITE OF PASSAGE: The Early Years of Vienna Actionism, 1960 – 1966’, Hauser & Wirth New York, 69th Street, 2014

© DACS 2017, © ADAGP, Paris and DACS, London 2017. Photo: Genevieve Hanson

‘RITE OF PASSAGE: The Early Years of Vienna Actionism, 1960 – 1966’, Edited by Hubert Klocker, Texts by Hubert Klocker and Gloria Sutton, Snoeck and Hauser & Wirth, 2014

Installation view, ‘Pierre Huyghe. IN. BORDER. DEEP’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Pierre Huyghe in his exhibition at Hauser & Wirth London, 2014

Photo: Manuela Wirth

Pierre Huyghe, 2014

Photo: Manuela Wirth

Installation view, ‘Pierre Huyghe. IN. BORDER. DEEP’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Installation view, ‘Pierre Huyghe. IN. BORDER. DEEP’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Installation view, ‘Pierre Huyghe. IN. BORDER. DEEP’, Hauser & Wirth London, 2014

Photo: Alex Delfanne

Interview with Mark Wallinger, London, 2017

Mark Wallinger and Neil Wenman planning Frieze London, 2014

Mark Wallinger, Neil Wenman and Julia Lenz at the artist’s studio, London, 2014

Photo: Manuela Wirth

Installation view, ‘A Study in Red and Green’, Frieze London, 2014

Photo: Alex Delfanne

Mark Wallinger at Hauser & Wirth Somerset, 2015

Photo: Neil Wenman

Installation view, Mark Wallinger, ‘Beyond a Boundary’ (2015), Hauser & Wirth Somerset, 2015

Photo: Ken Adlard

Installation view, ‘Mark Wallinger. ID’, Hauser & Wirth London, 2016

Photo: Alex Delfanne

Installation view, ‘Mark Wallinger. ID’, Hauser & Wirth London, 2016

Photo: Alex Delfanne

Installation view, ‘Franz West. Early Work’, Hauser & Wirth Somerset, 2014

© Archiv Franz West, Vienna. Photo: Ken Adlard

Installation view, ‘Franz West. Early Work’, Hauser & Wirth Somerset, 2014

© Archiv Franz West, Vienna. Photo: Ken Adlard

Installation view, ‘Leon Golub. Riot’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

Installation view, ‘Leon Golub. Riot’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

Leon Golub, ‘Napalm I’ (1969)

Installation view, Hauser & Wirth London, 2016

Photo: Damian Griffiths

Mike Kelley, ‘Kandor 10B (Exploded Fortress of Solitude)’ (2011). Installation view, ‘Mike Kelley’, Hauser & Wirth New York, 18th Street, 2015

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Photo: Genevieve Hanson

Installation view, ‘Framed and Frame’, Hauser & Wirth London, 2016

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Photo: Ken Adlard

Installation view, ‘Mike Kelley’, Hauser & Wirth New York, 18th Street, 2015

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Photo: Genevieve Hanson

‘Mike Kelley. Memory Ware. A Survey’, Texts by Mike Kelley and Ralph Rugoff, 2017

Installation view, ‘Framed and Frame’, Hauser & Wirth London, 2016

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Photo: Ken Adlard

Installation view, ‘Memory Ware’, Hauser & Wirth New York, 69th Street, 2016

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Photo: Genevieve Hanson

Louise Bourgeois, ‘Spider’ (detail, 1994). Installation view, Hauser & Wirth Somerset, Inner Cloister, 2014

© The Easton Foundation/ DACS. Photo: Jamie Woodley

Installation view, ‘Oscuramento. The Wars of Fabio Mauri’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Installation view, ‘Fabio Mauri. I was not new’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

‘Fabio Mauri. Oscuramento’, Texts by Bartolomeo Pietromarchi and Alberto Boatto, Studio Fabio Mauri with Hauser & Wirth, 2015

Installation view, ‘Fabio Mauri. I was not new’, Hauser & Wirth New York, 69th Street, 2015

Photo: Genevieve Hanson

Fabio Mauri, ‘Oscuramento – Il Gran Consiglio (Darkening – The Grand Council)’ (1975). Installation view, ‘Oscuramento. The Wars of Fabio Mauri’, Hauser & Wirth London, 2015

Photo: Alex Delfanne

Radić Pavilion, designed by Smiljan Radić, 2014, Hauser & Wirth Somerset, 2015

Photo: Heather Edwards

Radić Pavilion, designed by Smiljan Radić, 2014, Hauser & Wirth Somerset, 2015

Photo: Jason Ingram

Radić Pavilion, designed by Smiljan Radić, 2014, Hauser & Wirth Somerset, 2015

Photo: Heather Edwards

Installation view, Grand Hotel Les Trois Rois, Basel, Switzerland, 2015

Photo: Harold Cunningham/Getty Images for Hauser & Wirth

Installation view, Grand Hotel Les Trois Rois, Basel, Switzerland, 2015

Photo: Harold Cunningham/Getty Images for Hauser & Wirth

Installation view, Grand Hotel Les Trois Rois, Basel, Switzerland, 2015

Photo: Harold Cunningham/Getty Images for Hauser & Wirth

Alexander Calder, ‘Six Planes Escarpé’ (1967) and ‘Four Planes Escarpé’ (1967). Installation view, Lake Lauenen, Gstaad, Switzerland, 2016

© 2017 Calder Foundation, New York/DACS London. Photo: Jon Etter

Alexander Calder, ‘Untitled’ (1976). Installation view, Oberbortstrasse 24, Gstaad, Switzerland, 2016

© 2017 Calder Foundation, New York/DACS London. Photo: Jon Etter

Installation view, ‘Fausto Melotti’, Curated by Douglas Fogle, Hauser & Wirth New York, 69th Street, 2016

Photo: Genevieve Hanson

Fausto Melotti, ‘I Sette Savi (un elemento) (The Seven Sages (one element))’ (1960 (1978))

Photo: Sergio Anelli

‘Fausto Melotti’, Edited b Douglas Fogle, Hanneke Skerath, Essay by Douglas Fogle, Co-published with Snoeck, 2016

Installation view, ‘Fausto Melotti’, Curated by Douglas Fogle, Hauser & Wirth New York, 69th Street, 2016

Photo: Genevieve Hanson

Installation view, ‘Fausto Melotti’, Curated by Douglas Fogle, Hauser & Wirth New York, 69th Street, 2016

Photo: Genevieve Hanson

Installation view, ‘Transparence. Calder / Picabia’, Hauser & Wirth Zürich, 2015

© ADAGP, Paris and DACS, London 2017, © 2017 Calder Foundation, New York/DACS London. Photo: Stefan Altenburger Photography Zürich

‘Transparence: Calder / Picabia’, Texts by Alexander S. C. Rower, Arnauld Pierre and George Baker, Hatje Cantz and Hauser & Wirth, 2016

Installation view, ‘Transparence. Calder / Picabia’, Hauser & Wirth Zürich, 2015

© ADAGP, Paris and DACS, London 2017, © 2017 Calder Foundation, New York/DACS London. Photo: Stefan Altenburger Photography Zürich

Jenny Holzer, ‘FLOOR’ (2015). Installation view, ‘Jenny Holzer. Softer Targets’, Hauser & Wirth Somerset, 2015

© 2015 Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Ken Adlard

Jenny Holzer, ‘MOVE’ (2015). Installation view, ‘Jenny Holzer. Softer Targets’, Hauser & Wirth Somerset, 2015

© 2015 Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Ken Adlard

Jenny Holzer, ‘Survival Series: In a dream you saw…’ (1989). Installation view, ‘Jenny Holzer. Softer Targets’, Hauser & Wirth Somerset, 2015

© 1989 Jenny Holzer, member Artists Rights Society (ARS), NY. © The Easton Foundation/ DACS. Photo: Ken Adlard

Installation view, ‘Jenny Holzer. Softer Targets’, Hauser & Wirth Somerset, 2015

© 2015 Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Ken Adlard

Anj Smith, Book & Printed Matter Laboratory, Hauser & Wirth London, Savile Row, 2015

Photo: Alex Delfanne

Anj Smith, Book & Printed Matter Laboratory, Hauser & Wirth London, Savile Row, 2015

Photo: Alex Delfanne

Iwan Wirth with Musa and Tom Mayer in Philip Guston’s studio, Woodstock, 2015

Photo: Manuela Wirth

Philip Guston, ‘The Line’ (1978)

Philip Guston, ‘Fable II’ (1957)

Philip Guston, ‘Untitled (Poor Richard)’ (1971)

Musa Mayer and Iwan Wirth in Philip Guston’s studio, Woodstock, 2015

Photo: Manuela Wirth

Iwan and Manuela Wirth with Musa Mayer, May 2016

Photo: Manuela Wirth

‘Philip Guston. Night Studio. A Memoir of Philip Guston’, Text by Musa Mayer, Co-published with Sieveking, 2016

Installation view, ‘Philip Guston. Laughter in the Dark, Drawings from 1971 & 1975’, Hauser & Wirth New York, 22nd Street, 2016

Photo: Genevieve Hanson

Installation view, ‘Philip Guston. Painter, 1957 – 1967’, Hauser & Wirth New York, 18th Street, 2016

Photo: Genevieve Hanson

Invitation, ‘Tetsumi Kudo’, Hauser & Wirth London, 2015

© ADAGP, Paris and DACS, London 2017. Photo: Stefan Altenburger Photography Zürich

Installation view, ‘Tetsumi Kudo’, Hauser & Wirth London, Savile Row, 2015

© ADAGP, Paris and DACS, London 2017. Photo: Alex Delfanne

Installation view, ‘David Smith. Form in Colour’, Hauser & Wirth Zürich, 2016

Photo: Stefan Altenburger Photography Zürich

Installation view, ‘David Smith. Form in Colour’, Hauser & Wirth Zürich, 2016

Photo: Stefan Altenburger Photography Zürich

David Smith, ‘Dida’s Circle on a Fungus’ (1961)

Photo: Jon Etter

‘David Smith. Form in Color’, With texts by Michelle White, Neil Wenman, and an extensive biography, Co-published with Snoeck, 2016

David Smith, ‘Untitled’ (1964)

Installation view, ‘Don McCullin. Conflict – People – Landscape’, Hauser & Wirth Somerset, 2015

Photo: Ken Adlard

Installation view, ‘Don McCullin. Conflict – People – Landscape’, Hauser & Wirth Somerset, 2015

Photo: Ken Adlard

Installation view, ‘Don McCullin. Conflict – People – Landscape’, Hauser & Wirth Somerset, 2015

Photo: Ken Adlard

Iwan and Manuela Wirth, London, 2015

Photo: John Phillips / Getty

Installation view, ‘Zoe Leonard. In the Wake’, Hauser & Wirth New York, 69th Street, 2016

Photo: Genevieve Hanson

Installation view, ‘Zoe Leonard. In the Wake’, Hauser & Wirth New York, 69th Street, 2016

Photo: Genevieve Hanson

Zoe Leonard, ‘Roll #25’ (2006/16)

Zoe Leonard, ‘New York Harbor I’ (2016)

Invitation, ‘Larry Bell. From the ’60s’, Hauser & Wirth New York, 69th Street, 2016

Installation view, ‘Larry Bell. From the ’60s’, Hauser & Wirth New York, 69th Street, 2016

© Larry Bell. Photo: Genevieve Hanson

Installation view, ‘Larry Bell. From the ’60s’, Hauser & Wirth New York, 69th Street, 2016

© Larry Bell. Photo: Genevieve Hanson

Installation view, New York Art Book Fair, 2016

Photo: Matthew Kroening

Installation view, New York Art Book Fair, 2016

Photo: Matthew Kroening

Installing Mary Heilmann, ‘Pacific Ocean’ (2016), Hauser & Wirth Los Angeles, 2016

Else Oner mural, Hauser & Wirth Los Angeles, 2016

Kim West mural, Hauser & Wirth Los Angeles, 2016

Opening dinner at Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Exterior view, Hauser & Wirth Los Angeles, 2016

Photo: Joshua Targownik / targophoto.com

Ida Applebroog and guests at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Paul McCarthy at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Iwan and Manuela Wirth at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Phyllida Barlow and Ursula Hauser at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Mary Heilmann and Iwan Wirth at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Subodh Gupta and Bodo Wirth at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Manuela Wirth

Manuela Wirth and Berlinde De Bruyckere at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Explore Hauser & Wirth Los Angeles

Visitors walk underneath Shinique Smith’s ‘Forgiving Strands’ (2014-2016) at the opening of Hauser & Wirth Los Angeles, 2016

Photo: Stefanie Keenan

Visitors with ‘Sun XIV’ (c.1958) by Claire Falkenstein, at the opening of Hauser & Wirth Los Angeles, 2016

© The Falkenstein Foundation; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY. Photo: Stefanie Keenan

Jackie Winsor, ’30 to 1 Bound Trees’ (1971-1972/2016). Installation view, ‘Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016’, Hauser & Wirth Los Angeles, 2016

© Jackie Winsor. Courtesy Paul Cooper Gallery, New York and Hauser & Wirth. Photo: Brian Forrest

Edited by Paul Schimmel, Jenni Sorkin, Contributions by Emily Rothrum, Jenni Sorkin, Elizabeth A.T. Smith, Anne M. Wagner, Co-published with Skira, 2016

Installation of Jackie Winsor, ‘30 to 1 Bound Trees’ (1971 – 1972), Hauser & Wirth Los Angeles, 2016

Installation view, ‘Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016’, Hauser & Wirth Los Angeles, 2016

© The Easton Foundation/ DACS. © The Estate of Ruth Asawa. Photo: Brian Forrest

Installation of Phyllida Barlow, ‘GIG’ (2014), Hauser & Wirth Los Angeles, 2016

Installation view, ‘Louise Bourgeois’, Hauser & Wirth Book & Printed Matter Lab, Hauser & Wirth Los Angeles, 2016

© The Easton Foundation/ DACS. Photo: Brian Forrest

Installation view, ‘In the Artist’s Kitchen’, Hauser & Wirth Book & Printed Matter Lab, Hauser & Wirth Los Angeles, 2016

Photo: Josh Targownik

ARTBOOK @ Hauser & Wirth Los Angeles, 2016

Photo: Skuta Helgason

Lygia Pape, ‘Ttéia 1, C’ (2001/2016). Installation view, ‘Lygia Pape’, Hauser & Wirth London, 2016

© Projeto Lygia Pape. Photo: Ken Adlard

Lygia Pape, ‘Ttéia no. 7’ (1991). Installation view, ‘Lygia Pape’, Hauser & Wirth London, 2016

© Projeto Lygia Pape. Photo: Ken Adlard

Lygia Pape, ‘Tecelar’ (1955)

© Projeto Lygia Pape. Photo: Paula Pape

Installation view, ‘Lygia Pape’, Hauser & Wirth London, 2016

© Projeto Lygia Pape. Photo: Ken Adlard

Interview with Jack Whitten, New York, 2017

Jack Whitten, ‘9.11.01’ (2006)

Installation view, ‘Jack Whitten’, Hauser & Wirth New York, 22nd Street, 2017

Photo: Timothy Doyon

Jack Whitten, ‘Black Monolith, VII Du Bois Legacy: For W.E. Burghardt’ (2014)

Installation view, ‘Jack Whitten’, Hauser & Wirth New York, 22nd Street, 2017

Photo: Timothy Doyon

Installation view, ‘Felix Gonzalez-Torres. Curated by Julie Ault and Roni Horn’, Hauser & Wirth London, Savile Row, 2016

© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York. Photo: Alex Delfanne

Installation view, ‘Felix Gonzalez-Torres. Curated by Julie Ault and Roni Horn’, Hauser & Wirth London, Savile Row, 2016

© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York. Photo: Alex Delfanne

Invitation, ‘Felix Gonzalez-Torres. Curated by Julie Ault and Roni Horn’, Hauser & Wirth London, 27 May – 30 July, 2016, Andrea Rosen Gallery, New York, 3 May – 18 June, 2016, Massimo De Carlo, Milan, May 20 – July 20, 2016

© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York

Installation view, ‘Stefan Brüggemann’, Hauser & Wirth New York, 69th Street, 2016

Photo: Matthew Kroenig

Installation view, ‘Stefan Brüggemann’, Hauser & Wirth New York, 69th Street, 2016

Photo: Matthew Kroenig

Stefan Brüggemann, ‘Time Paintings’ (2015)

Installation view, ‘Stefan Brüggemann’, Hauser & Wirth New York, 69th Street, 2016

Photo: Matthew Kroenig

Installation view, ‘Schwitters Miró Arp’, Hauser & Wirth Zürich, 2016

© Successió Miró / ADAGP, Paris and DACS London 2017, © DACS 2017. Photo: Stefan Altenburger Photography Zürich

‘Schwitters Miró Arp’, Editor: Dieter Buchhart, Contributions by Dieter Buchhart, William Jeffett, Eric Robertson, and Gwendolen Webster, Co-published with DelMonico Books / Prestel, 2016

Installation view, ‘Schwitters Miró Arp’, Hauser & Wirth Los Angeles, 2016

© Successió Miró / ADAGP, Paris and DACS London 2017, © DACS 2017. Photo: Brian Forrest

Manuela, Hauser & Wirth Los Angeles, 2016

Photo: Phoebe Solomon

Diners at Manuela, Hauser & Wirth Los Angeles, 2016

The kitchen garden at Manuela, Hauser & Wirth Los Angeles, 2016

Photo: Laura Ford

Arshile Gorky and David Smith in ‘Abstract Expressionism’, Royal Academy of Arts, London, 2016

Photo: David Parry / Royal Academy of Arts

Arshile Gorky, ‘Limit’, 1947

Arshile Gorky, ‘Khorkom’ (c. 1934—1936), Private Collection

The Roth Bar at Hauser & Wirth New York, 22nd Street, 2016

Photo: Timothy Schenck

Exterior view, Hauser & Wirth New York, 22nd Street, 2016

Photo: Timothy Schenck

The bookshop at Hauser & Wirth New York, 22nd Street, 2016

Photo: Timothy Schenck

Installation view, ‘Ken Price. A Survey of Sculptures and Drawings, 1959 – 2006’, Hauser & Wirth London, 2016

© Estate of Ken Price. Courtesy Matthew Marks Gallery and Hauser & Wirth. Photo: Alex Delfanne

‘Ken Price. A Survey of Sculptures and Drawings’, Editor: Paul Schimmel, Texts by Paul Schimmel and Sam Thorne, Co-published with DelMonico Books / Prestel, December 2016

Photo: Peter Abrahams

Installation view, ‘Ken Price. A Survey of Sculptures and Drawings, 1959 – 2006’, Hauser & Wirth London, 2016

© Estate of Ken Price, Courtesy Matthew Marks Gallery. Photo: Alex Delfanne

Iwan Wirth opens his first gallery, at age 16, in St. Gallen, Switzerland. So as not to clash with his attendance at school, the gallery is open only on Wednesday and Saturday afternoons and Sundays. In 1990, Iwan Wirth moves to Zurich and begins to work as a private dealer. It is here that he first meets Ursula Hauser, an art collector and retail magnate, who helps him to fund the purchase of works by Pablo Picasso and Marc Chagall.

In 1992, Ursula Hauser and Iwan Wirth open a gallery together in the first-floor apartment of an Art Deco villa on Sonneggstrasse, a quiet, residential street in Zurich, where Iwan Wirth has been living for a year.

‘In the late 1980s I lived in St. Gallen, and as a teenager I ran a gallery there. Beginning in 1985 artists I had only heard of, like Martin Disler, Klaudia Schifferle, Fischli & Weiss, Urs Lüthi, or Josef Felix Müller, were exhibited by curators like Bice Curiger, Bernhard Mendes Bürgi and Harald Szeemann. The important galleries in Switzerland at the time were Thomas Ammann, Pablo Stähli and Stampa in Basel. And of course, Ernst Beyeler! The Zurich institutions in those years that I still remember well are the Shedhalle in the Rote Fabrik and of course the Kunsthalle. I moved to Zurich in 1991 to Sonneggstrasse 84. The art market was stuck in a deep recession, and commercial interest in contemporary art was at a low point. So I lived in that apartment and also ran an art dealership there, but didn’t actually represent any artists in the usual sense’.

Iwan Wirth, in Du. Die Zeitschrift der Kultur, no. 827, Spring 2012. (translated by Russell Stockman)

‘Alexander Calder. Mobiles and Gouaches’
‘Joan Miró. Sculptures and Paintings’
5 September – 30 October 1992
Sammlung Hauser & Wirth
Sonneggstrasse

Hauser & Wirth’s inaugural exhibition unites Alexander Calder’s mobiles and gouaches with Joan Miró’s sculptures and paintings, paying tribute to the long-lasting friendship between the two artists.

Hauser & Wirth publishes its first books. These are in collaboration with Hans Ulrich Obrist, whom Manuela and Ursula Hauser and Iwan Wirth have known since the late 1980s. Hans Ulrich Obrist introduces them to the artist, Roman Signer, and bookstore owner and publisher, Walther König.

The gallery supports and publishes several art books edited by Hans Ulrich Obrist, including ‘Hôtel Carlton Palace: Chambre 763’, an experimental catalog of artist-made postcards, and ‘Nymphaeum’, a book of Paul-Armand Gette’s photographs. These publications mark the beginning of an active role in art publishing for the gallery.

‘Spanisches Kaleidoskop’
28 November 1992 – 31 January 1993
Sammlung Hauser & Wirth
Sonneggstrasse

An exhibition of Spanish artists, with works by: Gerardo Aparicio, Eduardo Arroyo, Juan Navarro Baldeweg, Miguel Berrocal, José Manuel Broto, Rafael Canogar, Eduardo Chillida, Antoni Clavé, Chema Cobo, Modest Cuixart, Luis Feito, Manolo Gomez, Julio González, Mariano Matarranz, Víctor Mira, Juan Muñoz, Andrés Nagel, Jaume Plensa, Antonio Saura, José María Sicilia, Antoni Tàpies and Pedro Txillida Belzunce.

Hauser & Wirth rents an apartment at 152 Franklin Street in Lower Manhattan, New York, with the intention of opening in the spring of 1994 as a gallery. Instead, it is used as a private apartment where the gallerists and artists live during their visits to the city. Iwan Wirth recalls, ‘We had a lot of art installed there and there were many artists staying there, and many, many great parties’.

Iwan Wirth, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 921.

In 1993, the gallery approaches the influential video and installation artist Nam June Paik to conceive a project for an empty industrial space on Hardturmstrasse in the industrial area of Zurich-West. The resulting exhibition, ‘Jardin Illuminé’, is accompanied by a new catalog, which features an essay by Pipilotti Rist, an admirer of Nam June Paik’s work.

In 1994, Hauser & Wirth moves to a permanent gallery in the Schoeller Complex, next to the industrial space they had previously rented on Hardturmstrasse.

‘Then in 1993, for an installation created for Zurich by Nam June Paik, I rented an old hall on Hardturmstrasse for three months. The energy we found there in Zurich-West was more exciting than anything we had previously experienced in Zurich or anywhere else. And for us everything changed with the move to the Schoeller Complex, to the former spaces of Marc Jancou at Hardturmstrasse 127. Suddenly we were part of an extremely dynamic scene, spearheaded by the Kunsthalle Zürich with Mendes Bürgi. The cafeteria at the Kunsthalle Zürich was the nexus of this new system of coordinates. There I was suddenly meeting the international art world slurping up soup made by artists. While their exhibitions were being mounted, artists would often be in the neighborhood for weeks; they would stop in at the gallery and become close acquaintances or even friends’.

Iwan Wirth, in Du. Die Zeitschrift der Kultur, no. 827, Spring 2012. (translated by Russell Stockman)

‘Egon Schiele. Arbeiten auf Papier’
27 February – 17 April 1994
Sammlung Hauser & Wirth
Hardturmstrasse

The first exhibition at the new gallery on Hardturmstrasse presents a selection of Egon Schiele’s works on paper. Egon Schiele’s Expressionist figuration has influenced many artists who would join Hauser & Wirth, not least fellow Austrian artist, Maria Lassnig.

‘10 Jahre Parkett – 61 Künstlereditionen’
28 May – 17 July 1994
Sammlung Hauser & Wirth
Hardturmstrasse

On the occasion of international art magazine Parkett’s 10th anniversary, the gallery presents ‘10 Jahre Parkett’, an exhibition of 61 artist editions. The collaboration highlights the importance of writing and art publications to Hauser & Wirth.

With artist editions by: Richard Artschwager, John Baldessari, Stephan Balkenhol, Georg Baselitz, Ross Bleckner, Alighiero e Boetti, Christian Boltanski, Louise Bourgeois, Sophie Calle, Francesco Clemente, Enzo Cucchi, Martin Disler, Marlene Dumas, Eric Fischl, Fischli & Weiss, Günther Förg, Katharina Fritsch, Franz Gertsch, Gilbert & George, Robert Gober, Felix Gonzalez-Torres, David Hammons, Damien Hirst, Rebecca Horn, Ilya Kabakov, Alex Katz, Mike Kelley, Martin Kippenberger, Imi Knoebel, Jeff Koons, Jannis Kounellis, Wolfgang Laib, Sherrie Levine, Brice Marden, Mario Merz, Bruce Nauman, Meret Oppenheim, Sigmar Polke, Richard Prince, Markus Raetz, Charles Ray, Gerhard Richter, Tim Rollins + K.O.S., Thomas Ruff, Edward Ruscha, Cindy Sherman, Philip Taaffe, Rosemarie Trockel, James Turrell, Jeff Wall, Andy Warhol, Franz West, Robert Wilson and Christopher Wool.

‘Bruce Nauman. A Large Scale Work’
September – October 1994
Sammlung Hauser & Wirth
Hardturmstrasse

An exhibition of installations by Bruce Nauman leads to the gallery’s first contact with renowned Swiss curator, Harald Szeemann. He plans a solo exhibition of Bruce Nauman’s work at the Kunsthaus Zürich, for which he requests a loan of ‘Model for Trench and Four Buried Passages’ (1977), a work he first encounters in the exhibition at Hauser & Wirth.

‘Richard Artschwager. Archipelago’
19 November – 23 December 1994
Sammlung Hauser & Wirth
Hardturmstrasse

An exhibition of works by American artist, Richard Artschwager.

‘Gerhard Richter. Editionen 1965 – 1993’
4 March – 29 April 1995
Sammlung Hauser & Wirth
Hardturmstrasse

An exhibition bringing together a selection of Gerhard Richter’s editions, which have formed a significant element of the artist’s practice since 1965.

‘Marcel Broodthaers. Correspondances’
Curated by Dorothea Zwirner
14 July – 16 September 1995
Sammlung Hauser & Wirth
Hardturmstrasse

Hauser & Wirth and David Zwirner collaborate to organize an exhibition of key works by Marcel Broodthaers. For the accompanying exhibition catalog, curator Dorothea Zwirner invites a number of artists, including Mike Kelley, Paul McCarthy and Jason Rhoades, to answer five questions about Marcel Broodthaers, inspiring an array of poetic and visual responses.

‘Gerhard Richter. Bilder 1964 – 1994’
28 October – 23 December 1995
Sammlung Hauser & Wirth
Hardturmstrasse

An exhibition of works from across Gerhard Richter’s versatile practice, including Abstraktes Bilder, Photo Paintings and works from the Rot-Blau-Gelb series.

Following the announcement of the impending demolition of the gallery’s present quarters on Hardturmstrasse, Bernhard Mendes Bürgi, director of the Kunsthalle Zürich, invites Hauser & Wirth to join the Kunsthalle and other major Swiss art institutions in a former brewery on Limmatstrasse. Home to the Löwenbräu (Lion’s Brew) brewery for nearly a century, the building keeps its name in tribute to its original function.

In April, Hauser & Wirth moves into its first permanent space on the second floor of the Löwenbräu. The gallery’s design is spearheaded by Annabelle Selldorf, the first of several projects between the architect and Hauser & Wirth.

‘In the mid 1990s it became clear that the Schoeller Complex, home of the Kunsthalle, had to give way to a development, and that the art scene would disappear from there forever. What seemed to be a devastating tragedy for art turned into the greatest opportunity of the next two decades. At one of those cafeteria lunches Mendes Bürgi came up to me and mentioned a possible short-term and only temporary solution called the Löwenbräu. What we then saw in the drug-riddled Fifth District was an industrial wasteland with sensational potential’.

Iwan Wirth, in Du. Die Zeitschrift der Kultur, no. 827, Spring 2012. (translated by Russell Stockman)

‘Malerei aus Deutschland’ (‘Paintings from Germany’)
4 May – 13 July 1996
Hauser & Wirth Zürich
Limmatstrasse

Iwan Wirth curates a show of German paintings with works by: Hans Arp, Georg Baselitz, Max Beckmann, Lovis Corinth, Otto Dix, Max Ernst, Lyonel Feininger, Anselm Kiefer, Ernst Ludwig Kirchner, Konrad Klapheck, Paul Klee, Emil Nolde, Blinky Palermo, Max Pechstein, A.R. Penck, Sigmar Polke, Gerhard Richter, Oskar Schlemmer, Kurt Schwitters and Sophie Taeuber-Arp.

Friedrich Christian Flick visits the exhibition and is interested in Gerhard Richter’s ‘Kleiner Akt’ (1966). This begins a long-term friendship with Iwan Wirth marked by numerous meetings and in-depth discussions of what constitutes a contemporary collection. Iwan Wirth advises Friedrich Christian Flick on the selection process for his collection, and he becomes an early patron of Paul McCarthy, Jason Rhoades, Pipilotti Rist, Roman Signer and many other artists.

Jason Rhoades (19652006) joins Hauser & Wirth.

Over the course of 1995, Iwan Wirth makes several trips to Los Angeles. It is during one of these visits that he first makes the acquaintance of Jason Rhoades, who incites in him a passion for challenging installation art, and who introduces him to many of the earliest artists in Hauser & Wirth’s stable. Later in 1995, Hauser & Wirth acquires the seminal installation, ‘My Brother / Brancuzi’ (1995).

‘We went to Jason Rhoades’ studio in Inglewood, Toba Khedoori’s studio was in the same building in the front. I remember that we were riding in the yard on one of Jason’s self-built bikes that was a multiple: ‘The Future Is Filled with Opportunities’ (1995). And we were talking about the riots and he was telling us that they were in the studio at the time while the riots broke out nearby.
We also went to Rachel [Khedoori] and Jason’s home in Pasadena, an Arts and Crafts house that played a huge role in Rachel’s work. They rented it from Walter Hopps and it had a great history: the previous tenants included Richard Jackson and Bruce Nauman’.

Iwan Wirth, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 927.

Jason Rhoades and his wife, Rachel Khedoori – who joins the gallery in 1997 – develop a deep friendship with Ursula and Manuela Hauser, and Iwan Wirth, in whom they find kindred spirits. Since the artist’s death in 2006, Hauser & Wirth has continued to represent The Estate of Jason Rhoades.

Dan Graham (b. 1942) joins Hauser & Wirth.

The gallery begins its relationship with Dan Graham in 1995, when Hauser & Wirth purchases its first artwork by the artist through Colin de Land’s gallery, American Fine Arts Co. Later, when Dan Graham visits Switzerland, Ursula and Manuela Hauser, Iwan Wirth, and their family take him – an architecture enthusiast – to stay at Therme Vals, a hotel complex designed by renowned architect Peter Zumthor and built over a thermal spring.

Manuela Hauser and Iwan Wirth get married. Among the invited guests are Hans Ulrich Obrist, Franz West, Roman Signer, Jason Rhoades, Rachel Khedoori, Ugo Rondinone, as well as Paul McCarthy and his wife Karen McCarthy.

‘Sculpture’
24 August – 19 October 1996
Hauser & Wirth Zürich
Limmatstrasse

An exhibition focusing on sculptural forms, with works by: Hans Arp, Richard Artschwager, Georg Baselitz, Max Bill, Louise Bourgeois, Marcel Broodthaers, Alexander Calder, John Chamberlain, Eduardo Chillida, Dan Flavin, Lucio Fontana, Alberto Giacometti, Robert Gober, Julio González, Donald Judd, Ellsworth Kelly, Sol LeWitt, Gerhard Merz, Joan Miró, Henry Moore, Bruce Nauman, Claes Oldenburg, Nam June Paik, Pablo Picasso, Gerhard Richter, Dieter Roth, Ulrich Rückriem and Jean Tinguely.

‘Joseph Cornell’
24 August – 19 October 1996
Hauser & Wirth Zürich
Limmatstrasse

Realized in collaboration with The Estate of Joseph Cornell, the exhibition presents 10 box constructions and 10 collages for the first time in Switzerland.

Louise Bourgeois (19112010) joins Hauser & Wirth.

Ursula Hauser first encounters the work of Louise Bourgeois in 1994, when she sees ‘Louise Bourgeois: The Locus of Memory, Works 1982 – 1993’ at the Brooklyn Museum, New York. After visiting the artist’s studio, she purchases ‘Legs’ (1986).

‘Louise Bourgeois was a very resolute person. She always said, ‘I have this much time: half an hour, one hour, not more’. She didn’t offer a cup of coffee, nothing. We usually brought some chocolates. The studio visits were very focused on the work. She would listen very carefully, she was a good listener! When we went to see something, such as her exhibition at the Brooklyn Museum…the first ‘Spider’ there, that was what made me want to get to know her. That touched me, very deeply. I took in the whole Spider story. That interested me the most, and that was the beginning. The ‘Legs’, the long legs, they were the first opportunity I had to buy something, and so I became engrossed’.

Ursula Hauser, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 922.

Louise Bourgeois’s first exhibition with the gallery, ‘Red Room,’ takes place in Zurich in 1996. It marks the beginning of a long and productive relationship with the artist, resulting in numerous exhibitions of her work at Hauser & Wirth’s galleries in London, Los Angeles, Somerset and Zurich, and several publications. ‘Red Room’ remains amongst the most significant installations in the collection of Ursula Hauser, one of the largest and most comprehensive collections of Louise Bourgeois’s work in Europe.

Since the artist’s death in 2010, Hauser & Wirth has continued to represent Louise Bourgeois.

Richard Jackson (b. 1939) joins Hauser & Wirth.

Richard Jackson is introduced to Iwan Wirth by Jason Rhoades in 1995. Richard Jackson had been an influential mentor to Jason Rhoades whilst teaching at the University of California, Los Angeles, in the early 1990s, and in the early stages of his career, Jason Rhoades could often be found working at Richard Jackson’s studio. The two artists maintained a close friendship until Jason Rhoades’ death in 2006. Throughout his career Richard Jackson has been central to Los Angeles’ cultural history and was crucial to the development of the gallery’s identity in its early years.

‘Bruce Nauman. Shadow puppet spinning head’
15 February – 27 March 1997
Hauser & Wirth Zürich
Limmatstrasse

In addition to the main gallery on the second floor of the Löwenbräu, Hauser & Wirth rents a space on the first floor, which allows it to launch its first fully developed exhibition program. Hauser & Wirth celebrates its new gallery with ‘Bruce Nauman. Shadow puppet spinning head’. Bruce Nauman’s large-scale video installation, ‘Falls, Pratfalls and Sleights of Hand’ (1993), is presented in the new, first floor gallery.

Hauser & Wirth announces representation of Mary Heilmann (b. 1940).

Iwan Wirth and Ursula Hauser are introduced to Mary Heilmann by the artist Patty Martori in 1994, during a visit to the exhibition, ‘Mary Heilmann: Greatest Hits’ at the Pat Hearn Gallery. On this occasion they purchase their first paintings by the artist: ‘Little 9×9’ (1973) and ‘Chinatown’ (1976).

‘In 1994 I did this show at Pat Hearn. I showed some works from the 70s. A little over confidently, I called it ‘Mary Heilmann: Greatest Hits’. I was so excited and proud of the work and of my partnership with Pat Hearn. The New York art community didn’t notice.
However, Iwan Wirth came to that show. He was helping Ursula Hauser make a collection of the work of women artists. Louise [Bourgeois], Agnes [Martin], like that. He chose the big diptych, ‘Chinatown’.
That was the beginning of our friendship’.

Mary Heilmann, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 252.

Mary Heilmann discovers a deep connection with Hauser & Wirth. This fortuitous encounter not only kicks off a long-term friendship and working relationship, but also leads to the legendary publication of Mary Heilmann’s ‘The All Night Movie’. Initially planned as a straightforward exhibition catalog, the publication takes several years to realize and transforms into an extensive artist book made by Mary Heilmann and Mark Magill.

‘Francis Picabia. Fleurs de chair, fleurs d’âme’
Curated by Stefan Banz
30 May – 1 July 1997
Hauser & Wirth Zürich
Limmatstrasse

Although not widely supported institutionally at the time, Francis Picabia was an important figure to many of the artists who would exhibit with Hauser & Wirth in later years, including Paul McCarthy, Jason Rhoades, Djordje Ozbolt and Andy Hope 1930. The exhibition is accompanied by a publication with a text by Harald Szeemann and an interview with Francis Picabia’s wife, Olga Picabia, conducted by Hans Ulrich Obrist and Stefan Banz.

Swiss artist, Roman Signer (b. 1938), joins Hauser & Wirth.

Ursula Hauser first meets Roman Signer in the early 1990s, when she buys ‘Objekt’ (‘Object’) (1980), a water sculpture by the artist, installed by a previous occupant in the garden of a private house in St. Gallen and in danger of being destroyed by the new owner.

‘That’s how I got to know Ursula… And it was through her that I met Iwan. Oddly, I hadn’t met Iwan, even though he had a gallery in Flawil, with Ursula. I was often in St. Gallen but I had never run across him. And then I met him; at the time he had an art dealership at Sonneggstrasse in Zurich. I used to visit him there, and he organized exhibitions too, at Hardturmstrasse. And then he said, Roman, I’d like to show some drawings of yours. Good, and then suddenly I heard that he wanted to marry Manuela. So there was the wedding and the gallery opened up. And I was able to have a show there. So that’s how it went’.

Roman Signer, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 779.

Swiss video artist, Pipilotti Rist (b. 1962), joins Hauser & Wirth.

A central figure in the Swiss art world, Pipilotti Rist is involved with Hauser & Wirth from its earliest years. In 1993, she contributes an essay to the catalog, ‘Jardin Illuminé’, produced to accompany Nam June Paik’s exhibition of the same name. In 1997, Hauser & Wirth takes on representation of the artist. In the same year, Pipilotti Rist receives the Premio 2000 award at the 47th Venice Biennale. Pipilotti Rist’s winning presentation of ‘Ever is Over All’ (1997) – a video installation depicting a young woman strolling down a street while smashing the windows of parked cars – marks the beginning of a rewarding partnership between the artist and the gallery.

Paul McCarthy (b. 1945) joins Hauser & Wirth.

In early 1992, Iwan Wirth sees Paul McCarthy’s work in ‘Helter Skelter’ at The Museum of Contemporary Art, Los Angeles. Paul McCarthy’s visceral, direct oeuvre holds an instant attraction for Iwan Wirth. Later that year, the gallery has its first contact with the artist at the FAE Musée d’Art Contemporain in Lausanne, where the Jeffrey Deitch-curated group exhibition, ‘Post Human’, is in residence. Iwan Wirth discovers that Paul McCarthy – who has a keen interest in mountaineering – is a Swiss enthusiast. Soon after, the gallery acquires Paul McCarthy’s 1991 installation, ‘Bossy Burger’, and then, in 1997, ‘Santa Chocolate Shop’, which becomes the first of numerous unforgettable shows with the gallery when it is exhibited in Zurich in the same year.

‘Someone else with my Fingerprints’
Curated by William Schürmann
23 August – 18 October 1997
Hauser & Wirth Zürich
Limmatstrasse

Hauser & Wirth presents an exhibition of photography curated by the German collector, Wilhelm Schürmann. First shown in February 1997, at David Zwirner, New York, NY, it features 150 photographs from the past 70 years by: Nobuyoshi Araki, Diane Arbus, Bernd & Hilla Becher, Bill Brandt, Larry Clark, Stan Douglas, Walker Evans, Robert Frank, Lee Friedlander, Ralph Gibson, Gerhard Gronefeld, Georg Herold, Mike Kelley, Martin Kippenberger, William Klein, Helmut Newton, Laurie Parsons, Irving Penn, Hirsch Perlman, Richard Prince, Sebastião Salgado, August Sander, Julia Scher, Aaron Siskind, Diana Thater, Universal Pictures, Weegee, James Welling, Christopher Williams, Garry Winogrand and others.

Rachel Khedoori (b. 1964) joins Hauser & Wirth.

On a trip to Los Angeles, Jason Rhoades insists that in homage to the film, ‘Pretty Woman’, Iwan and Manuela Wirth stay at the Beverly Wilshire Hotel. Entering the lobby one morning to meet Jason Rhoades, they encounter Rachel Khedoori and her identical twin sister, Toba Khedoori, sitting together: this is their first meeting with Rachel Khedoori. They begin to collect works by the artist, who is a vital member of Los Angeles’ burgeoning art scene.

Dieter Roth (19301998) joins Hauser & Wirth.

A joint visit with art dealer and shoe designer, Andy Jllien is arranged to see the exhibition, ‘Dieter Roth / Björn Roth. Collaborations mit Ingrid Wiener & Richard Hamilton’ at the Holderbank Management und Beratung AG, Holderbank, Switzerland. The visit marks the beginning of a deep and ongoing interest in Dieter Roth’s work and leads to various exhibition projects and eventually to the representation of the Dieter Roth Estate.

‘The summer of 1997 was hot. My father Dieter and I sat in the sweltering heat at our exhibition in the Mac Museum in Marseilles. Dieter was ill and tired. He told me that it was now time to get assistance from a good gallery, and had therefore called a meeting with Iwan Wirth.
And one day Iwan showed up smiling from under the heat fog and said, ‘No problem, come to us in Zurich next spring, and we’ll do something good together’.
The result was a major exhibition at Hauser & Wirth. The exhibition in fact stretched into other places in the city. No matter what occurred to Dieter and me, Iwan smirked and said, ‘Let’s do it’.
It was the opening,
and so Dieter died.
Dieter Roth Estate was founded, and with that I left Hauser & Wirth for a while, but then thought better of it and came back. So to say, back home’.

Björn Roth, in Michaela Unterdörfer (ed.), Hauser & Wirth. 20 Years, Ostfildern/DE: Hatje Cantz, 2013, p. 970.

As a condition of exhibiting with Hauser & Wirth, Dieter Roth insists that a bar form part of his first show with the gallery. With the assistance of his son Björn Roth, Dieter Roth installs the functional ‘Roth-Bar 2’ around the corner from the gallery on Fabrikstrasse. Every beer bottle served becomes part of the installation and visitors’ conversations are recorded and archived.

‘A major figure who worked with us in the gallery for weeks was Dieter Roth. He had a love-hate relationship with the art market, to be sure, and consequently with the Löwenbräu. After numerous attempts to talk him into showing with us, he agreed – thanks to the intervention of Björn Roth – under one condition: the ‘Roth-Bar 2’ that we had acquired had to be operated as a ‘genuine’ bar outside the gallery, but in a ‘real space’ in the immediate vicinity, before it could be installed in the gallery along with many other works on both floors. So with great enthusiasm we rented a storefront tavern on Fabrikstrasse and prepared for the arrival of the ‘Roth-Bar 2’.

Dieter Roth installed the bar together with his Icelandic team, and we then operated it for a few months as the legendary ‘Roth-Bar 2’ – just as the artist prescribed. As a young artist Urs Fischer worked behind the bar, and the local art scene stopped by every day… it was simply incredible! Needless to say, we had no license, and the very first night the Icelandic assistants were arrested for working illegally and disturbing the peace. The bar naturally didn’t bring in any money; it actually cost us a small fortune. But Roth was satisfied, and we were aware of being part of something unusual. Then soon after the opening Dieter Roth died. The bar and the exhibition in the Löwenbräu were his very last appearances’.

Iwan Wirth, in Du. Die Zeitschrift der Kultur, no. 827, Spring 2012. (translated by Russell Stockman)

In 1998, the temporary space on the first floor of the Löwenbräu, which the gallery had initially rented to host exhibitions for Bruce Nauman, Roman Signer and Rachel Khedoori, becomes a permanent fixture called Galerie Hauser & Wirth 2. Opened in collaboration with Eva Presenhuber, in 1999 it is renamed Hauser & Wirth & Presenhuber. It presents numerous exhibitions by artists, such as Fischli & Weiss, Urs Fischer, J.F. Schnyder and Franz West, before reopening in 2002 as Galerie Eva Presenhuber.

Galerie Hauser & Wirth 2 opens with a vast exhibition by Jason Rhoades, ‘The Creation Myth’, which brings the gallery and the artist critical acclaim.

‘One of the truly great moments in the history of the gallery was the visit from Franz Meyer, former director of the Kunstmuseum Basel and one of the luminaries of the Swiss art landscape of the last fifty years. Franz was a regular visitor to our exhibitions, and one day he came into the Löwenbräu to see the first exhibition of Jason Rhoades’ ‘The Creation Myth’. Jason had created a room-sized, highly complex sculpture, and I had no idea how the Zurich public would react to the Californian’s orgy of color and materials. Franz stayed at the exhibition for more than an hour. He was deeply moved, and said that he had had an experience like that only once before in his life, namely on his first encounter with the work of Joseph Beuys. He had not understood his work at the time, but recognized that he was seeing something truly important. And it was exactly the same for him seeing Jason’s work. Franz Meyer and Jason have since become personally acquainted. Jason never received a more intelligent compliment!’

Iwan Wirth, in Du. Die Zeitschrift der Kultur, no. 827, Spring 2012. (translated by Russell Stockman)

‘Marcel Broodthaers. Un Jardin d’Hiver’
14 February – 18 April 1998
Curated by Dorothea Zwirner
Hauser & Wirth Zürich
Limmatstrasse

The success of the first Marcel Broodthaers exhibition, ‘Correspondances’, in 1995 at the Hardturmstrasse gallery, leads to a second collaboration with Marcel Broodthaers’ estate and the artist’s widow, Marie Gillisen, as well as curator, Dorothea Zwirner. ‘Un Jardin d’Hiver’ (1974) is amongst the most important installations made by the artist in the last years of his life. Marcel Broodthaers initially realized this first of three versions of his conservatory for a 1974 group exhibition at the Palais des Beaux-Arts in Brussels, Belgium.

Hauser & Wirth purchases a townhouse of historic importance at 32 East 69th Street, on the Upper East Side of Manhattan. Previously home to the legendary Martha Jackson Gallery, in 1954 it played host to the first Gutai exhibition in the United States, and in 1961 it became the venue for the first iteration of Allan Kaprow’s seminal environment, ‘Yard’. Later the house became boxing promoter Don King’s headquarters.

‘On Kawara’
29 May – 17 July 1999
Hauser & Wirth Zürich
Limmatstrasse

An exhibition of works by Japanese, conceptual artist, On Kawara.

In parallel to their activities at the gallery, Iwan and Manuela Wirth and Ursula Hauser continue to develop their private collection, which demonstrates a passion for modern masters and contemporary art, with a particular focus on female artists.

In June, the Hauser & Wirth Collection opens to the public, presenting a series of curated exhibitions of works from the Collection in the Lokremise, a former locomotive roundhouse near St. Gallen’s main train station. Over 100 years old, the Lokremise becomes a lively cultural center under the custodianship of Hauser & Wirth, hosting multiple exhibitions and events in the summer months.

Curated by founding Director of the Hauser & Wirth Collection, Eva Meyer-Hermann, the first exhibition at the Lokremise is ‘Dimensions of the Mind. The Denial and the Desire in the Spectacle’, featuring new works by Paul McCarthy. It is followed by group exhibitions with works from the collection, such as ‘The Oldest Possible Memory’, ‘Wechselstrom’, ‘The House of Fiction’ and a solo show by Roman Signer. The final exhibition at the Lokremise in 2004, before the Collection is relocated, is ‘Jason Rhoades. My Medinah – In pursuit of my ermitage’.

Marc Payot joins the gallery as a Director. Since 2004, he has continued in the role of Partner and Vice President, based in New York, where he oversees the gallery’s activities in the United States.

In partnership with David Zwirner, Iwan Wirth opens Zwirner & Wirth in the 32 East 69th Street townhouse purchased in 1998 and elegantly renovated by Annabelle Selldorf in 1999. Their program is focused on modern and contemporary masters, as well as group exhibitions showcasing German and Surrealist painting, Minimalism from the 1960s and 1970s, Assemblage, contemporary sculpture, German and American Pop art and conceptual photography.

The Estate of Eva Hesse joins Hauser & Wirth.

After a first meeting in Cologne with Eva Hesse’s sister, Helen Charash, and advisor, Barry Rosen, in November 1999, the gallery announces the exclusive representation of the artist’s estate. This milestone marks Hauser & Wirth’s first relationship with an established artist estate. Over some 18 years the gallery works closely with The Estate of Eva Hesse and Barry Rosen on a number of scholarly publications and exhibitions. Among these, a major retrospective with Museum Wiesbaden and the San Francisco Museum of Modern Art, the Eva Hesse catalogue raisonné, and in 2016, Hauser & Wirth Publishers, in collaboration with Yale University Press, brings to fruition a 30-year project to release ‘Eva Hesse Diaries’, the artist’s complete diaries dating from 1955 to 1970.

The gallery takes on representation of Los Angeles-based video artist, Diana Thater (b. 1962).

In 1996, Diana Thater has an exhibition at the Kunsthalle Basel, Basel, Switzerland, entitled, ‘The individual as a species, the object as a medium. Diana Thater: Selected Works 1992 – 96’. Through David Zwirner, she meets Iwan and Manuela Wirth, who begin collecting her work. Shortly after, Diana Thater has her debut exhibition at Hauser & Wirth Zürich. ‘Delphine’ is a video installation that immerses the viewer in an underwater world.