Old Master Paintings from the Thyssen-Bornemisza Collection.

London, Royal Academy of Arts, 25 November 1983 - 11 March 1984. Catalogue edited by Jane Martineau and Charles Hope. London, Weidenfeld and Nicolson 1983, cm.21,5x28, pp.413,(3), numerose illustrazioni in bn. nel testo e 96 tavole a colori fuori testo , brossura, copertina figurata a colori.

Sarasota, Ringling Museum of Art, November 17 - December 10, 1972. Preface by Curtis G.Coley. Foreword by Leslie Judd Ahlander. Sarasota (FL), Ringling Museum of Art 1972, cm.21,5x28, pp.32, 18 ill.in bn.nt. e una tav.a col.in antip., brossura a 2 punti metallici, cop.fustellata. [copia in buono stato]

London, The Tate Gallery, 9 June - 13 August 1967. With an Introduction by Roland Penrose. London, The Arts Council 1967, cm.21x29,7, pp.132, 255 ill. in bn.nt e 7 tavv.a col. di cui una in antip., brossura, cop.fig. (due piccole abrasioni alla IV di cop.)

Text by Gesine Borcherdt, Vittorio Colaizzi, Barry Schwabsky. New York, 2021. Presenhuber 2022, cm.24,5x24,5, pp.128 ill.col. legatura editoriale in tutta tela. Clothbound. 979821800358-6 Amy Feldman is recognized for her iconic painting language and commitment to large-scale gray-on-gray abstractions. Feldman’s investigation in the color gray highlights the significance and potential that can be found in neutrality—how something can appear neutral but is, in fact, charged with great power of expression. Feldman typically works in series, presenting distilled iterations of unique forms, which relate to how images and signs are quickly interpreted, remembered, and misremembered. This publication features images of Feldman’s Mothercolor exhibition at Eva Presenhuber, New York, and essays by Gesine Borcherdt, Vittorio Colaizzi, and Barry Schwabsky.