Wall Works, 1992 - 2019

From Wall Works
Wall painting according to sunlight. Painting shape, color and size variable. Limited to 12 installations, with a signed and numbered certificate giving specific instructions for on-site installation.

This edition by Darren Almond was created as part of the group project Wall Works and is a permanent part of the collection of the Neue Nationalgalerie in Berlin.

EUR 10,000

From Wall Works
Painting in acrylic on mylar, mounted on a wall. Different configurations and sizes, each unique; installation size according to the wall. Limited to 20 paintings, with a signed and numbered certificate.
 

Richard Artschwager's Corner Splat editions ironically imitate Formica, an artificial, stale product of the industrial sector whose name has become part of the American mass culture vocabulary. By suggesting material and perspective in a “false” way, the Corner Splats are in the tradition of trompe l'oeil paintings. A hybrid of painting, sculpture and furniture, the edition confuses our understanding of the objects around us, creating real and imaginary spaces that are exceptions to the hegemonic rationality of everyday life in the West.

From Wall Works
Wall painted in a color with hand-drawn grid and 25 aluminum plates, screenprinted graphite gray and white to be mounted on a wall. Plates: 43.5 x 43.5 cm each; installation size according to the wall. Limited to 15 installations, each unique in wall color, with a signed and numbered certificate.

From Wall Works
25 steel plates, enameled in two colors, to be mounted on a wall. Plates 43.5 x 43.5 cm each; installation size according to the wall. Limited to 15 installations, each unique in color, with a signed and numbered certificate.

From Wall Works
68 sheets of music, framed, 59.5 x 42 cm (23½ x 16½ in) each, and trumpet, horn, and trombone on white pedestal. Installation dimensions according to the wall. Limited to 15 installations, signed and numbered on last print, plus a certificate giving specific instructions.

Hanne Darboven designed this edition for our group project Wall Works; like all the other wall works from the series, this piece is part of the permanent collection of the Neue Nationalgalerie in Berlin.

EUR 20,000

From Wall Works
Warm white and daylight fluorescent light, two units 122 x 14 x 7.5 cm (48 x 5½ x 3 in) each; installation size according to the wall. Limited to an edition of 2, with a signed and numbered certificate (5 planned, only 2 made).

The two fluorescent columns of the work Untitled (for Robert Ryman) divide the wall into three light zones: warm - cool - warm.

From Wall Works
Wall painting in two colors of latex paint, installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate.

This edition by Sylvie Fleury was created as part of the group project Wall Works and is part of the permanent collection of the Neue Nationalgalerie in Berlin.

Installation: The wall is painted with latex paint according to the color samples included in the certificate, leaving architectural elements such as doors and windows untouched. The inscription ETERNITY is positioned so that it touches both the left and right edges of the wall as well as the transition line between the wall and ceiling.

EUR 12,000

From Wall Works
Wall painting in four colors of latex paint, size according to the wall. Limited to 12 installations, with a signed and numbered certificate.

This edition by Sylvie Fleury was created as part of the group project Wall Works and is part of the permanent collection of the Neue Nationalgalerie in Berlin.

Installation: The wall is divided into four equal segments according to the scheme specified in the certificate and painted in four shades of cosmetic blush tones. Architectural elements such as doors, windows, or other structural features remain unaffected by the color application.

EUR 12,000

From Wall Works
Wall painting in two colors, with framed photograph 166 x 116 cm (65½ x 41¾ in); installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate (gouache, 56 x 76 cm).

 

Wall Partition II was Günther Förg's second contribution to the group edition project Wall Works and is part of the permanent collection of the Neue Nationalgalerie in Berlin. 

EUR 30,000

From Wall Works
Wall painting in white latex and yellow tempera; installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate (gouache, 57 x 76 cm).

Wall Partition I was Günther Förg's first contribution to the group edition project Wall Works and is part of the permanent collection of the Neue Nationalgalerie in Berlin. 

EUR 20,000

From Wall Works
Offset wall poster, in four parts, pasted directly onto a wall. Overall size 220 x 270 cm (86½ x 106¼ in). Limited to an edition of 20, with an additional signed and numbered poster as certificate.

For our group edition project Wall Works, Gilbert & George referenced their iconic performance Singing Sculpture, photographed during their 1991 performance at Sonnabend Gallery in New York, as a large-scale wall poster. 

EUR 20,000

From Wall Works
Created on the occasion of the 200th anniversary of the furniture company Thonet.
Nine polished stainless steel wall pieces. Edition of 12 sets, signed and numbered.
a  75.8 x 55.6 cm / b  56 x 64.4 cm / c  20 x 76.6 cm / d  78.4 x 15 cm / e  74.2 x 42.4 cm / f   79 x 50.3 cm / g  79 x 35.5 cm / h  56 x 64.2 cm / i   50.9 x 78.6 cm

“I am interested in taking apart the structural logic of social and political systems. This process is reflected in my relationship to forms as carriers of meaning and potential. For this project I looked at various curves and forms that are the fundamental basis of Thonet's iconic furniture over the last century and more. I wanted to bring forward the beauty and significance of these isolated elements that are both structural and relational.” – Liam Gillick

Set EUR 10,000

From Wall Works
Wall covered with pattern in acrylic paint, executed by using a 40 x 40 cm (16 x 16 in) or 80 x 80 cm (32 x 32 in) stencil in one of four colors. Overall dimensions according to the wall. Limited to 12 installations, with a signed and numbered certificate giving specific instructions for on-site installation.

Liam Gillick created this edition for our group project Wall Works; it is now a part of the permanent collection of the Neue Nationalgalerie in Berlin.

EUR 12,000

From Wall Works
Object (wood, foam, leather) and wall painting in four colours. Object 97.5 x 210 x 35 cm ( 38½ x 82¾ x 13¾ in), installation size according to the wall. Limited to 10 installations, unique in colour combination, with a signed and numbered certificate.

 

From Wall Works
Silkscreen prints in 16 different colors, pasted directly onto a wall, with optional installation of any works by Halley hung on top of the wallpaper. Wallpaper 76 x 94 cm (30 x 37 in) per sheet; Iris prints 89 x 119.5 cm (35 x 47 in); installation size according to the wall. Limited to 15 installations, all different in configuration, with a signed and numbered certificate.

For his edition Static Wallpaper as for his 1997/98 Museum of Modern Art installation, Peter Halley not only displays his works on the walls, but covers the wall(s) with wallpaper of computer-generated design. There is not a single, fixed form; these works can be realized in a number of different sizes and configurations, all of them equally valid.

EUR 15,000

Wall drawing in latex paint with silkscreen, to be executed according to the artist's instructions and color samples. Limited to 10 installations (+ 2 AP), with a signed and numbered certificate. 

This edition was Peter Halley's first contribution to Schellmann Art's group project Wall Works. He later created a second wall work, Static Wallpaper (1998). Both are now part of the permanent collection of the Neue Nationalgerie in Berlin. 

From Wall Works
Six puzzle elements (MDF hardboard sandwiched between aluminum plates; mirror-polished front), 85 x 60 x 2.5 cm (33 x 24 x 1 in) each, on a white, gray, or black wall, mounted as a unit or displayed randomly. Limited to 15 installations, with a signed and numbered certificate.

In Mona Hatoum's large-scale edition Puzzled, the gaps between the individual fragments come into focus – they point to what is missing, what cannot be fully grasped. Themes such as loss, uprooting and being in-between run through Hatoum's oeuvre and are closely linked to her personal experience of exile. Born in Beirut to Palestinian parents, the artist found herself forced into exile and cut off from her family in Beirut when civil war suddenly broke out while she was on a trip to London in 1975. The reflective surfaces of the puzzle pieces also involve the viewer by fragmenting their own reflections and raising questions about identity, wholeness and the perception of space.

From Wall Works
Wall painting in enamel paint; size variable. Limited to 10 installations, each unique in color combination, with a signed and numbered certificate.
 

This large-scale edition is part of Damien Hirst’s series of Spot Paintings, which are central to his oeuvre. Characterized by a systematic arrangement of uniformly sized, vibrant dots of color in a grid pattern, the dots are meticulously applied in a precise, serial manner, creating a sense of order and repetition. Visually, they evoke the appearance of pharmaceutical pills and thus fit within the artist’s larger body of works related to pharmaceuticals and medicine cabinets. The works explore themes of perception, mechanization, and the relationship between art and science, while also serving as a commentary on the industrialization of art. The serial nature of the paintings reflects Hirst’s fascination with systematic categorization and the impersonal, almost clinical nature of modern life, drawing parallels between the repetition of the dots and the regulated, often repetitive processes within the medical and pharmaceutical industries.

About these works, Hirst has said: “My Spot Paintings are a scientific approach to painting, much like the scientific approach of pharmaceutical companies to life. Hence the title of the series, The Pharmaceutical Paintings.” Further, the artist has explained, “art is like medicine – it can heal. Yet I’ve always been amazed at how many people believe in medicine but don’t believe in art, without questioning either.”

From Wall Works
Two recesses on a wall, with red, blue or green plexiglas or galvanized iron. Recesses 50 x 75 x 25 cm (29½ x 19¾ x 10 in) each; installation size according to the wall. Limited to 12 installations, with certificate, signed by the estate, numbered.

In this large-scale edition, Donald Judd creates a striking contrast through two symmetrically arranged, recessed red rectangles that are embedded into a white wall. The clear linearity and the absence of decorative elements emphasize Judd’s conceptual engagement with structure and materiality. The installation invites the viewer to contemplatively explore the interplay between object, space, and perception.

From Wall Works
Wall painting in three colour variations (red lead or ferric oxide paint), size variable. Limited to 12 installations, with a signed and numbered certificate (gouache, 100 x 70 cm).

This large-scale wall work edition is part of Imi Knoebel‘s Mennigebilder (or Mennige Bilder), a series of works with irregular polygons resulting from the fusion of rectangular shapes. The title Mennige refers to the anti-rust paint the artist used for his early large-format plywood panels, the first color to enter his oeuvre. 
Created for the Wall Works group series, this edition is part of the permanent collection of the Neue Nationalgalerie, Berlin. 

From Wall Works
Wall painting in red lead paint, 164.5 x 197.7 cm (61 x 78 in). Limited to 12 installations, with a signed and numbered certificate (gouache, 102 x 73 cm).

Mennige (Pentagon) by Imi Knoebel is a wall work that uses an irregular pentagon as its central form. The choice of color, the characteristic “red lead” paint called Bleimennige, refers to an industrial primer for steel and iron that Knoebel repeatedly incorporates into his artistic practice.
As a work applied directly to the wall, this edition interacts with the architectural conditions of the space, emphasizing the interplay between autonomous form and spatial context. The clear geometry is not presented in isolation but enters into dialogue with its surroundings, through which Knoebel continues his conceptual engagement with surface, color, and space.

EUR 20,000

From Wall Works
Wall Work. Wall painting in matte latex paint, 171 x 171 cm (67¼ x 67¼ in), limited to 15 installations, with a signed and numbered certificate.

Terence Koh’s edition Rosa Winkel references the historical symbol used to stigmatize homosexuals during the Nazi era and transforms it into a symbol of strength. By consciously appropriating this emblem, he strips it of its original connotation of exclusion and weakness, endowing it instead with a new, self-assured presence. The work reflects on the past while simultaneously standing as a marker of emancipation and empowerment. In this reinterpretation, the former sign of discrimination becomes an expression of identity and pride.

EUR 8,000

From Wall Works
Warm white neon on a black painted wall; configuration of the neon signs variable. Signs approximately 12 x 12 x 4 cm (5 x 5 x 1½ in); installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate.

The wall work edition Sigla, Finnegans Wake is one of several Joyce-based Kosuth works – others include an immense installation at the Irish Museum of Modern Art in Dublin and permanent installations in Tokyo and Lyon. For Sigla, Kosuth created white neon "text" after the sigla (signs) Joyce used in his seminal 1923 works Finnegans Wake to designate characters and their identities. These luminous signals are to be configured freely on a black wall, suggesting a starry night sky.

From Wall Works
Text in black, white or gray paint, 44 x 275 cm (17¼ x 108¼ in), on a white, gray or black painted wall, to be executed using a stencil. Limited to 12 installations, with a signed and numbered certificate.

Joseph Kosuth, known for his conceptual engagement with language and meaning, takes up the formal rigor of philosophical and literary discourse in this edition. By precisely quoting a sentence by a 17th-century French writer and moralist, he merges text and art into a reflection on semantics, authorship, and the transmission of knowledge. The minimalist presentation reinforces the intellectual rigor and points to the central question in his oeuvre: the relationship between sign, reference, and interpretation.

EUR 10,000

From Wall Works
Two steel I-beams and two pairs of shoes mounted on a wall. I-beam 12 x 6 (5 x 2½ in) cross section, length according to the wall. Limited to 10 installations, with a signed and numbered certificate.

This edition by Jannis Kounellis was created as part of the group project Wall Works and is a permanent part of the collection of the Neue Nationalgalerie, Berlin. Kounellis artist conceived the work in such a way that two steel I-beams are cut so that, when installed, the outermost shoes are positioned 8 cm from the edges of the wall, while the two inner shoes are also spaced 8 cm apart from each other. The beams are to be mounted on the wall at a height of 160 cm (measured from the floor to the bottom edge of the beam). The rear half of each shoe must be concealed behind the beams.

EUR 25,000

From Wall Works
"wall drawing" to be written on a wall in the hand of the owner of this artwork, medium and size also to be chosen by the owner. Limited to 10 installations. Certificate: an 8 x 10 in black and white photograph of the installation, which was to be sent by the owner to the artist to have it signed, numbered and returned.
 

As one of the first truly contemporary artists, LeWitt did wall drawings beginning in 1968. Initially they were executed in pencil in his own hand, but soon they were replaced by written instructions and sketches meant to enable any competent draftsperson to execute a wall drawing. This concept confirmed LeWitt's notion of the artist as a thinker and originator of ideas rather than as a craftsperson. Due to the temporary nature of most LeWitt wall drawings the instructions given by the artist function somewhat as do musical scores, and the artist welcomes subsequent performances in other locations.

From Wall Works
Two industrial lamps (cast aluminum with red and green glass) on a mauve-painted wall. Lamps 22 x 11 x 13 cm (9 x 4½ x 5 in), installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate.

This wall work edition is inspired by Pharmacie, an early assisted readymade by Marcel Duchamp. Riding an evening train from Paris to Rouen, he saw in the distance a pair of lit windows. Soon afterward he bought three copies of a banal landscape at an artist supply store and painted a red and green dot on each, suggesting the jars of colored liquids in the windows of French pharmacies. Levine used this minimal artistic gesture as a point of departure for the austere and poetic wall installation of the same title.

EUR 12,000

From Wall Works
Fluorescent light fixtures, daylight white, 46 or 60 cm (18 or 24 in), installed as a frieze along the full length of the wall. Limited to 6 installations, with a signed and numbered certificate.

Gerhard Merz has always strived to continue and refine modernism. Light – the invention of the light bulb – marked a shift from 'darkness' to brightness and enlightenment. For Merz, color, light, and proportion are the essential elements of art.

From Wall Works
Wall painting in cobalt green or ivory black pigment, polished stainless-steel bar. Wall painting 150 cm (59 in) high, width according to the wall; stainless steel 250 x 10 x 10 cm (98½ x 4 x 4 in). Limited to 6 installations, with a signed and numbered certificate.

This edition by Gerhard Merz is a wall installation featuring a minimalist composition defined by stark geometry and precise spatial balance. A broad, dark, horizontal band is painted across the wall, asserting itself as a dominant visual field. At its center, a polished stainless-steel bar vertically bisects the composition, creating a striking contrast between materiality and surface. The reflective quality of the steel introduces subtle interaction with the surrounding space and viewer, reinforcing Merz’s ongoing engagement with architecture, light, and proportion. The work embodies his vision of merging painting with architectural thought, where clarity and austerity become expressive tools.

From Wall Works
Wall painting in Household Gloss Paint. Limited to 20 installations, with a signed and numbered certificate.

This large-scale edition takes its title from Sarah Morris’s seventh film 1972, an intimate portrait of Dr. Georg Sieber, the head psychologist of the Munich police and the Olympic security team at the time of the 1972 attack. Just like in her later Beijing series, the interlocking circles symbolize the iconic Olympic rings.
The work is part of the collection of the Neue Nationalgalerie Berlin. 

From Wall Works
Wall painting in black acrylic paint; size variable, according to the height of the wall. Limited to 15 installations, with a signed and numbered certificate.

This remarkable wall work edition by Paul Morrison features the dramatically enlarged silhouette of a fern, rendered in bold black against a stark white wall. The oversized botanical form dominates the room, transforming the architectural space into a surreal, hyper-natural landscape. Characteristic of Morrison’s approach, the work manipulates scale and contrast to disrupt conventional relationships between figure and ground, nature and artifice. The title – taken from a genus of orchids – adds a further layer of botanical specificity, underscoring the artist’s ongoing engagement with plant imagery as both symbol and structure.

EUR 15,000

From Wall Works
Five signs painted on a wall. Dimensions and configuration variable. Limited to 15 installations, with a signed and numbered certificate.

Matt Mullican’s contribution to the edition series Wall Works features a constellation of five bold, symbolic icons rendered in vivid primary and secondary colors. The work stands as a visual distillation of Mullican’s long-standing exploration of systems of meaning, representation, and classification. Each emblem belongs to his personal semiotic universe – part of a color-coded cosmology in which red, black, yellow, blue, and green symbolize categories such as the subjective, the objective, the world framed by language, and the unknown.

EUR 12,000

From Wall Works
Two different video projections (DVD) on the wall. Installation size variable. Limited to an edition of 9, with a signed and numbered certificate.

Tony Ourlser's wall work edition consists of two Way of All Flesh projections. Enlarged to epic proportions, they document the microcosmic worlds of a bee gathering pollen and earthworms churning soil. The dramatic shift in scale forces the viewer to take notice of two of the frenetic activities which comprise the essential, unceasing industry of nature.

EUR 12,000

From Wall Works
Two halves of a plaster bust on white painted wooden pedestals, to be installed facing each other, spaced 35 cm apart, against a white painted wall. Installation size 169 x 90 x 15 cm (66½ x 35½ x 6 in). Limited to an edition of 10, with a signed and numbered certificate drawing.

Giulio Paolini’s wall work edition Vis-à-vis (Hera) stages a silent encounter between two mirrored halves of a classical plaster cast. The bisected head of Hera – the Greek goddess of marriage, women, and family – is mounted on twin white pedestals positioned directly opposite one another against the wall. In this confrontation, the two identical profiles seem to gaze eternally at one another, enacting a visual dialogue that is at once intimate and abstract. The work continues a line of inquiry Paolini initiated in 1975 with Mimesi, where the mirrored gaze of two classical heads first raised questions about the ontology of the artwork itself. Here, as then, Paolini explores the act of seeing and being seen, turning vision into both subject and medium. The duplication and symmetry suspend the sculpture in a state of timeless reflection, prompting viewers to consider not only the nature of artistic representation but also the moment of encounter – between image and viewer, between subject and object, and between identical selves. Vis-à-vis (Hera) becomes a meditation on identity, repetition, and the fundamental structures through which art manifests itself.

From Wall Works
Five mirror fragments mounted on a wall painted in yellow, green, orange, blue, red or gray. Mirror fragments irregularly shaped and sized; mirror is 150 x 150 cm (59 x 59 in) before fragmentation; installation size according to the wall. Limited to 12 installations, with a signed and numbered certificate.

Michelango Pistoletto on his wall work edition: "A single mirror divided into several parts replicates itself and expands in space in a process similar to cell division. This wall works makes a parallel between the virtuality of the mirror and the reality of biology."

From Wall Works
Wall drawing in black paint or charcoal, and bricks. Size variable but close to the original size of the car depicted. Different models of cars out of which one or several car drawings can be installed. Limited to 15 installations, with a signed and numbered certificate giving specific instructions for on-site installation.

Robin Rhode’s Car on Bricks edition is a wall installation that fuses drawing and sculpture in a characteristically witty and socially charged gesture. A full-scale outline of a car is drawn directly onto the wall in black paint or charcoal, its illusionary presence interrupted only by two stacks of real bricks where the wheels would be – evoking the familiar sight of a stripped vehicle left on blocks in an urban environment. The piece plays with the boundary between image and object, between fiction and lived experience. By combining the ephemeral quality of a wall drawing with the physicality of actual bricks, Rhode transforms a symbol of mobility and status into a static, almost tragicomic scene. As in much of his work, Car on Bricks draws from the visual language of Johannesburg’s streets, reflecting on issues of ownership, disenfranchisement, and everyday survival. The work is simultaneously humorous and poignant, inviting viewers to reflect on the socio-economic realities embedded in the most mundane urban encounters.
This work is part of the collection of the Neue Nationalgalerie Berlin.

EUR 12,000

From Wall Works
Slogan stenciled on a wall in black paint and bullet trash can. Overall size of installation 262 x 221 x 56 cm (103 x 87 x 22 in). Limited to 15 installations, with a signed and numbered certificate.

In this edition, Haim Steinbach integrates text and object for the first time in his practice. Borrowing the instantly recognizable slogan from the Bloomingdale’s shopping bag, he transposes its bold, rounded typography onto the wall, pairing it with a sleek black bullet trash can positioned just beneath the text. Both bag and bin are functional containers, yet through Steinbach’s precise spatial and conceptual arrangement, they become symbols – linked through their utilitarian roles and aesthetic forms. The trash can echoes the curves of the printed slogan, creating a visual and linguistic metonymy that shifts the viewer’s perception from function to form, from commodity to concept. As in much of Steinbach’s work, the installation transforms ordinary consumer objects into carriers of cultural meaning. Here, the tension between consumption and disposal, desire and waste, is rendered with minimalist clarity and subtle irony.

EUR 14,000

From Wall Works
A square of carpet, in red, yellow, blue or hot pink. Size according to the wall. Limited to 15 installations, with a signed and numbered certificate.

From Wall Works
Silkscreen in blue, brown or black printed on one or more walls as a dado. Height 127 cm (50 in), length according to the wall. Limited to 12 installations, with a signed and numbered certificate.

For our Wall Works edition project, Rosemarie Trockel virtually installed her wall piece Prisoner of Yourself in two strikingly contrasting architectural contexts. The first was the salon of Villa Wittgenstein in Vienna, an austere and rigorously designed space conceived by Ludwig Wittgenstein in 1928 – an embodiment of precision, clarity, and restraint. The second setting was the modest interior of a cottage near Ahmedabad, built in 1918 by Mahatma Gandhi, where he lived with his wife until 1930. Here, the spinning wheel becomes a powerful symbol of Gandhi’s movement for Indian independence and the call for local, self-sufficient textile production, free from British colonial control. By placing Prisoner of Yourself in these two charged environments – one shaped by philosophical rigor, the other by political resistance – Trockel draws attention to how space, history, and ideology shape our perception of art. The work becomes a mediator between worlds, quietly interrogating the boundaries between domesticity, autonomy, and artistic expression.

EUR 20,000

From Wall Works
Wall painting in black; size 183 cm (6 ft) tall. Limited to 15 installations, with a signed and numbered certificate.
 

This edition, Kara Walker explains, "is a departure from the bulk of my works which is situated in a fictionalized version of the Antebellum South, which is the hub where profane racial mythologies shake hands with the mundane reality of day to day existence in a racially divided culture. This is a quiet little contemplative piece in which a Negress of Renown dons sheep's clothing, or is dry humped by its filthy little self."

From Wall Works
Wall covered with wallpaper, originally with vintage silkscreen wallpaper (image: Feldman/Schellmann #12), as of 2008 with reprint wallpaper (F/S #12a). For temporary installation in museums or public exhibition spaces only, to be approved by the Andy Warhol Foundation for the Visual Arts, New York.

The first Cow wallpaper was installed at the Leo Castelli Gallery, New York in 1966. Three other color variations were produced, two in 1971 and one in 1976. All of them were published in unlimited editions, of which Warhol signed 100-150 prints in each variation. The Cow image was used as wallpaper in several museum shows.

From Wall Works
Wall work in two colors of adhesive vinyl, dimensions variable. Limited to 15 installations, with a signed and numbered certificate.

Consistent with part of Lawrence Weiner's inscription – EDGE TO EDGE –, this edition is to be installed on a wall from corner to corner or from architectural point to architectural point. Like all the other works from Schellmann Art's group series Wall Works, Aphorism-Archimedes, 2007, is part of the collection of the Nationalgalerie Berlin.