“Marion Baruch’s work circles emptiness. Viewed in terms of form, the artist prefers working with gaps, revision, transparency, omissions. She herself speaks of ‘void,’ but doesn’t mean the spiritual nothingness of James Turrell, Lucio Fontana, or others. This emptiness is rather free space in a literal sense, which is to be understood as an invitation to the public to enter this space.”—Fanni Fetzer
“Marion Baruch’s artistic choices have been characterized by the unusual importance she gives to encounters and obstacles she has met with in her personal life. A few biographical details suffice to explain changes of direction she has taken in the artistic sphere, or the strategies she has adopted to maintain her independence as a woman and artist. And it is perhaps for this reason that Marion Baruch’s path has, although remaining on the edges of the art system, actively affected that system’s substance.”—Noah Stolz
Marion Baruch’s first comprehensive monograph accompanies her first retrospective, innenausseninnen, presented by Kunstmuseum Luzern; MAGASIN des horizons, Grenoble; les Abattoirs, Toulouse; Muzeul de Arta, Timişoara; and Museo MA*GA, Gallarate. This richly illustrated edition presents a broad span of Baruch’s oeuvre, from the 1960s to her recent textile production. It includes three essays—by Fanni Fetzer, Martin Herbert, and Noah Stolz—as well as polyphonic focus texts by curators, friends, and art historians from the artist’s circle, all providing compelling insights into her works and methods.