The most interesting aspect of this project was that the exhibition was conceived as part of a class in curatorial practice, so I tried to make the book’s design relate to the curatorial themes: in between and indeterminate. These ideas led directly to the typefaces chosen, the details of the plates running along the edge of the page, the construction of the grid, and other elements. This project was especially rewarding because seldom do conceptual and formal concerns so effortlessly mesh.

After the many lavish oversized art monographs we’ve seen, this modest, almost self-deprecating book is a breath of fresh air. The design moves—the simple type and the organizing frame (sometimes made explicit but always present)—are few but effective, a reminder that often, in book design, less can be more.