Darren Bader (b. 1978, Bridgeport, CT) studied filmmaking and art history at NYU (BFA, 2000). He lives and works in New York and in transit. Bader’s conceptual hobbyhorses include: word works, pairings, impossible sculpture, misattribution, object fetishism, and trash sculptures. His exhibitions are often collaborative in nature, exploring and questioning the interconnectedness of seemingly disparate objects through complex (re)arrangements, surprise juxtapositions, and absurd associations. Institutional solo exhibitions include fruits, vegetables; fruit and vegetable salad, Whitney Museum of American Art, New York, NY (2020); (@mined_oud), Madre, Naples, Italy (2017–18); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); Where Is a Bicycle’s Vagina (and Other Inquiries), or Around the Samovar, 1857, Oslo, Norway (2012); and Images, MoMA PS1, New York, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including Apparition, PHI Center, Montreal, Canada (2021); Mirage: Contemporary Art in Augmented Reality, UCCA Center for Contemporary Art, Beijing, China (2020); the 58th Venice Biennale, Venice, Italy (2019); Stories of Almost Everyone, Hammer Museum, Los Angeles, CA (2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13éme Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); The Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Antigrazioso, Palais de Tokyo, Paris, France (2013); Empire State, Palazzo delle Esposizioni, Rome, Italy (2013); Greater New York, MoMA PS1, New York, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA (2008).

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art. Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes. Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.