also called "Untitled#403 (Museum box)" "In the late 1970s, Lawler incorporated photography into her art practice and shifted her focus to the vagaries of the aesthetic experience of existing works of art. She adopted certain principles of conceptual art—involving the viewer as a participant in the work, for example, or refusing to produce further objects—and refined and expanded on them. Lawler’s highly complex photographs have repeatedly managed to examine the conditions of the exhibition, reception, and circulation of artworks, thereby analyzing their fate as things, their lives as objects. Her works give insight into how the meaning of the photographed works changes with their respective environments, forms of presentation and exhibition history. They make visible their transformation into objects of financial investment and highlight how the public interest inherent to any work of art clashes with its entry into mostly private art collections. It isn’t just in her photographic work that Lawler explores art’s economic regime down to its smallest, seemingly banal details. She also continues to produce ephemera including matchbooks, gift certificates, postcards, posters, and souvenirs such as drinking glasses or paperweights. Invoking her signature, subtle humor, she underscores how the art apparatus relies on a loose network of advertising materials and other articles that help determine how an artwork is recognized and valued." - Sprüth Magers, "Louise Lawler"

AA.VV., GROSENICK, Uta, curated by, "Le donne e l'arte nel XX e XXI secolo", Taschen,194

Sitography: SPRÜT MAGERS, "Louise Lawler", www.spruethmagers.com
spruethmagers.com/artists/louise-lawler/

SPRÜT MAGERS, "Louise Lawler", www.spruethmagers.com
spruethmagers.com/exhibitions/louise-lawler-hand-on-her-back-and-other-pictures-cologne/

SUNDELL, Margaret, "Louise Lawler", www.artforum.com, 2000
www.artforum.com/events/louise-lawler-175847/