Designing a front cover for a two-person show can be a tougher political than visual problem. If you don’t have a good installation image showing both artists on equal ground, you’re likely to end up punting and having no picture at all. Here, we got lucky and found sample works that could be cropped aggressively, printing them in black and overprinting in two match red inks. Oldham’s she-wolf drawing is thrust up against one of Jackson’s cranio-pelvic ceramic constructions, with the title type knitting the edges together, foreshadowing a collaboration that is perhaps not so polite.

As we’ve done in many smaller catalogs, we used the jacket flaps to conserve space, deploying custodial information that would ordinarily command its own internal pages: in this case, the artists’ and essayist’s biographies. Copyright and credits are handled on the back flaps. Half and full title are combined into one.

The double square of the opened folio makes a convenient stage for excerpts from Oldham’s widescreen videos. Here, a frame from her film The Bearwife (2016), shown in greater detail later in the book.

Early pages show tight details of works set against large text and fields of violent color, setting up a sense of close confrontation.

The traditional headline/text hierarchy is subverted here, with the headline floating in its own field of calm, aligned according to its own internal rules: centered, perhaps, but along more than one axis. Note the Victorian fist at lower right: illustrations are woven into the essay’s narrative, presented as closely as possible to their references, which occasionally leads to a jump of two to three pages.

Statement pages are calmer, composed in two columns, with plenty of room for epigraphs and the like. And yet something strange is still happening in the header.

Jackson’s work is shown completely silhouetted from its environment, presented like a medical specimen with no external shadows, and shown in multiple orientations: here, overhead and lateral views of her piece Bark at the Moon (2016).

Objects present in relative scale across the narrative. Jackson’s Cat Bite (2016), shown here, is at the same relative size as Bark at the Moon on the previous pages.

Video work can be hard to show in a book. The page structure contains a large exterior margin, reserved to accommodate longer sequences from Oldham’s films: here, the general arc of The Bearwife (2016) . . .

 . . . and here, a full-spread synopsis of Birdmaker (2016).