One constant in the history of Texte zur Kunst has been our close engagement with painting, a practice whose very locus might be called into question: we have scrutinized the boundary between a painting’s interior and exterior and the specific materiality and semiotics of the painted canvas. As many writers and painters who have contributed essays to this journal have argued, painting comes into being off the canvas no less than on it. Albert Oehlen’s practice has been seminal to this debate: not only does he take painting seriously as a distinctive language and probe the limits of its code, his art also finds symbolic ways to explode painting’s framework. His edition for our 100th issue was conceived specifically for our special subscribers and to honor (and symbolically remunerate) the contributors to the issue and the participants of our anniversary event. Each piece of this edition, “Painting reproduction, cropped, and personalized,” is made from a different picture taken from Oehlen’s comprehensive “collector’s edition” Taschen catalogue. The artist has selected reproductions of individual works and trimmed them, thereby transforming them into what could be taken as new works entirely. The addition of the name of the recipient, which Oehlen collages with the clipped painting, makes each edition piece into a work that is “custom-made.“ The composited piece is set behind glass and shipped in a readymade décor frame.