In addition to his important work as a painter, Ruscha is considered to be one of the significant figures in the field of artists’ publications. Between 1962 and 1978 he published 16 works, which remain highly influential as early examples of photo-publications, defying the conventions of art publishing to date with both non-conventional formatting and subject matter. First created in small (sometimes signed) editions, books gained popularity as they found their way to readers on the shelves of bookstores like Printed Matter, selling for several dollars a piece. In 1962 Ruscha self-published his first book, Twentysix Gasoline Stations, under his imprint National Excelsior Press. Considered to be one of the very first so-called “modern” artists’ publications (predated perhaps by works from Warja Lavater and Dieter Roth), the book delivered exactly what Ruscha promised in the title; a photo series showing gasoline stations encountered by the artist. Each of the 26 images, taken on a drive from Los Angeles to Texas, is notable only for its various if mundane particulars; the angle of the shot, the presence of people and movement of the vehicle. His other works to follow, including Nine Swimming Pools and a Broken Glass, Various Small Fires and Milk share a similarly plainly-stated aesthetic. In the case of Various Small Fires, 1964, Ruscha presents black and yellowish images showing burning newspaper, a book of matches, a cigarette, cigar and other contained flames. The final image in the book is a full glass of milk placed next to a porcelain plate, as though to offer some resolution. Included among the selection are various printings of Twentysix Gasoline Stations, Nine Swimming Pools, Various Small Fires, Thirtyfour Parking Lots, Royal Road Test, Records, Crackers, Baby Cakes, Business Cards, Metro Plots, Hard Light (with Lawrence Weiner) and the Ruscha-designed Documenta 5 catalog.