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With DVD.
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- Gerhard Richter, Kawamura Memorial DIC Museum of Art, Sakura-shi, Japan, 2005
- Gerhard Richter: Painting as Mirror, 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2005


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Exhibition Gerhard Richter, K20 art collection North Rhine-Westphalia, Duesseldorf, 12 February - 16 May 2005; Staedtische Galerie im Lenbachhaus und Kunstbau, Munich, 4 June - 21 August 2005

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100 Bilder is a faithful reprint of the intimate, cloth-bound book Richter created in 1996 as a non-traditional anthology of his oeuvre.
Designed by the artist himself, this publication gives a rare insight into one of the most intensive work periods (1995–1996) of Richter’s life.
It commences by introducing pictures, which having been kept in the artist’s studio had never been on view. Although mostly focussing on abstract works, an intimate cycle of eight photo paintings in a smaller format is also included: an autobiographic cycle depicting his third wife Sabine Moritz, a painter herself, and their first son Moritz in a Madonna-like pose.
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3rd edition of the exhibition catalogue from 1989.
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This is the 3rd edition of the catalogue re-issued on the occasion of the exhibition Gerhard Richter. 18. Oktober 1977 held at the Staatlichen Kunstsammlungen, Galerie Neue Meister, Albertinum, Dresden from 19.03.2005–02.01.2006.
The catalogue contains excerpt from Parkett no. 19, April 1989: Jan Thorn-Prikker: Gerhard Richter.
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Exhibition catalogue in Greek and English, Frissiras Museum, Athens, September 20 - December 4, 2005.
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Accompanying the exhibition Gerhard Richter. Arbeiten auf Papier / Works on Paper at Mike Karstens Graphics in 2005 this publication documents the printmaking collaboration of Richter and the printer Mike Karstens.
The series consisting of ten works originates from the artist's keen interest in molecular and atomic structures, and especially, images taken with a scanning electron microscope.
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The book Gerhard Richter. Image after Image accompanied an eponymous exhibition at Louisiana Museum of Modern Art in Humlebaek that honoured Gerhard Richter's œuvre with a large scale exhibition for the first time in Denmark.
In the book the works are divided into topical chapters: portraits, landscapes, constructions and abstract painting are provided with explanatory texts.
Essays by Poul Erik Tøjner and Troels Wörsel, as well as a biography let Richter's artistic development become comprehensible. Studio photographs by Manfred Leve, from 1967 until 1999, also allow insights into Richter's daily work routine.
Text contributions by Poul Erik Tøjner, Mette Marcus and Troels Wörsel.

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- Gerhard Richter, Städtische Galerie im Lenbachhaus, Munich, Germany, 2005
- Gerhard Richter, K20 Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, 2005
This catalogue raisonné records Richter’s works in the years 1993-2004.
In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.

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The book Gerhard Richter. Image after Image accompanied an eponymous exhibition at Louisiana Museum of Modern Art in Humlebaek that honoured Gerhard Richter's œuvre with a large scale exhibition for the first time in Denmark.
In the book the works are divided into topical chapters: portraits, landscapes, constructions and abstract painting are provided with explanatory texts.
Essays by Poul Erik Tøjner and Troels Wörsel, as well as a biography let Richter's artistic development become comprehensible. Studio photographs by Manfred Leve, from 1967 until 1999, also allow insights into Richter's daily work routine.
Text contributions by Poul Erik Tøjner, Mette Marcus and Troels Wörsel.

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The publication Gerhard Richter: Paintings from 2003–2005 is based on an exhibition at Marian Goodman Gallery in New York in 2005.
Numerous artworks provide an overview of this creative period, in which the use of the colour grey increasingly dominates, leading to the 2003 series Silicate, which depicts black-and-white enlargements of microscopic structures and forms one of the focal points of the exhibition. An interview of Benjamin H. D. Buchloh with Gerhard Richter particularly centres on this series. A second focus is on the dark-coloured abstract paintings from 2005.
Text contributions by Benjamin H. D. Buchloh and Dieter Schwarz.

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The catalogue Gerhard Richter. Übersicht accompanies the eponymous exhibition of the German Institut für Auslandsbeziehungen (IfA), which has been composed by Gerhard Richter himself.
The exhibition has been touring different countries for several years and presents Richter's œuvre abroad. The 27 selected works offer an insight into nearly every creative phase of the artist. The exhibition does not claim to show Richter's work comprehensively, the title rather refers to the exhibited piece of work Overview [Editions CR: 93] of 1998.
With a preface by Götz Adriani and text contributions by Dieter Schwarz.

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- Gerhard Richter, Städtische Galerie im Lenbachhaus, Munich, Germany, 2005
- Gerhard Richter, K20 Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, 2005
This catalogue raisonné records Richter’s works in the years 1999-2004.
In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.

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- Gerhard Richter: A Private Collection, Museu do Chiado, Museum nacional de Arte Contemporanea, Lisbon, Portugal, 2004
- Gerhard Richter: A Private Collection, Centro de Arte Contemporáneo de Málaga (CAC Málaga), Málaga, Spain, 2004
Catalogue accompanying the exhibition Gerhard Richter. A Private Collection held at the Centro de Arte Contemporáneo de Malaga, Spain (January 16 – April 18, 2004) and the Museu do Chiado, Museum Nacional de Arte Contemporanea, Lisbon, Portugal (April 29 – June 27, 2004).
The collectors Georg and Ingrid Böckmann have amassed Richter works encompassing almost his whole career, starting back in the 1960s. All genres from portraits, to landscapes, to still lifes, to geometric colour charts, to his famous abstract compositions.
As this collection has proved to be so extensive, it gives valuable insight into all aspects of the artist's œuvre. Known for guarding his privacy and being scarce with this remarks regarding his work, the statements and interviews contained in the book clarify the painter’s opinion towards art and his newfound approaches and formulations.
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Gerhard Richter im Albertinum Dresden was published to coincide with the opening of the Gerhard Richter Rooms at Galerie Neue Meister in 2004.
More than 40 permanent loans allowed the Dresden Albertinum to present distinctive examples of Gerhard Richter's artistic development from 1963 to 2004. For the Dresden-born Richter, who studied at the Dresden Academy of Fine Arts this exhibition closes a circle: while he learned from the Old Masters at the Gemäldegalerie as a student, he is now exhibited in their vicinity at Galerie Neue Meister (The New Masters Gallery). The book documents all three Richter Rooms. An essay by Jürgen Becker is completed by an interview, which Jan Thorn-Prikker conducted with Gerhard Richter.
With a foreword by Martin Roth and Ulrich Bischoff.
