Around 1990, artist Christopher Wool broke onto the New York scene like a punk-age Pollock with a series of paintings that stripped clichéd phrases down to their punchy skeleton, like Apocalypse Now's "Sell the House, Sell the Car, Sell the Kids." Working from a mixed bag of tools that has since included brushes, silkscreening, collage and even Photoshop, his output has covered everything from deceptively decorative floral patterns to elegant spray-painted doodles. In addition to serious critical respect (of the Artforum kind), Wool's street cred and low-brow modernity have ensured a steady fashion following. For spring '09, Raf Simons was inspired by those word pictures, while cultural scribe Glenn O'Brien is another one of Wool's famous fans. Fittingly, O'Brien contributes a memorable essay to the mammoth Wool monograph, published by Taschen. A luxurious edition of 1000 numbered and signed copies, "Wool" is priced at a decadent $1000, but in exchange, you get close to 500 pages of large-scale reproductions chronicling every phase of the artist's oeuvre, along with essays, production Polaroids and, above all, a rich taste of downtown New York's gritty-glory art days. —Suleman Anaya