In the words of Peter Schjeldahl, writing recently in "The New Yorker" about the exhibition "No Problem: Cologne/New York 1984-1989" at David Zwirner in New York, "the show's cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era." Canonizing that moment, this seminal publication examines the latter half of the 1980s through the lens of the art scenes in Cologne-arguably the European center of the contemporary art world at that time-and New York. While a number of established Cologne-based gallerists, including Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner and Rudolf Zwirner, had already begun shaping the European reception of American art in the previous decade, the 1980s marked a period during which art being produced in and around Cologne gained international attention. A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler and Monika Sprüth showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel and others. These German artists were exhibited alongside artists such as Robert Gober, Jeff Koons, Richard Prince, Cindy Sherman and Christopher Wool. Conversely, the work of German artists was presented in New York, with breakout exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Luhring Augustine and other significant venues. Important museum exhibitions that explored work on both sides of the Atlantic also set the tone for this dialogue, among them "Europa/Amerika" (Museum Ludwig, 1986) and "A Distanced View" (New Museum, 1986). Big, bold and vibrant, this Pentagram-designed publication revives the conversation, reproducing in full color every one of the over 100 artworks by 22 international artists included in this massive exhibition-one of the largest in David Zwirner's history. The book also features new scholarship by Diedrich Diederichsen and Bob Nickas, an illustrated timeline for both cities and compelling archival material-from documentary photographs from the period and reproductions of Cologne's historic "Spex Magazine" to reviews of exhibitions from the period. This catalogue encapsulates the energy, heart and "dissonance of styles"-in the words of Schjeldahl-embodied by this fecund moment in global art history.