A minimalist before the term was established, Gordon was a functionalist too. His gallery spaces were designed to work for the art, not to enhance his own reputation as an architect. “Beinahe nichts” was one of Mies’s directives. This means “almost nothing”. Quietly and unostentatiously, Max Gordon created a great deal more.

- Stephen Bayley, The Art Newspaper

This delightful book falls outside most familiar categories. More than anything, it’s a series of fond tributes to a quirky, independent, personally flamboyant, professionally unostentatious architect, who was both stubborn and collaborative. His minimalist plans speak to the needs of the art they were designed to accommodate. They don’t steal the show. Most of all, the book offers the gestalt of Max Gordon, the mind behind some of the late 20th century’s most important exhibition spaces, from Saatchi’s first gallery in London to Tate Modern’s Turbine Hall.

- Barbara MacAdam, ARTnews