麦克斯 · 赫茨勒画廊与北京博而励画廊、柏林霍尔茨瓦尔特出版社(Holzwarth Publications)共同出版《张伟》。本书收录了何桂彦，汉斯 · 维纳 · 霍尔茨瓦尔特为艺术家撰写的文章， 以及张伟与秦思源的对谈。
“倘若视网膜的“幻觉”经验不再成为艺术家所追求的目标后，艺术创作将重新回到平面，并从平面开始。美国批评家格林伯格认为，19世纪中后期以来，捍卫平面性成为了现代绘画最重要的一个特征[…]。然而，对于张伟来说，二维平面的意义在于彻底摆脱了物象对创作主体的束缚，让畅快淋漓的自我表达成为了可能。从这个角度讲，张伟的抽象从一开始就不以西方抽象艺术为旨归，也并没有将形式的风格化作为追求的目标。相反，他力图消融形式与内容的边界，将形式作为内容[…]。”何桂彦，“ ‘风景叙事’ 与抽象艺术的文化逻辑 -- 浅析张伟的绘画”，选自《张伟》展览画册，博而励画廊 北京|纽约 / 麦克斯 · 赫茨勒画廊 柏林 | 巴黎 | 伦敦 与柏林霍尔茨瓦尔特出版社，柏林，2019, 第16页。
"When artists no longer pursue the goal of recreating the illusion experienced by the retina, art will return to the picture plane and take it as the start. According to the American critic Clement Greenberg, defending flatness has become the most important feature of the modernist painting since the mid-to-late 19th century [...]. However, for Zhang Wei, the significance of the two-dimensional plane is that it allows him to express himself with complete freedom. From this perspective, Zhang Wei's abstraction is not based on Western abstract art, nor does it take the stylization of form as the goal of pursuit. Instead, he seeks to merge the boundaries between form and content, or to consider form as content [...]."
He Guiyan, ‘Landscape into abstraction: on Zhang Wei's painting’, in Zhang Wei, exh. cat., Boers-Li Gallery Beijing | New York / Galerie Max Hetzler Berlin | Paris | London and Holzwarth Publications, Berlin 2019, p. 16
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