Other Means is a design company that plays with words to shape meaning.


A comprehensive visual archive of the textile patterns, materials, and products produced in the first 15 years of the acclaimed American accessory company BAGGU.

e-flux serves a diverse international public engaging in the discourse around art, architecture, film, and theory, starting from their email announcements that hit the inboxes of over 150,000 subscribers daily. Our redesign drastically improves the user experience by unifying the site’s many offerings under a consistent visual language that increases legibility, clarifies information hierarchy, and embeds larger images and videos across their articles and announcements.

James Fuentes Press is a publishing imprint created to provide a platform for new and established artists. Each book in the series adheres to a consistent trim size, cover, and interior template that evokes an era of accessible paperback book publishing.

Never shying away from the seminal, the sensual or the political, Armando Alleyne’s lifetime of paintings tell a story of how we are subject to our city and how in it we can search for the tools to heal. The artworks are presented alongside a series of snapshots and personal anecdotes that memorialize works that have sold and people who are no longer with us. Published by Edition Patrick Frey.

Matthew Marks’ website presents the gallery’s artists, exhibitions, and an online shop for their books, posters, and editions, in a consistent visual language that pulls from the gallery’s thirty-year design history. A flexible content management tool allows them to efficiently build unique online exhibitions that display additional images, research, and scholarship about the artist and their work.

The Institute for Studies on Latin American Art’s new visual identity draws on Latin American contributions to Modernist design history that are not often accentuated. A bold color system is paired with a new typeface reminiscent of the inventiveness of South American concrete poetry. As can be read in the “L” shape of the logo, sometimes a strict grid allows for a play on words.

Debuting a visual identity for Urbit—a new operating system and peer-to-peer network—at their second annual conference in Miami.


The materials, pacing, and distribution of texts in Arlene Shechet: Skirts calls attention to the artist’s own process in this exhibition catalog for Pace.

In 2017, Other Means was commissioned to design the visual identity, building signage, and seasonal campaigns for The Shed, a new cultural institution of and for the 21st century. The logo—designed by the artist Lawrence Weiner—was the starting point for a visual language composed of shapes and lines that organize information, and is put into motion to create dynamic compositions that reflect each program and recall the movement of the building.

Artnet has been the industry leader in art market data and news since 1989. Their new visual identity retains their ’90s-tech-era lowercase capitalization, refines their recognizable orange color, and develops a new typographic language that clarifies their different businesses and creates consistency across advertisements, daily emails, and their influential intelligence reports.

Other Means has collaborated with the Institute of Contemporary Art at the University of Pennsylvania since 2013. Our relationship began with the redesign of ICA’s visual identity and website to celebrate their fiftieth anniversary and has continued with us designing all of the institution’s print and digital communications, exhibition materials, and environmental graphics.

Forensic Architecture uses the tools of architecture and investigation to build cases against war criminals and human rights abuses, and stage public exhibitions that distribute their findings and encourage conversation while raising questions about the role art and artists play in society. In 2017, Other Means developed a flexible exhibition design strategy for a multi-venue survey of their work.

We regularly teach, lecture, and give workshops; most recently at Yale School of Art, Rhode Island School of Design, Virginia Commonwealth University, Maryland Institute College of Art, and with ECAL/University of Art and Design Lausanne. And when pandemics don’t disrupt them, we co-organize Typography Summer School and Easy Lessoning.