8.5 × 10 inches, 112 pages, hardcover
ISBN 978-1-941753-82-8

Design by IN-FO.CO

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In this monograph of recent Roger White paintings the artist returns to California for his subject matter.

"I grew up in Salinas and learned to paint by doing landscapes en plein air, so the body of work feels like an ambivalent return. Affection, distance, nostalgia, concern. Some of the scenes are personal: there’s my father, a family gathering, and friends in an apartment. Others, less so: a crowd at the beach, a scale model of a Spanish Mission, and the beaching of a whale. The backyard of the house seen from above, the one with the blue car, was my neighbors'. I took pictures when they were moving out. Dry grass, real estate, recycling bins, Honda Civic.”
–Roger White

Accompanying the images are two splendid essays by Helen Molesworth and Ross Simonini that illuminate connections and correlations that lay just beneath the surface of White’s deceptively straightforward canvases.

7.5 × 9 inches, 484 pages, softcover
ISBN 978-1-941753-81-1

Design by IN-FO.CO
Published by Inventory Press & Institute for Contemporary Art at Virginia Commonwealth University

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This book presents the work of artists, curators, collectives, and scholars who address contemporary art as a site of learning in the twenty-first century. Building on earlier histories of education as civic service for the common good, it will address a recent history of the last 25 years, as well as the question of the future of art education — as a practice that unfolds both in and beyond school. This is in the context of cutbacks in humanities and arts programs and an emphasis on STEM as an emphasis in teaching, as well as the classroom as a site for social and political debates. The book takes a global perspective and, while it isn’t intended to be a comprehensive survey, constructs an impressionistic constellation of case studies to see how innovations in education have had a dynamic relationship with artistic practice, alternative arts organizations, universities, and museums.

Some questions that the book addresses include: how can alternative organizations and traditional institutions learn from one another? How have exhibition platforms created space for artists to generate learning environments? How have these practices changed assumptions about art institutions and artistic practice? Finally, how can we think about the economic, ecological, and institutional sustainability of all of these practices?

7.75 × 9.5 inches, 124 pages, hard cover
ISBN 978-1-941753-83-5

Design by IN-FO.CO
Published by Inventory Press, San José Museum of Art & Kohler Arts Center

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Featuring selections from six major series to date as well as new work made in Laos, The Imaginative Landscape traces Pao Houa Her's ever-deepening exploration into concepts of home and belonging. In the exhibition and catalogue, she brings together formal and vernacular photographic languages, working in black-and-white and color photography that takes the form of lightboxes, wheat-pasted images, and video, in addition to traditionally framed images. Rooted in the experience of her Hmong community, an ethnic group indigenous to Laos, and shaped by family lore passed down by her elders, Her investigates the potential of photography to create nonlinear narratives, exploring construction in both physical form and metaphor.

Accompanied by essays on the work by co-curator Lauren Dickens and Alexander Supartono, and an interview with the artist by co-curator ​​Jodi Throckmorton, this catalogue explores Her’s work in genres of portraiture, landscape, still life and vernacular, as she photographs herself and those people and places around her through the tinted lens of diasporic longing, where Minnesota and California become stand-ins for Laos, plastic florals replace living tropics, ersatz and real meld together.

9.25 × 12.8 inches, 96 pages, hardcover
ISBN 978-1-941753-84-2

Design by Info and Updates
Published by Inventory Press, Speed Art Museum, Santa Barbara Museum of Art, & Asia Society Texas

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Outerworlds is the first monograph to trace the life and career of Iraq-born, Kentucky-based artist Vian Sora. Merging global art traditions, her paintings engage themes of war, exile, survival, and renewal through richly textured, emotionally charged compositions. Surveying a decade of artistic production, this volume follows Sora’s path from Baghdad to the American South, illuminating a practice shaped by both personal and geopolitical upheaval. Moving seamlessly between abstraction and figuration, her paintings draw on ancient iconography and lived experience to explore the layered complexities of identity. Sora’s work is at once intimate and political—a testament to transformation and resilience.

9 × 9 inches, 144 pages, hardcover
ISBN 978-1-941753-93-4

Design by Ben Denzer

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In the early 1990s, when personal computing was young and artificial intelligence was not yet in the popular imagination, artist Janet Zweig created something extraordinary and prescient: sculptures that married early computers, simple algorithms, and dot-matrix printers with mechanical parts to auto-generate streams of poetic text that moved objects.

Essays by Thyrza Nichols Goodeve, Jena Osman, and Johanna Drucker reveal how Zweig's witty contraptions were an early premonition of our current technological reality: an atmosphere of disinformation, fake news, and digital hallucinations. As Osman writes: “AI robs us of our imaginative faculty. Zweig’s sculptures, by contrast, gave us what we still very much need: opportunities for explorative play, the recognition of our own thought processes…and the potential to see the world as a site for creative collaboration.”

Richly illustrated, Recursive Apologies: Janet Zweig’s Text Generating Sculpture presents these works alongside the sources that inspired them. With a recursive design by Ben Denzer that mirrors the very concepts it explores, the book offers both a visual archive and a reflection on our ongoing relationship with thinking machines.

8.5 × 10 inches, 112 pages, softcover

ISBN 978-1-941753-96-5

Design by IN-FO.CO
Co-published by Inventory Press & Mississippi Museum of Art

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8.75 × 11.75 inches, 152 pages, hardcover
ISBN 978-1-941753-94-1

Design by Valentijn Goethals
Published by Inventory Press, Kunsthal Gent, and Roma Publications

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In 2023, American artist Ben Thorp Brown opened Cura’s Garden, a long-term, immersive exhibition set in the medieval garden of Kunsthal Gent, a former Carmelite monastery. Expanding on the Roman myth of Cura, the project brings together a theatrical assortment of trees and other flora, fog, sculpture, and sound—elements that cohere into a dense, indeterminate sensorial experience. This richly illustrated volume, organized around the seasons, features vivid documentation across two years of the garden’s young life alongside linocut botanical prints by the artist’s mother, Cary Thorp Brown.

New essays by Laura McLean-Ferris, Laurie Cluitmans, Robert Wiesenberger explore the conceptual, formal, art historical, and affective valences of Cura’s Garden, and a roundtable conversation between Brown and Laura Herman, Jan Minne, and Valentijn Goethals considers the history and development of the project, from the artist’s 2019 film Cura, a precursor to the garden, through present concerns around the maintenance and unfolding nature of this site-specific work.

7.5 × 10 inches, 304 pages, softcover
ISBN 978-1-941753-88-0

Design by IN-FO.CO
Published by Inventory Press

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This volume critically documents, contextualizes, and theoretically elaborates the ongoing resonance of artist Rafael Lozano-Hemmer’s work Border Tuner | Sintonizador Fronterizo (2019). A large-scale, participatory art installation composed of powerful searchlights forming “bridges of light” that opened live channels for direct communication across the U.S.-Mexico border, the project forged a platform for a wide-range of local voices between El Paso, Texas and Ciudad Juárez, Chihuahua at a time of fraught border rhetoric, militarized surveillance, and nationalist violence. In opposition to the modes of control and the regulation of bodies profusely developed along the border line, Lozano-Hemmer proposed a momentary alternative. Border Tuner | Sintonizador Fronterizo made visible and audible the existing relations, interdependence, and co-existence between the two cities that create the largest binational metropolitan area in the Western Hemisphere. To this extent, it is a critically important artistic work that strove to cultivate relations beyond the limits and perpetual violence of the nation-state.

The edition’s twelve essays – composed by a range of historians, theorists, curators, artists, and cultural workers – enter into convivial exchange with the voices and language, bodies and performances of those who activated Border Tuner | Sintonizador Fronterizo. In various turns, the writings contextualize the work, its installation, and its utilization before moving onto a wider-scale assessment of its geopolitical site and moment. Following this, the trajectory of the essays turns to focus on previous instantiations of Lozano-Hemmer’s artistic experimentations with light and shadow, communicational infrastructures, and the varying cultural-political specificities of their assembly. From this constellation, the essays then examine the art at the border line and in the borderlands, more generally. Here, the writings critically assess the project through several perspectives, such as Indigenous sovereignty and its relation to nation-states, modes of outsider extractivism within the frame of local cultural production, within the art historical context of border arts more generally, as well as in relation to the cultural-technological avant-gardes of earlier generations in Mexico, and through the frame of the state’s militarized structures of surveillance in the region. Finally, the edition turns to consider the legacy of Border Tuner | Sintonizador Fronterizo, though not by focusing on the significance of the work itself, but by thinking with the resonance of the actions of its production, the voices of its platforms, the discursive breakthroughs of its forums, and the material infrastructure it established to support border arts practices.

5.25 × 8 inches, 320 pages, softcover
ISBN 978-1-941753-87-3

Design by Scott Vander Zee

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Jan Tumlir’s The Endless Line furnishes us with a general theory of gesture alongside a complementary, and slightly more nuanced, theory of aesthetics. The collateral theories look both backwards and forwards, reconciling the thoughts of such figures as Immanuel Kant and Clement Greenberg, on one end, with those of André Leroi-Gourhan and Gilbert Simondon, on the other. Along the way, philosophical musings on the nature and purpose of art are correlated with the realities of our contemporary technocratic condition. A crucial insight of this book is that gestures bridge the gap between the human and nonhuman spheres.

The conventional progression of figuration is insistently problematized, as Tumlir demonstrates that gestures do not have clean edges and cannot be reduced to purely subjective constructs. These are forms of expression that emerge from individual interiors only to receive the imprint of their worldly surroundings. From this perspective, the gestures that take shape within painting cannot be confined to the medium; they travel between a wide range of media; and Tumlir maps aesthetic philosophy unto the social sciences covering linguistics, information theory, media studies, and cybernetics. Tumlir’s ambitious book tracks forward and backward through time as the ultimate gesture, is that of searching. 

7.5 × 9.45 inches, 580 pages, hardcover
ISBN 978-1-941753-89-7

Design by Nick Massarelli & Mark Owens
Published by Inventory Press & Vleeshal Center for Contemporary Art

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Grand Gestures is a visual overview of a decade of Amanda Ross-Ho’s career. Presented chronologically, it documents the artist’s techniques of scaling and replication, and the use of found objects, illustrating how she uses these methods to transform everyday items into works that explore themes such as loss, time, and preservation. Ross-Ho’s interest in manipulating perceptions of time and space, often through theatrical installations, reveals the relationship between art, labor, and systems of production. An essay by critic Catherine Taft examines Ross-Ho’s conceptual approach to archives, materiality, and time. By acknowledging the incompleteness of archives, including in her own, Ross-Ho integrates the inevitability of absence into her work, raising questions about how we document and preserve history.

A conversation between the artist and book editor Roos Gortzak offers additional insight into her work, labor, systems of production, and the making of this publication.

7.5 × 9 inches, 192 pages, softcover
ISBN 978-1-941753-91-0

Design by Berger studio & de Mars

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Fabienne Lasserre: Entre chien et loup is both a catalogue and artist book, bringing together three essays, a conversation, and numerous images of the artist’s work, process, and inspiration. Entre chien et loup (an expression for twilight), speaks to the way Lasserre’s work defies easy categorization, hovering around, across, beyond, and beside painting and sculpture. For Lasserre, abstraction is a means to privilege lived and felt experience, implying powerful and fertile political metaphors. Contributions by curators Camila Marambio and Dean Daderko, art historian Nell Andrews, and artist Kristine Woods, all presented in both English and French, provide intimate and lyrical weaving of viewpoints on materials, the senses, resistance, and queer and feminist viewpoints.

5.375 × 8.25 inches, 400 pages, softcover
ISBN 978-1-941753-71-2

Design by IN-FO.CO

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“Visual communication encompasses drawing, photography, three-dimensional modeling, and film; abstract and realistic forms, static and moving images, simple and complex ones as well. It extends to questions of visual perception such as the relationship between figure and ground, camouflage, moiré patterns, optical illusions, illusory motion, mirages, the persistence of vision, and afterimages. It includes every aspect of graphics, from the design of typographical fonts to newspaper page layouts, from exploration of the limits of word legibility to the techniques that facilitate the reading of texts. All these facets of visual communication share something in common: objectivity.”
—Bruno Munari

Design and Visual Communication—the first-ever English translation of Bruno Munari’s extraordinary Design e Comunicazione Visiva (1968)—remains an important guide to bridging design education and everyday life. Published after Munari served as visiting professor at Harvard’s Carpenter Center, Design and Visual Communication takes over fifty lessons, class materials, and even letters home in which he describes life in America, and transforms them into a book about the future of art, architecture, and design. Conceived as a living volume, the book was written as inspiration to current and future designers to push beyond the past, however recent, and develop new tools to see and understand tomorrow’s world.

The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.

4.5 × 7 inches, 240 pages, softcover
ISBN 978-1-941753-70-5

Design by IN-FO.CO

“But isn’t imagination also fantasy? And can’t fantastic images also assume the form of sounds? Musicians speak of sonic images, sound objects. How does one invent a fish tale, an air-cooled engine, a new plastic?… fantasy, invention, creativity think; imagination sees.”
—Bruno Munari

Never-before translated into English, Bruno Munari’s Fantasy (Fantasia, 1977), invites the reader to explore their own imagination, creativity, and fantasy through a journey in Munari’s mind and work experience. His theory of creativity, developed in conversation with the Reggio Emilia approach and the work of Jean Piaget, foregrounds the book’s journey through Munari’s own design processes, and his work for clients and with children.

By turning life and work into a classroom, Munari unlocks a path through imagination in order to access his, and in turn our, deepest sense of play. The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.

6.75 × 9 inches, 104 pages, softcover
ISBN 978-1-941753-77-4

Design by Ella Gold
Published by Inventory Press

The Work and the Water: Labor and Landscapes Along the Erie Canal, by Matthew López-Jensen, is a work of environmental social practice centering the sites of unseen labor required to keep the Erie Canal, a 524-mile inland waterway in upstate New York, operational. In addition to a contextualizing essay by art historian Kim Beil, over 40 photographs are accompanied by commentary from the 400+ employees who work on the canal year-round, often out of view, and in hazardous conditions. As the first artist-in-residence with the canal in its 200-year history, López-Jensen visited every lock in the system from Buffalo to Albany, from Whitehall to Seneca Falls. The archive of images he created helps communicate the potentials of the canal as a site for environmental restoration while also conveying the scale of this colossal piece of infrastructure that transformed the region in ways that are still felt today.

6 × 9 inches, 176 pages, hardcover with 12.5 × 18 inch poster
ISBN 978-1-941753-69-9

Design by Omnivore
Co-published by Inventory Press & ONE Archives at the USC Libraries

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“Wrapped in luxe maroon cloth and stamped golden cover art, Sci-fi, Magick, Queer LA as an object is as sumptuous and sensual as its contents.” —Jasmine Weber, Hyperallergic

“Much of the show’s visual matter—mystical paintings, ritual costumes, sexology journals, sci-fi fanzines—has been off practically everyone’s radar for decades. Altogether it makes for a trippy package.” —Holland Cotter, the New York Times

Alien worlds, alter-egos, and Pleasure Domes–Sci-fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation explores the overlooked importance of science-fiction fandom and the occult to U.S. queer history.

Science fiction and occult communities helped pave the way for the LGBTQ+ movement by providing a place for individuals to meet, imagine, and create a life less restricted by societal norms. Focusing on Los Angeles from the late 1930s through the 1950s, this reader follows the lives of artists, writers, publishers, early sci-fi enthusiasts, and progressive communities, from Kenneth Anger, Lisa Ben, and Jack Parsons to the L.A. Science Fantasy Society (LASFS) and Ordo Templi Orientis at the Agape Lodge (O.T.O.).

Spanning sci-fi fandom, aerospace, queer history, and the occult, Sci-fi, Magick, Queer L.A. reveals how visionary artists, filmmakers, scientists, science-fiction writers and fans worked together to build a world of their own making. Featuring copious illustrations of salacious pulps, ritual paintings, and archival materials, authors Joseph Hawkins, Joan Lubin, Alexis Bard Johnson, Ben Miller, Judith Noble, Kelly Filreis, and Susan Aberth tell the interconnected stories behind the underground communities of early Los Angeles. This publication is made possible with support from Getty through its PST ART: Art & Science Collide initiative.

5.5 × 8.5 inches, 160 pages, hardcover with 16 page booklet insert
ISBN 978-1-941753-85-9

Design by IN-FO.CO
Co-published by Inventory Press & Kunsthalle Basel

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Go Back the Way You Came (Notebook) is a facsimile of one of Kaari Upson’s notebooks used to sketch and reflect during 2018 and 2019 as she prepared for her exhibition at Kusthalle Basel in 2019 by the same name. That exhibition was the last to show new work before her early death, and the notebook, along with a framing essay by Elena Filipovic, offer up fragments from which we might construct our own lasting impression of the artist.

Kaari Upson (April 22, 1970–August 18, 2021) was an American artist. Her work resides in the public collections of the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, and the Institute of Contemporary Art, Boston. Sprüth Magers represents the Kaari Upson Trust.

8.25 × 11.75 inches, 192 pages, softcover
ISBN 978-1-941753-75-0

Edited by David Evans Frantz and Amy L. Powell
Design by Content Object
Published by Inventory Press & Krannert Art Museum

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Accompanying the first retrospective exhibition showcasing three decades of Millie Wilson’s work, this publication delves into the influential, yet underrecognized, artist and pedagogue who taught generations of artists at the California Institute of the Arts and whose work has deftly examined feminism, queerness, and the historical erasure of such positions from institutions of art.

Uniting major loans from museums, private collections, and the artist, the project contextualizes Wilson’s substantial work, influential pedagogy, and legacy. Alongside her peers such as Lutz Bacher, Nayland Blake, Felix Gonzalez-Torres, and Lorna Simpson, Wilson joined 1980s postmodernism with the personally and politically charged conceptualism of the 1990s. Her work reflects a particularly unruly conception of queerness that emerged in California during these decades. Featuring newly commissioned scholarly essays by curator David Evans Frantz and scholar Jill H. Casid; a conversation among artists who studied with Wilson; and extensive new photographic documentation of Wilson’s work, the catalogue explores Wilson’s consistent appropriation of museum display practices and institutional authority, her art historical references to dada and surrealism, her sharp attention to gendered portrayals of sexual deviance in early twentieth-century psychoanalysis and sexology, and her longstanding interest in bodies as contested sites.

8.25 x 11 inches, 304 pages, softcover
ISBN 978-1-941753-59-0

Design by Content Object
Co-published by Inventory Press, Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International

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Published to accompany the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Teddy Sandoval, a central figure in Los Angeles’s queer and Chicanx artistic circles. Sandoval was known for producing subversive and playful artworks in a range of media that explored the codes of gender and sexuality, particularly conceptions of masculinity.

This publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. This expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodríguez Binnie, as well as biographical entries on other artists featured in the exhibition, including Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.

6.5 × 9.5 inches, 272 pages, softcover
ISBN 978-1-941753-76-7

Design by IN-FO.CO
Co-published by Inventory Press & The Brick

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Inspired by four decades of ecofeminist thought and action in art, Life on Earth: Art & Ecofeminism presents first-hand accounts and critical assessments of the life and work of artists associated with the movement and methodology. Through its survey approach, Life on Earth addresses an impressive breadth of ecofeminism’s concerns, including social ecologies, the commons, indigenous cosmologies, queer kinship, witchcraft, hydrofeminism, plant knowledge, science fiction and speculative futures, among others.

Edited by Catherine Taft and Jane McFadden, the book contains essays, poems, artwork, and archival material from Myriam Bahaffou, Heather Davis, Silvia Federici, Amy Gerstler, Audre Lorde, Anna Lowenhaupt Tsing, Lola Olufemi, Yasmine Ostendorf-Rodriguez, Himali Singh Soin, Anne Waldman, and others. Artists include Alliance of the Southern Triangle (A.S.T.), Alicia Barney Caldas, Meech Boakye, Beverly Buchanan, Carolina Caycedo, Judy Chicago, Agnes Denes, Francesca Gabbiani, Helen and Newton Harrison, Masumi Hayashi, Institute of Queer Ecology, Kite, Leslie Labowitz Starus, Ana Mendieta, Otobong Nkanga, Alicia Piller, Jaune Quick To See SmtihJaune Quick-to-See Smith, Aviva Rahmani, Tabita Rezaire, Yo-E Ryou, Emilija Škarnulytė, A.L. Steiner, Diana Thater, and Cecilia Vicuña.

6.75 × 9.5 inches, 608 pages
ISBN 978-1-941753-51-4

Design by Laura Coombs

“This invaluable research tool will hugely expand, update, and perhaps even revolutionize the feminist discourse. It might even be considered a work of conceptual art in itself."
—Lucy R. Lippard, author of Six Years: The Dematerialization of the Art Object from 1966 to 1972

“This book served as my doorway to cyberfeminism and I now see what an energetic continent awaits me. Anywhere I stepped it burned my hair off, it’s that brilliantly intense."
—Kevin Kelly, founding editor Wired magazine

In Cyberfeminism Index, hackers, scholars, artists, and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology. When learning about internet history, we are taught to focus on engineering, the military-industrial complex, and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers, and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it, and pushes it into plain sight. Edited by designer, professor, and researcher Mindy Seu, it includes more than 700 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, and bio-hacktivism; and depictions of feminist net art and new media art.

Both a vital introduction for laypeople and a robust resource guide for educators, Cyberfeminism Index—an anti-canon, of sorts—celebrates the multiplicity of practices that fall under this imperfect categorization and makes visible cyberfeminism’s long-ignored origins and its expansive legacy.

“You can use it as a reference, follow a thread, or just access it at random and it delivers wit and wisdom from over three decades of one of the most politically and intellectually challenging movements of our era. What happens between sexed flesh and gendered tech? More than ever we all need to know."
—McKenzie Wark, author of A Hacker Manifesto

“This is an archive perfectly suited to its material: at ease with impermanence, richly appreciative of contradiction, and expansive in scope. Mindy Seu and her cohort of collaborators celebrate the polyrhythmic chorus of voices that have made cyberfeminist thought so delightfully difficult to define—and invite new, kaleidoscopic reinterpretations of our last three decades of life online."
—Claire L. Evans, author of Broad Band: The Untold Story of the Women Who Made the Internet

“The Cyberfeminism Index celebrates, troubles, and critiques the histories and futures of struggle against networked patriarchy—from its first libidinous eruptions to tenacious tactical disruptions and mutations. For theorists and hegemony hackers alike the Index offers an inspirational and educational resource for the urgent work of glitching and decolonizing intersectional internets now."
—Ruth Catlow, founder of Furtherfield

8 1/2 × 11 1/2 inches, 376 pages, softcover
ISBN 978-1-941753-78-1

Edited by Fabrice Stroun
Design by Dan Solbach

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Calla Henkel and Max Pitegoff: German Theater 2010–2022 is the first monograph on the work of the artist duo Calla Henkel (b. 1988, Minneapolis, MN) and Max Pitegoff (b. 1987, Buffalo, NY). Their manifold practices play out, live test, and fictionalize the mechanisms that shape creative communities. Chronicling over a decade of production in Berlin, the book is organized around the influential bar and theater spaces they ran there: Times Bar (2011–12), New Theater (2013–15), Grüner Salon at the Volksbühne (2017–18), and TV Bar (2019–22), and includes an interview with curator Fabrice Stroun and essays by David Bussel and Patrick Armstrong. Henkel and Pitegoff's photographs, plays, writing, and films address the complexity of collective action, painting a deadpan picture of the social and economic systems that sustain communal exchanges and their eminently fragile autonomy.

11 × 15 inches, 224 pages, softcover
ISBN 978-1-941753-61-3

Design by IN-FO.CO
Co-published by Institute of Contemporary Art, L.A. & Inventory Press

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This richly illustrated companion to the ICA LA exhibition Scientia Sexualis features artworks by twenty-six artists whose practices address, dissolve, and reimagine sex and gender within the apparatus of science—past and present. Their works tackle and transform the origins of modern gynecology and its ties to the torture of enslaved women, the pathologization of the sexual body, the entanglement of colonization with sexual violence, and the nonconsensual gendering of trans and intersex people.

Texts by Jennifer Doyle, Eva Hayward, Caroline Ellen Liou, Joan Lubin, Hil Malatino, Amber Jamilla Musser, Amanda Sroka, Jeanne Vaccaro, Leticia Alvarado, KING COBRA (documented as Doreen Lynette Garner), Michelle H. Raheja, Andrea Carlson, and C. Riley Snorton address and situate the exhibition’s visual and performance works within BIPOC, feminist, trans, and queer studies. Examining the difficult history of science as it relates to racialized and gendered assumptions about the sexual body, these visual and textual works challenge our sense of what science is; confront harm produced in the name of science; and offers alternative and radical methods of learning and caring. This publication is made possible with support from Getty through its PST ART: Art & Science Collide initiative.

6.7 × 9 inches, 68 pages, softcover
ISBN 978-1-941753-60-6

Edited by Tyler Blackwell
Design by IN-FO.CO
Co-published by Inventory Press & Blaffer Art Museum

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Monira Al Qadiri (b. 1983) is one of the most important artists to emerge from the Persian Gulf region in recent years. Now based in Berlin, Al Qadiri’s work examines “petrocultures”: societies associated with and informed by the practice and discourse around the consumption of, and dependence on, oil. Published on the occasion of the artist’s first solo museum exhibition in the United States, Refined Vision features recent and newly commissioned work that ranges from the surreal to the melancholic, reflecting the intense and often astonishing scenes that make up the artist’s real (and imagined) memories of her formative years in the Middle East. Al Qadiri’s inspiration for this exhibition was the parallel between the Gulf Coast of Texas and the Persian Gulf region. She poignantly invokes images and tableaux familiar to both locales, in the hopes that themes will resonate and overlap. Refined Vision includes a newly commissioned text by curator and educator Amin Alsaden and a conversation between the artist and exhibition curator Tyler Blackwell.

10 × 11 1/2 inches, 188 pages, softcover
ISBN 978-1-941753-67-5

Design by IN-FO.CO

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Multimedia artist Aaron Garber-Maikovska (b. 1978) works across painting, drawing, performance, and video—interconnected modes of communicating a vernacular of somatic expression. The works on Coroplast featured in Cushion of Air, produced between 2017 and 2023, are corporeal articulations yielded from a mantra-like exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world.

This first monograph of the Los Angeles–based artist’s work features over 150 plates, video stills, images from Garber-Maikovska’s research and daily life, and includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring depth and delight in his paintings, and an interview between the artist and Orit Gat in an immersive exploration of his multifaceted practice.

8 × 10.25 inches, 128 pages, softcover
ISBN 978-1-941753-68-2

Design by Espace Ness
Co-published by Inventory Press & Blaffer Art Museum

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The juxtaposition of intimacy and infrastructure might appear paradoxical at first, yet these two rubrics have recently been animating conversations around relational life in the work of a number of artists. Diving into the concept of how infrastructures can be understood as “affective” in their varied expressions of movement and imprint on cultural life through the participatory role of language, affect, and infrastructural studies, Intimate confession is a project is a complement to the exhibition of the same name at the Blaffer Art Museum.

The book includes work from Gwenneth Boelens, Benvenuto Chavajay Ixtetelá, ektor garcia, Lonnie Holley, Anna Mayer, Na Mira, Kate Newby, Josie Ann Teets, Chiffon Thomas, Iris Touliatou, and Clémence de La Tour du Pin, and contributions from scholars and poets Kai Bosworth, Lara Mimosa Montes, Michael D. Snediker, Juliana Spahr, Roberto Tejada, Ara Wilson, as well as a curatorial essay by Jennifer Teets.

Intimate confession is a project looks at the material and immaterial histories of Houston and considers transmission, intergenerational life, and cultural inheritance through the prism of intimacy and infrastructure.

6.7 × 9 inches, 112 pages, softcover
ISBN 978-1-941753-65-1

Edited by Katja Rivera
Design by IN-FO.CO

Co-published by Inventory Press and the Colorado Springs Fine Arts Center at Colorado College

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Hương Ngô's conceptual, research-based practice often takes the form of installation, printmaking and non-traditional mediums. Ungrafting looks at histories of colonial violence, specifically colonialism in French Indochina, as well as resistance movements, through image-making, translations and material investigations. Ngô turns to a series of early 20th-century photographs showing foreign trees and tree grafts planted in Vietnam by the French for the start of her project.

For the artist, grafting—a procedure that involves cutting and splicing different species into a single plant—serves as a powerful metaphor for the physical violence inherent in colonialism. An essay by Justin Quang Nguyên Phan, and conversations between Ngô and Aline Lo, and Evyn Lê Espiritu Gandhi and Chadwick Allen reflect on the connection between Ngô's exhibition and global anti-colonialism, the trans-Indigenous, and the role of the archive in artistic production.

8.5 × 11 inches, 160 pages, softcover
ISBN 978-1-941753-66-8

Design by Ian Babineau, Walker Art Center Design Studio
Co-published by Inventory Press & Walker Art Center

This catalogue accompanies the Walker Art Museum exhibition of recent and new work by Twin Cities–based artist Tetsuya Yamada (Japan, b. 1968), whose interdisciplinary practice blurs the lines between art, design, and craft. From ceramic objects that reflect an extraordinary level of technical and aesthetic sophistication to dynamic sculptures and to video installations, the featured works highlight Yamada’s engagement with the connections between life and art.

Yamada’s influences include the ancient Japanese forms of Noh theater and the traditional tea ceremony, the modernism of Brancusi and Isamu Noguchi, and the democracy of the found object espoused by Marcel Duchamp. The design of the catalogue holds these influences not as tensions, but as complementary facets of a grounded practice. The exhibition, the first US museum presentation of Yamada’s work, features more than 60 works from 2005 to the present, including sculptures in ceramic, wood, and metal; paintings; drawings; photographs; video; and an environmental installation. This publication features many of the works, and includes an interview with the artist and in depth essay by exhibition curator Siri Engberg.

8.25 x 10 inches, 336 pages, hardcover
ISBN 978-1-941753-63-7

Design by Sofia Broid

The first monograph dedicated to the practice of Mexican artist Pia Camil, Friendly Fires combines exhibition documentation with material from the artist’s personal archive to explore thirty-two projects from 2006 to now.

As the title suggests, Camil’s work is often done in a climate where kinship and the affective are proposed as a radical way of working in contrast to the highly individualized world. The three illustrated essays delve into this and the artist's oeuvre. Justine Ludwig explores the capitalist critique in the artists’ overall practice; Karen Cordero looks through cloth as a surrogate body to press on the material significance of Camil’s pieces; Cecilia Fajardo-Hill considers the work from a feminist and Latin American perspective, and Elise Lammer and Camil discuss the importance of participatory and collective practices in a multispecies world.  

The book was designed in collaboration between the artist and Mexican designer Sofia Broid and includes an addendum presented as a poetic visual essay by Gabriela Jauregui. With English and Spanish texts, this book makes Camil’s important contribution to feminist and Latin American practices in the context of late capitalism accessible to a wider audience.

12.5 x 8.75 inches, 96 pages, hardcover
ISBN 978-1-941753-64-4

Design by IN-FO.CO
Co-published by Inventory Press and Galerie Max Hetzler

Entanglements: Louise Bonnet and Adam Silverman at Hollyhock House weaves together documentation of new works by Louise Bonnet and Adam Silverman with conversations by artists, architects, chefs, and friends whose work and lives are entangled in Los Angeles. Made in response to and installed at Frank Lloyd Wright’s Hollyhock House, Bonnet’s paintings and drawing and Silverman’s ceramics engage the house’s hundred-year history as a platform for artists and experimentation. The centerpiece of an arts park, Hollyhock House was only partially realized by Wright and completed by others, and has served as a home, an arts center, a social club, and a house museum. The exhibition foregrounds the many entanglements of place, broadening perspectives on this California house and its layered history. By placing conversations and reflections in dialogue with photo documentation by Joshua White, the book is a meditation on being intertwined.

Photographs by Joshua White and essay by Abbey Chamberlain Brach. With contributions by Isabelle Albuquerque & Jon Ray; Vinny Dotolo & Jon Shook; Shannon Harvey & Adam Michaels; Michael Maltzan & Amy Murphy; Hardy Ophuls & Sarah Watson; Rob Reynolds & Mary Wigmore; Joe Sola & Erin Wright; and Ricky Swallow & Lesley Vance.

7.75 × 11.25 inches, 128 pages
ISBN 978-1-941753-47-7

Design by Apogee Graphics
Co-published by Inventory Press and Visual Arts Center at the University of Texas at Austin

Lisa Lapinski: Miss Swiss is artist Lisa Lapinski’s most comprehensive monograph to date. Lisa Lapinski is an artist living and working in Houston, Texas. She received her BA from University of California, San Diego, an MFA from Art Center College of Design and is currently an Associate Professor of Art at Rice University. She was the recipient of a Guggenheim Fellowship in 2004.

Published on the occasion of Drunk Hawking, her 2020 mid-career survey at Visual Arts Center (VAC) at the University of Texas at Austin, the book will include never before published images of Lapinski’s exhibitions and artworks from 2000 to the present. Miss Swiss features contributions by Bruce Hainley, Graham Bader, Kyle Dancewicz, Sabrina Tarasoff, and MacKenzie Stevens, as well as a conversation between the artist and linguist Viola Schmitt. Designed by artists Laura Owens and Asha Schechter of Apogee Graphics, the book is an inventive collaboration between Owens, Schechter, and Lapinski, providing new insights into Lapinski’s influential and idiosyncratic practice.

8.5 × 10 inches, 328 pages, softcover
ISBN 978-1-941753-39-2

Design by IN-FO.CO
Co-published by Inventory Press and Tufts University Art Galleries

Art for the Future: Artists Call and Central American Solidarities illuminates the formative 1980s activ­ist campaign, Artists Call Against U.S. Intervention in Central America. Published on the occasion of a pathbreaking exhibition of the same name at the Tufts University Art Galleries, this bilingual English-Spanish catalogue surveys Artists Call’s mobilization of writers, artists, activists, and artist organizations and looks at the group’s legacy today.

Art for the Future features critical essays that reflect on the campaign’s influence and place its art and activism within a wider visual, historical, and socio-political context. Contributors include exhibition curators Erina Duganne and Abigail Satinsky as well as Kency Cornejo, Lucy Lippard, Yansi Pérez, and Josh Rios. The catalogue highlights interviews with Artists Call participants, including Doug Ashford, Fatima Bercht, Josely Carvalho, Daniel Flores y Ascencio, Kimiko Hahn, Jerry Kearns, Sabra Moore, and Juan Sánchez.

The catalogue also includes contributions by a dynamic selection of artists and activists—Antena Aire and Tierra Narrative, Jerri Allyn, Maria Thereza Alves, and Hans Haacke as well as newly commissioned work by Beatriz Cortez, Muriel Hasbun, Josh MacPhee, Naeem Mohaiemen, and Antonio Serna. Art for the Future is at once an archive, historical document, and critical text that fills a gap in the examination of political and aesthetic actions across the Americas, both then and now.

Support for this publication was provided by the Institute for Studies on Latin American Art (ISLAA).

6.5 × 9 inches, 144 pages
ISBN 978-1-941753-57-6

Design by IN-FO.CO
Co-Published by Inventory Press and Vera List Center for Art and Politics at The New School

For Breaking Protocol, transdisciplinary artist Maria Hupfield embarked on a research project on the protocols of Indigenous performance—tracing Indigenous knowledge systems, land-preservation practices and feminist scholarship to illuminate strategies for enacting refusal within decolonial frameworks. The book draws from Hupfield’s “coffee breaks”—conversations held over Zoom during the pandemic, in which Hupfield invited international Indigenous performance artists to discuss their work (from dance to stand-up comedy), who in turn invited other artists to join the conversations. Building on these exchanges, Breaking Protocol centers on Indigenous place-based artistic modes of making and practice to open spaces for reciprocity and multiplicity.

Introduction by Maria Hupfield with contributions by Jackson 2bears, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Raven Davis, Vanessa Dion Fletcher, Gabrielle L’Hirondelle Hill, Candice Hopkins, Akiko Ichikawa, Ursula Johnson, Kite, Charles Koroneho, Carin Kuoni, Tanya Lukin Linklater, Cathy Mattes, Peter Morin, Meagan Musseau, Wanda Nanibush, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, and Charlene Vickers, and reflections on Rebecca Belmore, Lori Blondeau, Dennis RedMoon Darkheem, Natalie Diaz, the Dime Collective, Cheryl L’Hirondelle, Jane Schoolcraft, and Laakkuluk Williamson Bathory.

6 × 9 inches, 128 pages, softcover with jacket
ISBN 978-1-941753-56-9

Design by IN-FO.CO

A celebration of multicultural collaboration through contemporary ceramics and exquisite, experimental ikebana arrangements.

Adam Silverman creates ambitious ceramic work with site-specific materials that engage their places of origin. Similar to a chef cooking with local ingredients, his works are infused with the history, culture, issues, and spirit of a place. In the fall of 2019, before the coronavirus pandemic swept the globe, Silverman began a project to address the political and cultural divisions in America. Silverman collected materials (clay, wood ash, and water) from every state and inhabited US territory and combined them into a single, new, fully integrated material. This material was then used to create 56 ceremonial vessels that celebrate the nation’s radical diversity and inclusivity.

A series of 56 Ikebana arrangements made by teachers and students at Sogetsu Ikebana Los Angeles are placed in Silverman’s vessels, creating a powerful pairing of American materials and symbols with Japanese traditions.

With contributions by Ravi GuneWardena, Aya Muto, Akane Teshigahara, and Tony Marsh.

4.75 × 6.75 in. with gatefold, 96 pages, softcover
ISBN 978-1-941753-31-6

Design by IN-FO.CO
Co-published by Inventory Press
and Carnegie Museum of Art

"Honda's lone, human-size frog, lying supine and pitifully exposed on a bed of luxurious rugs, is easily one of the most unnerving sculptures I've seen." —Henriette Huldisch, Artforum

For the 82nd installment of Carnegie Museum of Art’s Forum series, Los Angeles-based artist Margaret Honda created a singular, enigmatic sculpture—a frog rendered in lifelike detail measuring nearly five feet long.

The work is modeled after a frog-like form Honda observed in a Renaissance painting at the Pinacoteca Ambrosiana in Milan. The painting, Bramantino’s Madonna delle Torri (1520), depicts the Madonna and Child enthroned; at their feet lies a slain man and a gargantuan frog with anthropomorphic features. Honda's sculpture extends beyond surface representation to include the skeleton and internal organs, none of which are visible. At once material and philosophical, her work prompts us to ponder our relationship to art and the world we make.

frog is an in-depth look at Margaret Honda’s sculpture. With an introduction by Eric Crosby (Director, Carnegie Museum of Art), texts by Leah Mirakhor and Tenzing Barshee, and conversation between curatorial assistant Hannah Turpin, Carnegie Museum of Natural History curator of herpetology Jennifer Sheridan, and Renaissance art historian Christopher Nygren, this book further contextualizes Honda’s work and practice.

9 x 12 inches, 120 pages, hardcover
ISBN 978-1-941753-58-3

Design by IN-FO.CO
Co-published by Inventory Press
and Canada

Denzil Hurley is a long-underrecognized Barbadian-American artist, whose artistic and intellectual underpinnings have been influential in the art world throughout his life. Published in tandem with an exhibition of his work at Canada, this book is the first major publication on Hurley.

Born in Barbados in 1949, Hurley was an impactful educator, spending most of his teaching career at the University of Washington. With essays by Gervais Marsh, Robert Storr, and Wallace Whitney that consider the breadth of the artist’s achievement, the catalogue focuses on Hurley’s final paintings, a mixture of reductive post-conceptual painting and provisional construction methods of the African diaspora. In his “stick” and “glyphs” series, Hurley's paintings create a sense of improvisation and structural integrity as well as act as stand-ins for human relationships. Always, Hurley’s paintings are alive with color, bringing light to the artist’s musings on the limits of language.

7.625 × 10.5 inches, 256 pages, softcover
978-1-941753-37-8

Design by IN-FO.CO
Co-Published by Inventory Press
and Ars Nova Workshop

Milford Graves (1941–2021) was a revelatory force in music beginning in the mid-1960s, liberating the drummer from the role of time-keeper to instrumental improviser. A pivotal figure in the free jazz movement, he created groundbreaking work with Albert Ayler, the New York Art Quartet, Min Tanaka, and John Zorn, and led the way in artistic self-production. But his kaleidoscopic genius was not bound by music, and it led him to develop an oeuvre unprecedented in its breadth—from healing arts to botany, cardiac research to martial arts.

This fully illustrated catalogue includes documentation from the exhibition A Mind-Body Deal, including hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs, costumes, and artifacts from his scientific studies. This first-ever overview of Graves as a creative polymath attempts to unlock his unique habitat by gathering his intricate, multifaceted work and exploring the practices and predilections of this extraordinary jazz mind.

7.75 × 9.5 inches, 200 pages, hardcover
ISBN 978-1-941753-55-2

Edited by Lauren Schell Dickens
Design by IN-FO.CO
Co-published by Inventory Press and San José Museum of Art
LOW STOCK / Exempt from promotions

As the first in-depth monograph on the artist, Kelly Akashi: Formations accompanies the major survey exhibition organized by the San José Museum of Art and traveling nationally. Much like the artist’s own work, the catalogue cultivates relationships between objects and materials to investigate how they can actively convey their histories and potential for change. Spanning nearly ten years of her practice, the publication follows the artist from graduate school to more recent research into the inherited impact of Japanese Americans’ incarceration during World War II.

Akashi’s works in glass, cast bronze, multipart installations, and photographic contact prints are given further context through scholarly essays by San José Museum of Art’s senior curator Lauren Schell Dickens, curator Ruba Katrib, and art historian Dr. Jenni Sorkin, as well as a conversation between Akashi and painter Julien Nguyen. Dickens provides an overview of some of the themes in Akashi’s work as they spiral through each other: studies of weeds, fossils, and rocks expand to consider time, ancestry and inheritance, botanical and geologic memory, and kinship between beings. Sorkin examines Akashi’s practice within a larger context of skilled craft, what she terms “geoaesthetics,” and vernacular culture in California. Katrib looks at the centrality of the artist’s hands and body in her practice. Along with extensive plates and installation photography, the book features a new photography project by Akashi, a record of her scavenging for history in the site of her family’s imprisonment in a WWII Japanese American incarceration camp.

9 × 8 inches, 216 pages, softcover
ISBN 978-1-941753-52-1

Design by IN-FO.CO
Co-published by Inventory Press and
CCA Wattis Institute for Contemporary Arts

Accompanying the 2022 exhibition at CCA Wattis Institute for Contemporary Arts in San Francisco, Drum Listens to Heart reflects on the many ways that percussion reaches far beyond the drum. It relates to music and rhythm, but it also speaks to a wide range of aesthetic, expressive, and political forms more broadly. The exhibition weaves different forms of percussion together—physical and socio-political, literal and metaphorical. It juxtaposes instances of impact and vibration with forms of control, emancipation, spirituality, and community-building. It offers a framework and a vocabulary that binds art and politics to each other in percussive ways.

Alongside documentation of works in the exhibition are essays by Wattis Institute Director Anthony Huberman and Diego Villalobos as well as a unique glossary of terms associated with percussion, with contributions by Hannah Black, Geeta Dayal, JJJJJerome Ellis, Anthony Elms and Hamza Walker, Natasha Ginwala, Will Holder, Lê Quan Ninh, and Hypatia Vourloumis.

Artists in the exhibition include Francis Alÿs, Luke Anguhadluq, Marcos Ávila Forero, Raven Chacon, Trisha Donnelly, Em’kal Eyongakpa, Theaster Gates, Milford Graves, David Hammons, Susan Howe & David Grubbs, NIC Kay, Barry Le Va, Rose Lowder, Lee Lozano, Guadalupe Maravilla, Harold Mendez, Rie Nakajima, The Otolith Group, Lucy Raven, Davina Semo, Michael E. Smith, Consuelo Tupper Hernández, Haegue Yang, and David Zink Yi.

7.5 × 10 inches, 120 pages, softcover
ISBN 978-1-941753-50-7

Design by IN-FO.CO
Co-published by Inventory Press and Ballroom Marfa

ESPEJO QUEMADA engages with the landscape of Far West Texas, while simultaneously drawing on visual, cultural, and mythological cues informed by feminism, decolonialism, and the artist’s personal and familial histories. Documenting the exhibition of the same name at Ballroom Marfa (the title of which translates to “burnt mirror” in English), this English and Spanish bilingual catalogue is an exploration of artist Donna Huanca’s first memories of Marfa, Texas.

Created during the pandemic, ESPEJO QUEMADA moves away from Huanca’s live public performance work, and focuses on the performative presence inherent in her sculptures and paintings, including the repeated use of mirrors. With essays from Ballroom Marfa curator Daisy Nam, Whitney Museum of Art associate curator Marcela Guerrero, and poet Raquel Gutiérrez, alongside the transcription of a walkthrough by poet and cultural critic Roberto Tejada, ESPEJO QUEMADA invites readers to inhabit Huanca’s work, reminding us that the sentient body is a potent source and repository of memory, intuitive knowledge, imagination, emotion, and desire.

6.75 × 9 inches, 96 pages, softcover
ISBN 978-1-941753-54-5

Edited and Designed by Martin Beck

Rare / Last Available Copies

American artists James Benning (b. 1942) and Sharon Lockhart (b. 1964) often cite each other’s films as an influence on their own work. Benning and Lockhart have each made careers of investigating the structure of film itself and rethinking the use of duration and sound. Both artists’ work illustrates the importance of close observation and the evolving urban landscape.

Over Time pairs works from both Benning and Lockhart with a collaborative, almost stream-of-consciousness text. The result is a profound conversation between two accomplished artists that highlights how slow, studied examination and reflection can deepen and enrich often overlooked, everyday experience.

8 × 10 inches, 240 pages, softcover
ISBN 978-1-941753-46-0

Design by IN-FO.CO

Studio Visit collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and her use of comedy as an artistic strategy. Organized by material sensibilities around paper, plastic, glass, metal, fabric scraps, and "garbage," Studio Visit rethinks the monograph format, revealing Sara Greenberger Rafferty’s practice through intimate studio documentation, sketches, notes, and other ephemera, punctuated by full-color case studies of major works.

With image descriptions by art historian Kate Nesin and new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson and media scholar Shannon Mattern, among others, Studio Visit surveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art.

9 × 11 ¾ inches, 144 pages
ISBN 978-1-941753-43-9

Design by David Hartt & IN-FO.CO
Edited by Cole Akers

Through lush, immersive imagery, this clothbound monograph reveals the fault lines of race, colonialism, and empire that haunt the present.

Borrowing its title from Herodotus’ foundational work, this publication documents a cycle of three works collectively titled The Histories by artist David Hartt. Focusing on the Americas and the Caribbean during the 19th century, Hartt explores real and imagined landscapes informed by Martin Johnson Heade, Robert S. Duncanson, Michel-Jean Cazabon, and Frederic Church. His contemporary interpretations use video, tapestries and sculpture alongside musical collaborations with Stefan Betke (Pole), Van Dyke Parks, and Girma Yifrashewa. The first work, Le Mancenillier, commissioned by and sited in the Frank Lloyd Wright–designed Beth Sholom Synagogue, was filmed and photographed in Haiti and New Orleans. The second, Old Black Joe, in Trinidad and Ohio, and the final work Crépuscule, commissioned by the Philadelphia Museum of Art was made in Jamaica and Newfoundland.

With an extended photo essay, documentation of the installations, and essays by Solveig Nelson, Michael Veal, and Mabel O. Wilson, The Histories reveals the complex entanglement of peoples and cultures as place is explored.

8 × 10.5 inches, 192 pages, hardcover
ISBN 978-1-941753-49-1

Design by IN-FO.CO
Co-published by Inventory Press, Kayne Griffin, and Bortolami Gallery

A historical overview of New York-based painter Mary Obering’s works from 1972 to 2012, this volume explores the artist’s geometric abstraction with Renaissance techniques. Born in Shreveport, Louisiana in 1937, she studied experimental psychology at Hollins College and Harvard University before pursuing an MFA at the University of Denver. The artist moved to Soho in the early 1970s where she was quickly included in exhibitions such as a 1973 generation-defining exhibition at Artists Space and the second ever Whitney Biennial in 1975. This publication celebrates nearly a half century of the artist’s career, featuring the distinct series within her oeuvre. It highlights developments in Obering’s practice with materials, methods, and inspirations ranging from Italian Old Masters to her studies of science. Mary Obering includes essays from curator Lynn Zelevansky and writer Matthew Levy, as well as installation documentation and photography of the artist’s studio.

8.25 × 10.5 inches, 136 pages, hardcover
ISBN 978-1-941753-44-6

Design by IN-FO.CO
Co-published by Inventory Press and Blaffer Art Museum

As the first full-length monograph of Houston-based visual artist Jamal Cyrus, The End of My Beginning features an overview of Cyrus’ practice of cobbling modern artifacts that trace the evolution of Black identity as it migrates across the African diaspora, Middle Passage, Jazz Age, and Civil Rights movements from the 1960s to now.

Published to accompany Cyrus’ first career survey exhibition at the Blaffer Art Museum, the catalogue includes materially diverse and conceptually charged textile-based pieces, assemblages, performances, installations, and works on paper produced in the past two decades, including his ongoing Pride Records installation series. Together, these multidisciplinary artworks demonstrate Cyrus’ commemoration, translation, and re-activation of socio-political struggles in African American history—forging a revised chronicle of histories, hybridity, and redemption.

9 × 11 inches, 188 pages, hardcover
ISBN 978-1-941753-48-4

Design by ELLA
Co-published by Inventory Press
and Kayne Griffin

Mika Tajima is a comprehensive catalogue of artist Mika Tajima’s work spanning from 2003–2021.

The sculptures, paintings, videos and installations of New York–based artist Mika Tajima (born 1975) explore the embodied experience of ortho-architectonic control and computational life. From architectural systems to ergonomic design to psychographic data, Tajima’s works operate in the space between the immaterial and the tangible to create heightened encounters that target the senses and emotions of the viewer, underlining the dynamics of control and agency. Her practice materializes techniques developed to shape the physicality, productivity, and desires of the human subject.

This hardcover catalogue includes full-color reproductions of Tajima’s work at the 2019 Okayama Art Summit; her early performances with Charles Atlas, Judith Butler, and New Humans; and exhibitions at the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Palais de Tokyo, and Borusan Contemporary, Istanbul, among other international venues. Mika Tajima also includes an introduction by independent curator Mika Yoshitake, an interview with the artist, and a critical text written by Professor T’ai Smith analyzing the conceptual underpinnings of Tajima’s work.

7.5 × 10 inches, 220 pages, hardcover
ISBN 978-1-941753-45-3

Design by Mark Owens
Co-published by Inventory Press and Blaffer Art Museum

RARE / Only 2 copies available

Comic Relief is the first museum monograph of the work of artist Molly Zuckerman-Hartung, reviewing over twenty years of her art and life. Created as a catalogue for a major survey of Zuckerman-Hartung's practice at the Blaffer Art Museum in Houston, the book acts as both a record of the exhibition and the artist’s wide-ranging body of work—from her involvement in the underground punk Riot Grrrl scene to her work as a painter and creator of layered, multimedia objects.

Playfully engaging the aesthetic details of Riot Grrrl zines and vintage feminist theory texts, the book serves as the first in-depth exploration and celebration of the artist’s work. Taken as a whole, Comic Relief presents the art historical intersections within Zuckerman-Hartung’s practice, the enduring cultural and aesthetic implications of Riot Grrrl’s radical feminism, as well as broader questions about the current landscape of contemporary art, queer aesthetics, and abstract painting.

In addition to dozens of images, many of which are in print for the first time, the book features a foreword by Blaffer Art Museum director Steven Matijcio and writing from Kate Nesin, a leading postwar art historian; Lisa Darms, Riot Grrrl archivist and writer; Annie Bielski, artist and former student of Zuckerman-Hartung; and Tyler Blackwell, Cynthia Woods Mitchell Associate Curator at the Blaffer.

5.25 × 8 inches, 272 pages, softcover
ISBN 978-1-941753-38-5

Design by IN-FO.CO
Co-published by Inventory Press and neugerriemschneider

Conversations brings together a broad range of dialogues between author Jan Tumlir and artist Jorge Pardo, which span a period of 20 years, beginning in 1999. They encompass contemporary art, design, publishing, and music, and connect the varied contexts of Los Angeles and Mérida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has defined both of their thinking and practice.

Describing his work as “shaping space” Jorge Pardo has made work that moves freely across the notional disciplines of art, architecture, and design throughout his over thirty-year career. His constructions range from a single light sculpture, to paintings, rooms or an assembly of buildings that combine all the individual elements of his artistic creation in the mode of the Gesamtkunstwerk or “total work of art.” His work contends with distinctions of private and public space, while calling to mind references as diverse as the Light and Space movement, Land art, modernist design and the color, flora and fauna of his home in Mérida, Mexico.

Jan Tumlir is an art writer and teacher, who lives and works in Los Angeles. He is a contributing editor for the art journal X-TRA, and his writing has appeared in Artforum, Aperture, Flash Art, Art Review, and Frieze. Tumlir is a member of the humanities and sciences faculty at Art Center College of Design.

9 x 12 inches, 128 pages, softcover
ISBN 978-1-941753-35-4

Introduction by Chip Lord
Design by IN-FO.CO
Co-published by Inventory Press
and RITE Editions

Ant Farm, the conceptual architectural practice turned art collaborative, is known for such distinctive works as House of the Century (1971–73), Cadillac Ranch (1974), and The Eternal Frame (1975).

Of equal notoriety is Media Burn, Ant Farm’s legendary 1975 performance, in which a radically customized Cadillac was driven through a wall of burning television sets. Media Burn: Ant Farm and the Making of an Image is a vibrant assessment of the complex set of cultural references and art-making strategies informing this collision of twentieth-century icons.

Author Steve Seid (Berkeley Art Museum and Pacific Film Archive) probes the little-known critical backstory of this bold performance (and resulting video work) and its irreverent effort to mount a subversive critique of media hegemony while reimagining the core meaning of performance itself.

Media Burn: Ant Farm and the Making of an Image examines car culture, image proliferation, and radical architectural practice, and offers a close read of Media Burn’s numerous texts, speeches, ephemera, and artifacts.

8.5 x 10.25 inches, 404 pages, softcover
ISBN 978-1-941753-34-7

Design by Mungo Thomson and Brody Albert

For Mail, artist Mungo Thomson (b. 1969, Davis, CA) asked The Hammer Museum in Los Angeles to redirect all their incoming mail to the galleries, where it would accumulate unopened during the run of the 2018 exhibition, Stories for Almost Everyone. Over the course of the 4-month show, a massive pile of correspondence and packages grew. Part sculpture, part institutional critique, and part timepiece, Thomson’s Mail produced a temporary archive of institutional correspondence. At the conclusion of the show, Thomson documented this archive by photographing every item in the pile. These photographs are collected in this new book.



The design of the book loosely mimics a common shipping product catalog, over 30 of which were in the mail pile. Thomson’s photography of the items in the mail pile at the Hammer was undertaken with this catalog design in mind. Every letter, package, notice, magazine, flyer, restaurant menu, exhibition postcard, vendor catalog, artist contribution and piece of junk mail is represented in the book. Further, collections of like things have been arranged and photographed on a seamless backdrop in the style of product photography for a vendor catalog



The book functions both as an artwork and as an elaborate and exhaustive documentation of the work as realized by the artist. Featuring an essay by Hammer Museum curator Aram Moshayedi, Mail performs a kind of autopsy of the sculpture, displaying every facet and revealing the infrastructure of both the artwork and the museum.

8 x 10½ inches, 264 pages, softcover
ISBN 978-1-941753-36-1

Design by Brian Hochberger
Co-published by Inventory Press
and New York Consolidated

In the wake of the Trump election, artist Matt Keegan (born 1976) began investigating the Democratic Party’s shifts over recent decades. In the late ’80s, members of the Democratic Leadership Council successfully moved the party’s platform to the right by including a pro-business, pro-military, interventionist agenda, and downplaying social infrastructure as a calculated break from its New Deal-era foundation. This shift led to Bill Clinton’s consecutive terms.

For this volume Matt Keegan interviews artists and commissions writing to reassess the 1990s as the moment when the Democratic Party abandoned its New Deal values and swung to the right.

1996 captures this pivotal time in American politics and society through the experience of artists who completed their undergraduate studies in that year and voted for Clinton, and others who were born in 1996 and voted for the first time in 2016. Essays focus on cultural and ideological shifts from that time, such as the 1994 Crime Bill, 1996 Immigration Act, the Telecommunications Act, the start of Fox News and beyond.

With texts by Alissa Bennett & Mel Ottenberg, Michael Bullock, Dale Corvino, Thomas Eggerer, Svetlana Kitto, Patrick McGraw, Dave McKenzie, Chris Morten, José Muñoz, Debbie Nathan, Yigal Nizri, Nicole Otero & Martine Syms, Mychal Denzel Smith, Natasha Stagg, Lincoln Tobier, Jordan Teicher, and Interviews with Becca Albee, Malik Gaines & Alex Segade, Chitra Ganesh, Pearl Hsiung, Jennifer Moon, Seth Price, Elisabeth Subrin.

The Pragmatism in the History of Art
6 x 9 inches, 128 pages, hardcover
ISBN 978-1-941753-27-9

Midnight—The Tempest Essays
6 × 9 inches, 296 pages, hardcover
ISBN 978-1-941753-149

Design by IN-FO.CO

A limited edition two-volume set, including both current books in Molly Nesbit's Pre—Occupations series. This set includes the 2020 reprint of The Pragmatism in the History of Art and Midnight: the Tempest Essays, published in 2017.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum.

More information on each title here:
The Pragmatism in the History of Art
Midnight—The Tempest Essays

6 x 9 inches, 128 pages, hardcover
ISBN 978-1-941753-27-9

Design by IN-FO.CO

"Art history without a philosophy of history—'there is no script,' as Nesbit says—is also art history without a tragic dimension. With the pragmatists and, for that matter, with Deleuze, she shares a fundamental optimism and a forward- looking gaze. But like Focillon and Schapiro, Nesbit also has high aspirations for her discipline. She throws art history a lifeline." —Christopher Wood, Artforum

The pragmatism of Charles Peirce and William James and John Dewey exists as it moved, absorbing and absorbed. Conclusions remain provisions, time riding on, perpetually unsettled, nocturnal, opaque. Many questions and conditions remain. They will recur. The future has not eased. In our own lifetime there have been stakes, some old, some new, in continuing to write about the time and place and point of art. It is important to mark them. Pragmatism is above all a way of working, it starts from the present

First published in 2013 and quickly going out of print, The Pragmatism in the History of Art traces the questions that modern art history has used to make sense of the changes overtaking both art and life. A genealogy emerges naturally, elliptically. Several generations cross back and forth over the Atlantic. The questions combine with case studies as a story unfolds: the work of Meyer Schapiro, Henri Focillon, Alexander Dorner, George Kubler, Robert Herbert, T. J. Clark and Linda Nochlin is scrutinized; the philosophy of Michel Foucault and Gilles Deleuze and the films of Chris Marker and Jean-Luc Godard show distinctly pragmatic effects; artists discussed include Vincent Van Gogh, Isamu Noguchi, Lawrence Weiner and Gordon Matta-Clark. The relevance of this material for the art and art-writing of our own time becomes increasingly clear.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the first book in her Pre-Occupations series, preceding Midnight: the Tempest Essays.

8.5 x 13.5 inches, 112 pages, softcover
ISBN 978-1-941753-32-3

Design by Chad Kloepfer
Co-published by Inventory Press and Carpenter Center for the Visual Arts at Harvard University

Published on the occasion of her first solo show in the United States in twenty years, Anna Oppermann: Drawings surveys the early drawings of this underrecognized German artist. Co-published with the Carpenter Center for the Visual Arts, this book is the first on Oppermann produced in the United States and features a number of new texts on her work by Connie Butler, Chief Curator, Hammer Museum, UCLA; Meta Marina Beeck, Assistant Curator, Kunsthalle Bielefeld; and a conversation between Carpenter Center director Dan Byers and Ute Vorkoeper, Curator, Anna Oppermann Estate.

Beginning in the mid-1960s through the early ‘70s, Oppermann (1940–1993), best known for her immersive installations, created an astonishing series of surreal drawings that uniquely explode the private space of the home, a traditionally feminine sphere.

These early drawings contribute to a feminist re-centering of such spaces associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds, and tables display drawings that open out into new domestic scenes.

By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann coaxes the viewer to take on her subjectivity and perspective, emphasizing the gendered realms of the home and the relationships that we form both within and to our private spaces.

7 1/2 × 9 3/4 inches, 208 pages, hardcover
ISBN 978-1-941753-26-2

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The Museum of Capitalism—a traveling exhibition that has been hosted in Oakland and Boston and is now opening in New York City—treats capitalism as a historical phenomenon. This speculative institution views the present and recent past from the implied perspective of a future society in which our economic and political system is memorialized, and subjected to the museological gaze.

Sketches and renderings of exhibits and artifacts, combined with relevant quotations from historical sources, are interspersed with speculative essays on the intersections of ecology, race, museology, historiography, economics and politics.

Included are representations of artworks and museum exhibits created by artists Oliver Ressler, Sayler/Morris, Dread Scott, Temporary Services, and others, original Isotype graphics drawn from the Museum’s lexicon of “capitalisms,” and texts from Lucy Lippard, Lester K. Spence, T.J. Demos, Chantal Mouffe, McKenzie Wark and Kim Stanley Robinson, among others.

This expanded 2nd edition includes additional documentation of the exhibition as well as new contributions from Jodi Dean, Ben Davis, Madeline Lane-McKinley, Nina Power, Abigail Satinsky, Simon Sheikh, and FICTILIS.

7 1/2 inch × 10 inch plastic jacket containing two 7 1/2 inch × 10 inch softcover books
112 pages each
ISBN 978-1-941753-30-9
Co-published by Ballroom Marfa

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“I’m interested in the artists’ attempt to map their world, to order and make sense of it. This activity is not exclusive to artists; people do it constantly to find some relationships to abstractions, global events, invisible machinations of finance and those decisions that affect the future of the world.” —Mark Lombardi

Strange Attractor takes its name from the inherent order embedded in various forms of chaos. Expanding on ideas and connections forged in the 2017 Ballroom Marfa exhibition of the same name organized by Gryphon Rue, Strange Attractor explores the uncertainties and poetics of networks.

Rue, a experimental sound artist and curator, brings together artists and practitioners from a variety of fields to converse on the chaos, connections, and interpretations that narrate everyday experiences. The topic of sound pervades the book as a guide and narrator throughout a web of increasingly complex relationships between systems that reveal a backdrop of socio-political power, transmigration, and asylum.

Strange Attractor includes artworks from Lawrence Abu Hamdan, Thomas Ashcraft, Robert Buck, Alexander Calder, Beatrice Gibson, Phillipa Horan, Channa Horwitz, Lucky Dragons (Luke Fishbeck and Sara Rara), Mark Lombardi, Herbert Matter, Haroon Mirza, Elias Sime, and Douglas Ross, as well as conversations between tropical ecologist Merlin Sheldrake, novelist Chloe Aridjis, and economic sociologist, Juan Pablo Pardo-Guerra, as well as texts by media art historian, Douglas Kahn, and poet, Bernadette Mayer, among others.

10 1/4 × 10 1/4 inches, 252 pages,
softcover with jacket
ISBN 978-1-941753-24-8

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Co-published by Inventory Press and RITE Editions

Steven Leiber (1957–2012) was a pioneering art dealer, collector, and gallerist, focused on the dematerialized art practices of the 1960s and 1970s. As an expert in the then-nascent field of artist archives and ephemera, in 1987 he opened Steven Leiber Basement. He was an important resource for numerous scholars, curators, and other enthusiasts, with a focus on the integral role of ephemera and documentation within conceptual art and other avant-garde movements.

Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992–2010. His reputation spread via these unique volumes that paid homage to historic publications and multiples, including Wallace Berman’s Semina journal and the exhibition catalog Documenta V (1972), and included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Lawrence Weiner, and many more.

Inspired by Leiber’s often humorous borrowing for his catalog designs, the book’s format references Sol Lewitt’s Autobiography and includes an essay and contextual notes by David Senior.

Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder, and Robin Wright.

9 1/4 × 7 1/4 inches, 216 pages, softcover
ISBN 978-1-941753-16-3

Text by Raúl de Nieves, Cynthia Oliver, The Otolith Group, taisha paggett. Conversations with George Lewis, Jennie C. Jones, Charles Gaines, Fred Moten, Wadada Leo Smith
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Co-published by The Institute of Contemporary Art at the University of Pennsylvania

Endless Shout asks how, why, and where performance and improvisation can take place inside a museum. The book documents a six-month series of experimental performances organized by the Institute of Contemporary Art, University of Pennsylvania, where five participants—Raúl de Nieves, Danielle Goldman, George Lewis, The Otolith Group, and taisha paggett—collectively led a series of encounters and unfolding improvisation experiments. These include Miya Masaoka’s A Line Becomes a Circle, which pays tribute to Shiki Masaoka, a subversive Japanese haiku writer; jumatatu m. poe and Jerome “Donte” Beacham’s Let ‘im Move You, addressing the history of J-Sette, a dance form popularized by drill teams at historically black colleges; and A Recital for Terry Atkins by composer George Lewis.

The book further contextualizes the events through an essay by curator Anthony Elms, conversations with George Lewis, Jennie C. Jones, and Wadada Leo Smith on themes of rhythm, rehearsal, and improvisation, plus new works and writing from Raúl de Nieves, Cynthia Oliver, The Otolith Group, and taisha paggett.

9 × 7 1/4 inches, 88 pages, softcover
ISBN 978-1-941753-23-1

Foreword by Luis A. Croquer. Text by John Gordon, Jennifer Wulffson Bedford, Jennie C. Jones
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Co-published by the Rose Art Museum

In 1967, for her first museum retrospective, Louise Nevelson (1899—1988) was given carte blanche to transform the Rose Art Museum into an all-encompassing, theatrical environment for her sculpture. Nevelson installed her show across the whole museum, draping the walls of the permanent collection with the colors that reflected the black, white, gold, and navy palette of her works. Louise Nevelson: I Must Recompose the Environment includes never before published exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in context of Nevelson’s career and the museum’s early history. This publication accompanies now out-of-print catalogue of the 1967 show organized in collaboration with the Whitney Museum and serves as a document both of the then-nascent museum and the solidifying legacy of an artistic icon.

6 3/4 × 9 3/4 inches, 176 pages, hardcover
ISBN 978-1-941753029-3

Design by Mark Owens

Anthony Pearson is the first comprehensive monograph dedicated to the multi-faceted work of this Los Angeles-based artist. Documenting almost 15 years of Pearson’s production—including photographs, sculptures, and entirely sui generis hybrid works that combine multiple modes—the book captures the indexical nature of a practice in which intuition and sensitivity to ambient conditions of light and shadow are organized according to rigorous formal principles.

An illuminating essay by curator Alex Klein traces the artist’s connections to a broad range of cultural influences, his long-standing interest in music, and the formative effect of a life spent in Southern California on all aspects of his practice. Also included alongside documentation of the artist’s studio and works are Pearson’s own reflections on each of his bodies of work and the processes that led to their creation, providing an intimate record of his development and thought.

5 × 6 3/4 inches, 738 pages, softcover
ISBN 978-1-941753-20-0

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Maryam Monalisa Gharavi is an artist, poet, and theorist. Her work in film, video, performance, text, photography, drawing, and sound explores the interplay between aesthetic and political valences in the public domain. Bio is a hybrid work that reconfigures canceled text and the World Wide Web. It captures a span of 365 days during which the artist updated the 160-character “bio” section of her Twitter account each day. While tweets are regularly captured by corporate data storage centers this “bio” section remains the only untraceable and non-archived part of the software’s superstructure.

Bio, immersively created via a proprietary app, ultimately left no record of itself, complicating the normative binaries of online/offline and digital/print. An experiment in erasure, self-deletion, and visibility in the expanded sphere of the net, Bio anchors itself in the wider lineage of artists’ canceled texts, but in the age of new data as “soft” power.

Gharavi has exhibited or participated in residencies or projects at Townhouse Gallery, MFA Boston, Pacific Film Archive, Triple Canopy, Pioneer Works, Serpentine Cinema, New Museum, Delfina Foundation, Nottingham Contemporary, among others. Recent publications include a translation of Waly Salomão’s Algaravias: Echo Chamber (Ugly Duckling Presse), The Distancing Effect (BlazeVOX), and Apparent Horizon 2 (Bonington Gallery). She completed an M.F.A. at Milton Avery Graduate School of the Arts at Bard College and a Ph.D. at Harvard University.

9 3/4 × 12 1/4 inches, 132 pages, hardcover
ISBN 978-1-941753-13-2

Design by Project Projects
Co-published by Kayne Griffin Corcoran

Mary Corse (b. 1945) earned acclaim in the 1960s for producing pieces ranging from shaped-canvas paintings to ingenious light works. Corse has dedicated the decades since to quietly yet steadily establishing a unique practice at the crossroads of Abstract Expressionism and American Minimalism.

Despite her now-frequent association with California’s Light and Space movement, Corse evolved independent of the region’s dominant personalities, philosophies, and scenes. As a result, her more than fifty-year career has been nearly as unheralded as it has been groundbreaking. Her practice began with her early studies of New York Abstract Expressionism and American Minimalism and developed into a highly refined vocabulary that merges traits normally thought to be irreconcilable: gestural brushstrokes reminiscent of early influences like Willem de Kooning; precise geometric compositions evoking Josef Albers; and a palette reduced through Donald Judd-like discipline. She has tirelessly explored innovative painting techniques and materials that create a dynamic interplay with the viewer and continuously alter one’s relationship to the work.

Produced in conjunction with her inaugural solo exhibition at Kayne Griffin Corcoran, Mary Corse is the first major catalogue on an artist whose visibility has unfairly lagged far behind her importance and influence. With an essay by Suzanne P. Hudson and an interview by Alex Bacon, Mary Corse initiates a critical reappraisal of an artist whose singular vision and pioneering contributions to the legacy of American abstraction have been hidden for much too long.

5 1/2 × 10 inches, 70 pages, softcover
ISBN 978-1-941753-17-0

Design by Project Projects
Co-published by Worcester Art Museum

Reusable Universes serves as an instruction manual to the immersive and kinetic art of Shih Chieh Huang. In addition to drawings, photographs, and installation images from the exhibition Reusable Universes: Shih Chieh Huang at the Worcester Art Museum, the catalogue includes an essay by Vivian Li and interview with the artist by Aida Yuen Wong that expands on how nature, technology, and everyday materials inspire Huang's artistic practice.

This catalogue, the first monographic publication on the artist, is released on the occasion of Huang’s largest U.S. solo show to date.

6 × 9 inches, 296 pages, hardcover
ISBN 978-1-941753-149

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“'What Was An Author?' Right from the opening words of these Tempest Essays, we see the great Molly Nesbit at work undoing and radically repositioning the time codes for the artist. She creates a living archive of critical debates, politics and philosophies. She paints a vivid picture of the many junctions between people, objects, quasi-objects and non-objects throughout the twentieth century and into the twenty-first. This is a true protest against forgetting as well as a toolbox for contemporary art criticism. Call it a guidebook to the labyrinth of reality.” —Hans Ulrich Obrist

Midnight: The Tempest Essays returns the question of pragmatism to the everyday critical practice of the art historian. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, build to form new book-length lines of continuity and investigation.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the second book in her Pre-Occupations series, following The Pragmatism in the History of Art (2013). Her other books include Atget's Seven Albums (1992) and Their Common Sense (2000).

7 3/4 × 11 3/4 inches, 208 pages, hardcover
ISBN 978-1-941753-06-4

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Co-produced by Westfälischer Kunstverein, Münster; Chisenhale Gallery, London; Kunsthal Charlottenborg, Copenhagen; Bétonsalon–Centre d’art et de recherche, Paris
Co-published by Inventory Press and Koenig Books


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Elephant Child is a natural extension of the artistic practice of New York-based French artist Camille Henrot. Originated during an Artist Research Fellowship at the Smithsonian Institution, which laid the groundwork for her 2013 video Grosse Fatigue and the subsequent installation The Pale Fox (2014–15), Elephant Child represents the culmination of a long-term inquiry into the human effort to make the universe comprehensible. The book contains an original text by Henrot written with Clara Meister and Michael Connor, documentation, sketches, and research materials. An interview between Henrot and social anthropologist Monique Jeudy-Ballini offers insight into Henrot’s characteristic approach of knowledge production and organization. Ultimately, the book is an object of high universalist ambition—devoid of authority, creating instead a vivid prismatic image of the realm of thought.

7 1/2 × 10 inches, 124 pages, hardcover
ISBN 978-1-941753-10-1

Design by Joseph Logan Design
Co-published by Rogaland Kunstsenter

This is the first significant publication to explore the output of Matt Keegan, the New York-based artist known for his work across mediums, as well as independent publishing including the acclaimed editioned art journal North Drive Press. This monograph expands on a recent solo exhibition by the artist at Rogaland Kunstsenter; Stavanger, Norway, titled “Portable Document Format.” The show was organized as an idiosyncratic retrospective, with Keegan remaking sculptures dating from 2006 to 2015, initially fabricated in Sheetrock and steel, in cardboard. Like the exhibition, the publication serves both as a project and a reference for the artist’s work.

Essays by Tom McDonough and John Miller theorize Keegan’s production, while interviews with Sara VanDerBeek and Anna Craycroft underscore the artist’s ongoing engagement with his peer group. Furthered by contributions from colleagues Uri Aran, Leslie Hewitt and James Richards, situated alongside full-color installation photos and reproductions of work from the past decade, Matt Keegan: OR provides a solid introduction and layered overview of the artist’s multifarious practice.

8 1/2 × 10 inches, 272 pages, hardcover
ISBN 978-1-941753-04-0

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Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces. Each of her works is developed slowly, meditatively, through procedures that work toward a compressed measure of time that echoes the shifts in what is seen, both inwardly and outwardly.

Under | Press. | With-This | Hold- | Of-Also | Of/How | Of-More | Of:Know presents eight paintings and their “remainders”—graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. These works in turn map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings.

Published in conjunction with an exhibition at James Fuentes Gallery, New York, the book's 46 color and 107 b&w reproductions are accompanied by an essay by curator Debra Singer and an interview with the artist by Patricia Treib.

Edited by Elizabeth Thomas

6 3/4 × 9 inches, 208 pages, softcover
ISBN 978-1-941753-02-6

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Established in 2007 by Marc Fischer, and featured in the 2014 Whitney Biennial, Public Collectors encourages collectors of material culture—the kind that most museums won’t exhibit—to ‘open’ their collections to the public. Extending the popular website of the same name, this book presents a wide array of collections—some featured on the website, most newly assembled for publication—interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

Marc Fischer is a Chicago-based artist and a member of Temporary Services, a group that has produced over 100 publications and organized and participated in dozens of exhibitions, projects, and events. Fischer and Brett Bloom of Temporary Services also run the publishing imprint Half Letter Press.

8 5/8 × 11 1/2 inches, 128 pages, hardcover
ISBN 978-1-941753-00-2

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The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.

Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.

The first publication focusing on his visual output, John Fahey: Paintings, edited in collaboration with Audio Visual Arts (AVA), is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.

7 3/4 × 10 1/2 inches, 160 pages, softcover
ISBN 978-1-941753-11-8

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Pioneering conceptualist Jiro Takamatsu (1936–1998), a major influence on the artists of the Mono-ha movement, had a career that spanned forty-plus years, during which time his considerable influence as an artist, theorist, and teacher extended across the Japanese postwar cultural landscape.

Grounded in broad philosophical principles, Takamatsu sought to take art outside of the confines of conventional and institutional settings, collapsing the boundaries between art and life. His practice shifts across appearance and materials, from drawing and sculpture to photography.

Jiro Takamatsu catalogues recently exhibited works (at Kayne Griffin Corcoran, Los Angeles), including the seminal Rusty Ground, shown in North America for the first time in the winter of 2016. The book will also include archival photography of the artist’s studio, historical process images, and stills from a 1974 Japanese television documentary depicting Takamatsu at work.

Copiously illustrated, the book offers a timely re-evaluation of Takamatsu’s practice following a significant resurgence of appreciation for the Japanese avant-garde, and features essays by Hiroyuki Nakanishi, Curator of the National Museum of Art, Osaka, Jordan Carter, Curatorial Fellow for the Visual Arts, Walker Art Center, and the late Takamatsu.

6 × 9 1/4 inches, 216 pages, hardcover
ISBN 978-1-941753-07-1

Design by Project Projects
Co-published by Zachęta—National Gallery of Art

Inspired and provoked by the title character in Werner Herzog’s film Fitzcarraldo, two artists and a curator decide to revisit his mad plan of bringing opera to the tropics. In an attempt to undercut Fitzcarraldo’s colonial romanticism, they decide to confront a set of particular historical and sociopolitical realities by staging Halka, considered to be Poland’s “national opera,” in the seemingly unlikely locale of Cazale, Haiti, a village inhabited by the descendants of Polish soldiers who fought for the Haitian Revolution in the early 1800s.

On February 7, 2015, a one-time-only performance of Halka was presented to a rapt local audience on a winding dirt road. A collaboration between Polish and Haitian performers, the event was filmed in one take to be presented later as a large-scale projected panorama in the Polish Pavilion at the Venice Biennale.

This volume provides both a multifaceted conceptual framework for the project and a detailed record of this remarkable endeavor. With an introduction by the project’s curator and an interview with the artists, the book also features three newly commissioned essays—from literary scholar Katarzyna Czeczot, diplomat Géri Benoît, and anthropologist Kacper Pobłocki—alongside Michel-Rolph Trouillot’s seminal reflection on the global silencing of the Haitian Revolution. Also included are questionnaires completed by the project’s Haitian and Polish participants, translated selections from the opera’s libretto, extensive photographic documentation of the rehearsals, and stills from the film itself.

10 × 13 inches, 320 pages, softcover
ISBN 978-1-941753-03-3

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Catalogue suggests an artist’s exhibition catalogue, but is rather a chronological compilation of auction catalogues presenting the sales of the mid-century furniture designed by Le Corbusier and Pierre Jeanneret for Chandigarh, India, featured in Amie Siegel’s multi-element film installation Provenance (2013). An aside, an addendum, an index, the publication ends with the Christie's London catalogue page from the 2013 auction of Provenance itself in the Post-War and Contemporary Art Sale, which completes the economic circuit of the project.

American artist Amie Siegel’s work has been exhibited in solo and group exhibitions at the Metropolitan Museum of Art, New York MoMA/PS1, NY; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart; Kunst-Werke, Berlin, Cannes Film Festival and Berlin Film festival among many others. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award.