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

Design by IN-FO.CO

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Shipping February 2026

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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Shipping February 2026

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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Shipping January 2026

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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Shipping November 2025

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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Shipping January 2026

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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Shipping March 2026

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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Shipping February 2026

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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Shipping May 2026

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. 

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.

6.5 × 9.5 inches, 210 pages, softcover
ISBN 978-1-941753-74-3

Design by IN-FO.CO
Published by Inventory Press & Press Enter

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Part-reader, part-monograph, part-visual essay, She Moves Me: Performance, Moving Image, and Lynne Marsh’s Lens enacts a curatorial logic: focusing on movement and experience, it enlists the book as site/context to present exciting juxtapositions of works and ideas inspired by the practice of Los Angeles-based Canadian artist Lynne Marsh. The publication draws the shifting, elusive contours of installation, moving-image, and performance productions in recent art by sequencing textual and visual interventions that circle around, run through, and expand the conceptual, historical, and material concerns that course through Marsh’s work.

Edited by Sylvie Fortin, the book is as speculative as it is lucidly of the present. Fully aware of the complex histories we share and the crossroad we sense, it nevertheless dares to open itself to a future fully unknown. In the process, it reconsiders Marsh’s committed practice—25 years of ambitious projects—in the present. She Moves Me: Performance, Moving Image, and Lynne Marsh’s Lens constellates probing texts by Sabeth Buchmann, Nora N. Khan, Gean Moreno and Stephanie Wakefield, Rachael Rakes, and Marina Vishmith to articulate connections between artistic debt, the residual potential of gesture, rehearsal as artistic and social experiment, the criticality of infrastructure and infrastructural critique, collective labor and spatial expansion, the technological image, surveillance, and capitalist extraction, and much more.