This flexicover book, co-published by Snoeck and Kunstmuseum Liechtenstein, is the first comprehensive monographic publication on the work of Paris based artist Charlotte Moth (b. 1978) This publication coincides with Moth’s first US museum exhibition Seeing while Moving at the MIT List Visual Arts Center.  Charlotte Moth sets out to discover the mysterious in the familiar, focusing her attention on the spaces and objects with which we live. She uses photography and film, slide projections, and sculptural arrangements to explore the conditions of perceiving materiality in space and time. Travelogue brings together photographs of Moth s researches since 1999 (alongside texts by Eva Birkenstock, Penelope Curtis, Kasia Redzisz, and the artist herself). Moth - educated at the Royal College of Art, London - often chooses architectural icons or art-historical topics as the subjects of her projects: her travels have brought her to Ibiza on the trail of the late Dadaist Raoul Hausman, and to St. Ives, England, where she visited the studio of British sculptor Barbara Hepworth.

In Two Minds documents Gwenneth Boelens’ practice of the past ten years, comprising photography and sculpture, as well as performative and filmic works. An extensive chapter of notes, written by her partner and editor Nickel van Duijvenboden, illuminates Boelens’ work and evolving attitudes from an intimate and studious perspective. Conversations and reflections are punctuated by a rich vein of illustrations and process images, as well as citations from twentieth-century literature and philosophy.  Published in 2014 this catalog is offered in conjunction with Boelens’ 2017 MIT List Visual Arts Center exhibition At Odds.

The work of Rosa Barba (born 1972), encompassing sculpture, installation, text-based wall works, and publications, probes the precarious relationships between historical record, personal anecdote, and fictional narrative. The Color Out of Space takes as its point of departure a film that expands into outer space the artist’s ongoing interrogation of geologic time as measured against the span of a human lifetime. This publication was published in conjunction with the MIT List Visual Art Center’s 2015 exhibition Rosa Barba: The Color Out of Space and features essays by Victoria Brooks, Henriette Huldisch, and Gloria Sutton. It was edited by Henriette Huldisch, Karen Kelly, and Barbara Schroeder; design by Filiep Tacq.

For more than a decade, Tala Madani has developed a practice centered on playful yet provocative representations of men. In paintings, drawings, and stop-motion animation, Madani creates deadpan and often hilarious satirical works that both mock virility and redistribute the dynamics of power. This book includes essays by exhibition curators Kelly Shindler and Henriette Huldisch that consider Madani’s treatment of light, her film work, and a conversation between Madani and artist A. L. Steiner.

Published by the Contemporary Art Musuem St. Louis, MIT List Visual Arts Center, and DelMonico Books Prestel

This book traces the work and research of filmmakers and visual artists Joana Hadjithomas and Khalil Joreige into junk and spam e-mails, specifically advance fee frauds and scam messages. Here, the artists unfold material that they have collected since 1999, focusing on the way that personal narratives are formed and articulated in a post-digital age.  This work funcitons as a jumping-off point for a broader discussion by leading scholars and thinkers on the nature of power and trust in the age of the Internet. Underlying this is an interrogation of faith: How has trust been recpomposed by the Internt, and equally how does the traditional practice of faith question the way that individuals relate to each other online.

The Rumors of the World: Rethinking Trust in the Age of the Internet, is edited by Omar Kholeif and published by Sternberg Press, in association with Villa Arson, Nice, France: HOME, Manchester, UK; and MIT List Visual Arts Center, Cambridge, MA, USA. The publication features contributions from the artists and Nicolas Auray, Finn Brunton, Norman M. Klein, Franck Leibovici, Éric Mangion, Laura U. Marks, Sarah Perks, Jacques Rancière, Uzma Z. Rizvi, and Rasha Salti.

In conjunction with the exhibition List Projects: Lina Viste Grønli, the List Center and Torpedo Press have published an artist’s book, Library. The book includes writings by the artist and an essay on statistical linguistics by exhibition curator Alise Upitis.

Contributions by Berenice Abbott, Leonor Antunes, Marcel Broodthaers, Roger Callois, Hanne Darboven and Lucy R. Lippard, Eric Duyckaerts, Max Frisch, Frederich Froebel, Joao Maria Gusmao and Pedro Paiva, Florian Hecker and Quintin Meillasoux, Alfred Jarry, On Kawara, John Latham, Sol LeWitt, F. T. Marinetti, Daria Martin, Mario Merz, Helen Mirra, Man Ray, Ben Rivers and Mark von Schlegell, Pamela Rosenkranz and Erik Wysocan, Robert Smithson, Paul Valéry, Iannis Xenakis. Edited by João Ribas

In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of inquiry into the physical and natural world. In this sense, both art and science share an interest in knowledge, realism, and observable phenomena, yet are subject to different logics, principles of reasoning, and conclusions.

Works by Berenice Abbott, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Hanne Darboven, Thea Djordjadze, Aurélien Froment, Terry Fox, Laurent Grasso, João Maria Gusmão and Pedro Paiva, Rashid Johnson, Kitty Kraus, Germaine Kruip, Daria Martin, John McCracken, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Georges Vantongerloo, Lawrence Weiner

Edge Habitat Materials is a survey of all works made by Helen Mirra between 1995-2009.  The book, in the form of a binder, includes texts by Bradin Cormack on walking as minimal aesthetic practice, Tom Wessels on beavers abandoning their ponds, and portions of Mark Siderits and Shōryū Katsura’s translation of Nāgārjuna’s Mūlamadhyamakakārikā. The survey is organized according to primary material—rock, wood, textile, and usw (un so weiter)—and includes line drawings by Mirra of certain of her works. Additions to the book–sent intermittently to readers who mail in a postcard included in the book–include texts by Liz Kotz, Yuri Tsivian, and Alise Upitis, as well as a cloth bookmarker made by Mirra. Models for this publication include The Audubon Society’s Field Guide to North American Mushrooms (1981), Daniel Spoerri’s An Anecdoted Topography of Chance (1966), and Richard Tuttle’s Small Sculptures of the 70s (1998). Edge Habitat Materials is produced by the MIT List Visual Arts Center and the Radcliffe Institute for Advanced Study at Harvard University and edited by List Assistant Curator Alise Upitis.

This limited edition artist’s book was produced on the occasion of Sonia Almeida’s first U.S. solo exhibiiton, Forward/Play/Pause, at the MIT List Visual Arts Center. The work of Sonia Almeida explores the disjunction between our phenomenal experience of color and the ways in which the scientific analysis of color is thought to provide facts about reality. In doing so, Almeida explores the limits of abstraction, as well as how elements traditionally associated with other mediums and disciplines—such as film and textiles, translation and information—can be operative in painting. Her artist’s book features full color reproductions of images from her sketchbooks or graphical notebooks, as well as a text by MIT List Assistant Curator Alise Upitis. Artist’s Book in an edition of 1000.

Working in series that evolved gradually over decades, Alan Uglow (1941-2011) maintained an abiding focus on formal economy, using simple geometrical shapes to structure the surface of his canvases and emphasizing the materiality of painting rather than direct pictorial content. The exhibition Alan Uglow: Standards and Portraits at the MIT List Visual Arts Center presents two of the artist’s most important series, Standardsand Portraits, both centered on his decades-long investigation into the medium of painting. This publication produced in conjunction with the exhibition features an essay by Molly Warnock, assistant professor of Art History at Emory University, Atlanta.

When invited to do a solo exhibition at MIT in 1967, Hans Haacke was known as a “kinetic” artist—yet he made it clear upon arriving that his works were now to be called “systems,” produced with the “explicit intention of having their components physically communicate with each other, and the whole communicate physically with the environment,” according to the artist’s statements in 1967. These early works involved provoking and staging time-based events: wind in water vs. water in wind; the cycles of feedback systems of organic life; the dynamism of water in its solid state—freezing, evaporating, and melting; and the production of artificial climates. The exhibition Hans Haacke 1967 brought together from Haacke’s solo 1967 exhibition together again for the first time in fourty-four years. The exhibition was organized for MIT’s List Visual Arts Center by Caroline A. Jones, professor in the History,Theory, and Criticism Program at MIT. This catalogue publication features an essay by Jones, writings by Haacke, and the first English publication of a text written by art historian and curator Edward F. Fry. Fry’s text served as the introduction to the catalogue accompanying his cancelled survey of Haacke’s work which was planned for the Solomon R. Guggenhiem Museum in New York in 1971.

Juan Downey: The Invisible Architect is the first US museum survey of Juan Downey.  A fellow at MIT’s Center for Advanced Visual Studies in 1973 and 1975, Downey played a significant role in the New York art scene of the 1970’s and ‘80s.  The exhibition was organized by curator Valerie Smith, Head of the Department of Visual Art, Film, and Media at the Hausder Kulturen der Welt, in Berlin, Germany. The accompanying catalogue publication features essays by Gustavo Buntinx, Julieta Gonzalez, Valerie Smith, and Michael Taussig as well as interviews with: Carmen Beuchat (choreographer,dancer); Marilys Belt de Downey; Eugenio Dittborn (artist); Rick Feist, (artist and online editor); Carlos Flores Delpino (filmmaker); Stephen Fried (architect); Ismael Frigerio (artist); Frank Gillette (artist); Eva Hanhardt (Pratt Institute Professor, Center for Sustainable Design Studies); John Hanhardt (Senior Curator for Film and Media Arts, Smithsonian American Art Museum); Jim Harithas (artist, Director of the Station Museum of Contemporary Art, Houston, TX); Kirk von Heflin (filmmaker); Alfredo Jaar (artist); Beryl Korot (artist); Cristóbal Lehyt (artist); Les Levine (artist); Antoni Muntadas (artist); David Ross (curator, writer); and Bill Viola (artist).

Published on the occasion of the first museum survey of artist and filmmaker Stan VanDerBeek (1927-1984) at the MIT List Visual Arts Center and the Contemporary Arts Museum Houston, Stan VanDerBeek: The Culture Intercom is the first monograph to consider his pivotal contribution to postwar media art. Exploring his investigation into the links between art, technology, and communication, the publication brings together scholarship on VanDerBeek’s pioneering films and immersive projection environments, as well as documentation of site-specific and telecommunications projects, and a critical assessment of his writing on technology and media. Essays by the exhibition’s co-curators João Ribas and Bill Arning, and VanDerBeek scholars Mark Bartlett, Jacob Proctor, Gloria Sutton, and Michael Zryd provide an overview of the artist’s influence on contemporary media practices.

Through both writing and visual art, Frances Stark has produced candid and affecting work about language, doubt, failure, and creative anxiety for over two decades. Stark’s writings stand as a self-reflexive inquiry into the process of artistic production, as well as the often-elided demands of daily life. Frances Stark: This could become a gimick [sic] or an honest articulation of the workings of the mind, published on the occasion of her 2010-2011 exhibition at the MIT List Visual Arts Center, features a selection of the artist’s writings from 1997-2006, with margin notes by João Ribas.

Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home, is the next phase of a new project by Bahamian-born, New York-based artist Tavares Strachan. Since 2006, Strachan has been working on a multiphase body of work that explores space and deep-sea training. “Orthostatic” means to stand upright, and “tolerance” refers to the ability to withstand pressure. Combined, the phrase refers to the physiological stress that cosmonauts and deep-sea explorers endure while exiting, and re-entering our home, the thin surface of planet Earth. The Orthostatic Tolerance comes after two years of intensive research and hands-on training that has taken the artist to the Yuri Gagarin Cosmonaut Training Center in Star City, Russia as well as the Massachusetts Institute of Technology in Cambridge, Massachusetts. This 88 page catalogue publication documents a diverse range of Strachan’s previous and most recent works including a number of new works that were developed during Strachan’s 2009-2010 residency at MIT.

Virtuoso Illusion: Cross-Dressing and the New Media Avant-Garde is an investigation of cross-dressing (drag) as an artistic strategy in the development of avant-garde art. This 72 page catalogue publication explores how artists that cross-dress as part of their conceptual process have invigorated experimental art. The catalogue also features essays by Michael Rush, exhibition curator; Ara H. Merjian, Assistant Professor of Italian Studies and Art History at New York University, New York, NY; and exhibiting artist John Kelly, a performer, dancer, actor, and musician who began his career as part of New York’s East Village club scene during the 1980’s. The publication has both color and black and white illustrations. Artists featured in the catalogue include: Charles Atlas, Matthew Barney, Claude Cahun, Harriet “Harry” Dodge and Stanya Kahn, Marcel Duchamp, Michelle Handelman, John Kelly, Katarzyna Kozyra, Kalup Linzy, Ma Liuming, Manon, Pierre Molinier, Yasumasu Morimura, Brian O’Doherty, Ryan Trecartin, and Andy Warhol.

This catalogue publication was produced by the List Visual Arts Center in conjunction with the exhibition Tobias Putrih & MOS: Without Out. The exhibition featured a series of works created as the result of a collaboration between Slovenian artist Tobias Putrih and Michael Meredith, one of the principals in MOS, a collective of architects and designers. The publication includes color and black-and-white reproductions of key works as well as essays by Timothy Hyde, Assistant Professor of Architecture at the Harvard University Graduate School of Design, and Svetlana Boym, Professor of Slavic Languages and Literatures and Professor of Comparative Literature at Harvard University. In addition the catalogue includes an interview with Tobias Putrih and Michael Meredith conducted by Boym.

The Immeasurable Distance is a solo exhibition that includes work based on Matthew Day Jackson’s residency at MIT. His research and experiences at MIT are manifested in sculptures, paintings, objects, videos, photos, and books. Playing with themes as large as technology, nature, and God, Jackson analyzes and comments on today’s culture and the influence scientific discoveries have had on our decision-making as a society. This exhibition catalogue features essays by curator Bill Arning, science and technology curator of the MIT Museum, Deborah Douglas, author and MIT professor David Mindell, systems administrator for the MIT Lincoln Laboratory Tom Morton, and a comic strip by illustrator David Tompkins.

Davis, Cherubini: in Contention focuses on the relationship that exists in artistic collaboration. Nicole Cherubini and Taylor Davis, both established artists, come together to create and share authorship of single sculptures. This exhibition catalogue documents their unique creative process and the dialogue that exists between these two artists’ understanding their own work when compared to the other’s efforts. This catalogue features an essay by curator Bill Arning and a preface by List Center director Jane Farver.

Adel Abdessemed: Situation and Practice features a collection of Abdessemed’s previous street “acts” as well as several works created specifically for this exhibition. Abdessemed works in video, animation, performance, and installation, taking on topics such as religion, sexuality, and more recently, global violence. While many consider his pieces performative, Abdessemed refers to his work simply as “acts” acknowledging the political implications of the term. This exhibition catalogue includes essays by List Visual Arts Center director Jane Farver; professor, author, and editor Tom McDonough; art critic, columnist, teacher, and curator Pier Luigi Tazzi; and an interview with MIT professor of Linguistics (Emeritus) Linguistic Theory, Syntax, Semantics, Philosophy of Language, Noam Chomsky, conducted by Adel Abdessemed.

Filmmaker and video artist Chantal Akerman in Moving Through Time and Space, presents five pieces that underscore her ability to blur the line between what we consider to be factual and what we consider to be fantasy. Organized in collaboration with the Blaffer Gallery, the Miami Art Museum, and the Contemporary Art Museum St. Louis, the exhibition features Akerman’s  first museum installation De l’autre côté (From the Other Side) and her most recent installation, Les Femmes d’Anvers en Novembre (Women of Antwerp in November). This exhibition catalogue includes essays by MIT List Visual Arts Center curator Bill Arning; the Miami Art Museum executive director and chief curator Rina Carvajal; writer, editor, and independent curator Klaus Ottmann; the Blaffer Gallery director Claudia Schmuckli; and director of the Parrish Art Museum, Terrie Sultan.

The video artist David Claerbout explores time as a material through the intersection of still and moving images, challenging traditional practices by using as his unit of currency the pixel rather than the shot. Some of his works evolve from found photographs that he converts to digital images and then merges with moving footage in order to introduce time; in other works, he uses digital video footage of the changing of natural light over time to investigate what time is. This exhibition catalogue documents Claerbout’s work in great detail, from planning drawings and photographs through photographs of the works in installation. It also includes an interview of the artist by Christine Van Assche, New Media Curator at the Centre Pompidou, Paris, as well as writings by Dirk Snauwaert, Françoise Parfait, and Raymond Bellour, and a biography and a bibliography.

Sounding the Subject/Video Trajectories features works drawn from the collections of Pamela and Richard Kramlich and the New Art Trust.Sounding the Subject considers the use of sound, the human voice, and theatrical performances by artists Eija-Liisa Ahtila, Stan Douglas, David Hammons, Nam June Paik, and Pipilotti Rist. This exhibition was organized by guest curators Daniel Birnbaum, Rector of the Städelschule Art Academy and Director of the Portikus Gallery in Frankfurt–am-Main, Germany, and Mechtild Widrich, Ph.D. candidate, MIT’s History, Theory, and Criticism program.

The exhibition’s theme continues in a library-format exhibition, Video Trajectories, that features works by artists that were created from the 1960s to the early 2000s. Video Trajectories was organized by guest curator Caroline A. Jones, MIT Professor, MIT’s History, Theory, and Criticism program. Video Trajectories presents time-based media works by Marina Abramovic/Ulay, Vito Acconci, Doug Aitkin, Allora & Calzadilla, John Baldessari, Dara Birnbaum, Dan Graham, Gary Hill, Joan Jonas, Paul McCarthy and Mike Kelley, Mariko Mori, Bruce Nauman, Nam June Paik, Pipilotti Rist, Richard Serra and Carlotta Fay Schoolman, Bill Viola, and Jane and Louise Wilson. This 80-page catalogue publication features essays by curators Daniel Birnbaum, Mechtild Widrich, and Caroline A. Jones, and introductions by Pamela and Richard Kramlich and List Center Director Jane Farver.

Cameron Jamie’s work — a blend of video, sound, performance, photography and drawing — confronts the dysfunction of European and American society. His critical gaze often focuses on ritualistic practices in popular culture such as hot dog eating contests and backyard wrestling. Taking suburban phenomena of this sort as his primary material, Jamie explores the dark underbelly of the American dream in drawings, film and performance. This artist-designed exhibition catalogue features more than 60 works in various media, illuminating the artist’s process with selections from his personal archive of clippings and ephemera, as well as raw sketches for his projects. An essay by exhibition curator Philippe Vergne, a forward by Walker director Kathy Halbreich and a reprint of a poem by Charles Bukowski selected by the artist provide context for this first large-scale, museum presentation of Jamie’s work.

English-born Melanie Smith has lived and worked in Mexico City for nearly two decades. Her work reflects the social, economic, and aesthetic patterns of the city and how these patterns translate to an artistic form. Spiral City & Other Vicarious Pleasures features paintings, photography, and video works by Melanie Smith as well as collaborations with other artists. Smith uses colors, textures, materials, and found objects from the urban environment in examining the complex and chaotic visual elements that compose the megalopolis that is Mexico City. This exhibition catalogue features text by curator Cuauhtemoc Medina, as well as contributions by Essex University art history professor Dawn Ades, author and Royal College of Art professor David Batchelor, and Mexican artist Eduardo Abaroa.

In 1966, a Bell Laboratories physicist brought a group of avant-garde artists together with 10 open-minded members of the science and technology fields for 9 Evenings: Theatre and Engineering, a series of investigatory Happenings which took place at the 69th Regiment Armory and were duly noted by critics Lucy Lippard and Brian O’Doherty. The resulting seminal performances included John Cage’s Variations VII, in which 30 photocells were mounted around the performance space, activating a variety of sound sources — including a blender, 20 radio channels and two Geiger counters — as the performers moved around. An 88-page exhibition catalogue includes original essays by Clarisse Bardiot (researcher at Daniel Langlois Foundation), Michelle Kuo (Harvard PhD. candidate), and Catherine Morris (exhibition curator). It also includes reprinted reviews of the original performances 9 Evenings: Theatre and Engineering by Lucy Lippard and Brian O’Doherty, and an interview with Herb Schneider (engineer).

Catalogue includes an essay by Bill Arning, curator of the MIT List Visual Arts Center, black and white images and extensive descriptions of the work in the exhibition, and the artist’s exhibition history. 

Slovenian artist Marjetica Potrc discovers beauty in the unplanned urban landscapes of shantytowns, trailer parks, and barrios. In her installations in various art institutions across the globe, she sends instructions to the musum staff on how to build her installations — often inspired by a type of shelter found halfway across the world — out of local materials. Here she instructs/constructs a massive installation of housing units based on observations made of temporary shelters and gated communities in Caracas, the West Bank, and West Palm Beach. Urgent Architecture includes a DVD of an interview with the artist. A fully-illustrated 66-page catalogue. Produced by the Palm Beach Institute of Contemporary Art, it includes texts by Carlos Basualdo, Liyat Esakov, Marjetica Potrc, Michael Rush, and Eyal Weizman. The Catalgue is accompanied by a DVD featuring an interview with Marjetica Potrc.

The United States will be represented at the 50th Venice Biennale by an artist known for questioning accepted notions of “truth” via combinations of historical artifacts, art objects, film, video, audio and altered museum labels. Fred Wilson’s U.S pavilion will deal with Renaissance Venice and the role black Africans played in what was then the most cosmopolitan and ethnically diverse city in the world. Part of Wilson’s exhibition will focus on the more personal themes of sadness and regret and will include new individual works and an installation about the legend of Othello, the Moor of Venice. A fully-illustrated 66-page catalogue. Produced by the MIT List Visual Arts Center, it features acknowledgements by Jane Farver; essays by Paul H.D. Kaplan and Salah Hassen; and an interview of Kathleen Goncharov and Fred Wilson. The catalogue is accompanied by a CD documenting Fred Wilson’s work in Venice.

Focused on young artists from around the world who are living and working away from their cultures of origin, and who, like their predecessors of the 1960s and 70s, are creating new ways to articulate responses to the ever present problem of reconciling the global with the local. A catalogue in color and black and white, with an essay by independent curator and critic Jens Hoffmann and introductory remarks by Joan Jonas and Jane Farver. It includes biographies and images from each of the participating artists.

A catalogue, created in conjunction with AA Bronson’s Mirror Mirror,designed by AA Bronson and Barr Gilmore. The catalogue features an introduction by curator Bill Arning.

Accompanying the show organized by Curator Bill Arning, this catalogue contains essays by Bill Arning and New York-based practicing architect, critic, and professor Joel Sanders. The exhibition featured the work of Monica Bonvicini, Elmgreen & Dragset, Teresita Fernandez, Juan Maidagan and Dolores Zinny, Henrik Olesen, and Oona Stern.

An artist’s book, in the shape of a wing, produced in an edition of 1500 to accompany the premiere of Buvoli’s animated film, FLYING — Practical Training for Beginners at the List Visual Arts Center. The aerodynamically-designed book houses within it, encased in plastic pockets, a flip book and an instructional manual. which allow the reader to re-experience the “33-step method” for flying.

A full-color catalogue documenting collaborative team Lilla LoCurto and Bill Outcault’s new group of work, in the form of large-scale photographs, based on digital mappings of their bodies. With essays by Helaine Posner, exhibition curator, and David Gelernter, a professor of computer science, Yale University, who is also an artist and writer.

A full-color catalogue which documents Campos-Pons’ video/sculptural installation work created for the MIT List Visual Arts Center. With an essay by Michael D. Harris, Assistant Professor of African and African-American Art, University of North Carolina at Chapel Hill and exhibition organizer Jennifer Riddell.

A full-color catalogue of a 20-year retrospective exhibition organized by the Georgia Museum of Art, site of one of Gillespie’s first solo exhibitions in 1970. With an essay by Carl Belz, director emeritus, Rose Art Museum, Brandeis University, and interview conducted by Donald Keyes, exhibition curator, Georgia Museum of Art.

A full-color catalogue of Laramée’s Spring 1999 installation created for the MIT List Visual Arts Center which explores a web-like matrix of associations with digital technology, reaching back to Jacquard’s 1801 loom and into connections with politics, history, the decorative arts, music, and the biological world, all of which offered an impetus to or models for thedevelopment of computing and the internet. With essays by Jonathan Crary, Columbia University; Barbara Maria Stafford, University of Chicago, Jessica Riskin, MIT, and exhibition curator Jennifer Riddell.

A full-color catalogue of Jaar’s “Rwanda Projects,” a series of photography and text-based work generated from the artist’s his in Rwanda in 1994 where he traveled to collect the testimonies of survivors of the genocide there. Presented at the List Visual Arts Center during Winter 1999. With an essay by exhibition guest curator Debra Bricker Balken.

Lewis deSoto’s installation, Recital, 1998, was a poignant tribute to a marriage. Through an innovative use of technology, deSoto sensitively fused the distinct talents of Dr. Hideomi Tuge, a brain pathologist, and Dr. Tuge’s wife, Chiyo, a composer and pianist. The inspiration for Recital came to deSoto by the chance discovery of a book by Dr. Tuge entitled The Atlas of the Brain of a Pianist, which is a posthumous mapping of Chiyo Tuge’s brain by Dr. Tuge. For the installation, a grand piano was placed in a stage-like setting in front of a theater curtain. Despite the absence of a pianist, eerie strains of Chiyo’s music flowed from the piano, conveying a powerful sense of loss. Dr. Tuge’s atlas is in place where sheet music normally would have been, its pages turned by an automatic page-turner. deSoto stated, “While the book projects sensibilities that are commonly labeled scientific and objective, the relationship between husband and wife, devotion and loss, science and art are implicated as the installation connects the image of the brain (creativity) with the experience of the music (memory).” A brochure documenting deSoto’s Fall 1998 installation Recital with an essay by exhibition curator Jennifer L. Riddell.

A full-color catalogue of work made by German woodcut artist Matthias Mansen while he was living in New York from 1989-1992. The work, About the House, which was shown only in the U.S. at the MIT List Visual Arts Center, is of monumental scale, and depicts an everday, domestic interior, with people going about their tasks and rituals. Unfolding in a cinematic fashion, the viewer “walks” through the house that Mansen creates. The catalogue is illustrated by the artist with original woodblock prints bound into the book.

This catalogue will expand upon the themes explored in the exhibition of the same name, originating at the List Art Center in April 1998 and travelling to the Miami Art Museum and San Francisco Museum of Modern Art through 1998 and 1999. The exhibition explores the relevance of the Surrealist aesthetic to women artists from the 1930s and intervening generations to its continued relevance to contemporary artists. The contributors reexamine art historical assumptions about gender, identity, and intergenerational legacies within modernist and postmodernist frameworks. Questions raised include: how did women in both groups draw from their experiences of gender and sexuality? What do contemporary artistic practices involving the use of body images owe to the earlier examples of both female and male Surrealists? What is the relationship between self-image and self-knowledge? Essays by Dawn Ades, Whitney Chadwick, Salomon Grimberg, Katy Kline, Helaine Posner, Susan Rubin Suleiman, Dickran Tashjian. Edited by Whitney Chadwick, author of Myth in Surrealist Painting (1980) and Women Artists and the Surrealist Movement (1985).

In “The Repository of Absent Flesh,” Francesc Torres converted a warehouse for the display of found objects, such as a camera, a motorcycle, aand the model of the human brain. As visitors would pass, a light came on and a recorded voice narrated the brief story of each object. All told, 20 stories mingle into an aesthetic overture concerning tragedy and triumph in human life. A full-color catalogue which documents Torres’ Winter 1998 installation created at the List Visual Arts Center includes an essay by art historian Arthur Danto, as well as the full texts of each of the 20 stories pivotal to the installation.

This catalogue fully documents Reynolds’ Winter 1997 exhibition The Shape of Breath. As artist-in-residence, Reynolds completed the installation on site in the List Visual Arts Center’s Bakalar gallery, where visitors could observe the artist at work as she individually blew by hand more than 10,000 glass bubbles. The stems of each delicate bubble were then inserted into a curved, backlit wall within the darkened gallery, transforming it into a simulacrum of a night sky. In her work, Reynolds seeks poetic metaphors for communication and language, and ways for making tangible and forcefully present the ways in which human presence is inextricably linked to the landscape and universe around us. With essays by Katy Kline, LVAC director and Steven Pinker, Director of the MIT Center for Cognitive Neuroscience.

The artists represented in this exhibition, Bill Beirne, Niels Bonde, Diller + Scofidio, Laura Kurgan, Richard Lowenberg, Steve Mann, and Julia Scher, insert their work within an ecology of surveillance data and images, disrupting the flow in order to draw attention to the ideological dimensions of the pressing desire within our culture to identify, show, quantify, and regulate. Their work at times replicates the more traditional forms of surveillance, such as video and photography; or alternatively, investigates the dematerialized forms of monitoring becoming increasingly prevalent which may map our movements, activities, associates, and lifestyles. The projects and installations reflect upon and problemmatize a function of contemporary life that has become so ubiquitous and familiar, yet still may prompt an inchoate sense of threat — to privacy, to democracy, to the individual. Paradoxically, the insertion of the technologies of surveillance into our daily lives may also offer subversive or socially efficacious potential that has not yet been recognized. With artists’ statements, b/w reproductions, essays by Timothy Druckrey and exhibition organizer Jennifer Riddell.

The catalogue Recovering Lost Fictions both documents and supports the eponymous installation/collaboration between contemporary artists Kathleen Gilje and Joseph Grigely shown at the List Visual Arts Center during Fall 1997. The installation explored the ways in which art is reconfigured by the institutional processes devoted to its study by examining a remarkable, recently restored second version of Caravaggio’s masterpiece The Musicians,the fully authenticated version of which is in the collection of the Metropolitan Museum of Art. The exhibition examined the restoration, and subsequent attribution of the second, as yet unauthenicated version, recently restored in New York by Gilje. The purpose is to show how one painting has more than one history, and how the processes of conservation and art criticism contribute towards the construction of these histories.

The catalogue itself, a carefully researched and documented study, explores the relationship between the two versions of The Musicians in the context of Caravaggio’s social and cultural milieu. Modeled after the National Gallery of Art, Washington D.C., exhibition brochures focusing on a single work, the catalogue offers images of both versions of The Musicians as well as X-rays made during the restoration that reveal that the artist had initially painted, then painted over, an extraordinary incident among the three musicians. With an essay by Joseph Grigely.

While the adage, pictures are worth a thousand words, points to the endless interpretive and descriptive possibilities offered by visual representations, the specificity of language and words themselves are generally thought to offer more incisive meanings. Kay Rosen upsets this order by using language as the subject of her paintings, turning words themselves into pictorial images that explore the vicissitudes of language. The work asks viewers to explore the ways meanings are read, derived, and decoded from language by using puns, repetitions, abrogating conventional grammatical rules, and examining the graphical properties of words themselves. With a text by exhibition organizer Jennifer Riddell.

Joseph Grigely was artist-in-residence at the MIT List Visual Arts Center during the Fall of 1996 and created an installation entitled Ordinary Conversations. Grigely, who became deaf as a result of a childhood accident often askes people to write down what they are saying when he is unable to read their lips due to speech idiosyncrasies. For the past several years, Grigely has incorporated these conversations into his art, creating wall pieces and table-top tableaux or still lifes of the notes and scraps generated from exchanges with gallery visitors over the course of his projects. His work explores the differences between speech and writing, reading and listening. The catalogue for the LVAC exhibition takes the form of an artist’s book, which Grigely conceives of as a “catalogue” of some of the conversations he has had, and includes reproductions of some of the more interesting, wry, and telling notes people have written to him.

This beautifully designed catalog documents the projects undertaken between 1985 and 1993 as part of the LVAC’s Artist-In-Residence program. Over the course of ten years, nineteen artists came to the List Visual Arts Center for periods of time ranging from two weeks to several months and were invited to make a new work and to push their research and creativity in new directions. Liberated from its conventional definition of mute display container, the List Center gallery was reconceived to become an active hybrid of studio, laboratory, library or staging area. The catalog includes brief introductory essays and an in-depth interview with each artist in addition to photo documentation and biographical information. Artists include Victor Burgin, Betye Saar, Marina Abramovic, Ann Hamilton, May Sun and Robert Cumming.

Much recent art has involved overt social and political topics and has included text or recognizeable, often media-based imagery. How is looking at a painting without immediate external refernce a different experience for the viewer? While this exhibition makes no claim for comprehensivity, the variety of strategies employed by the ten participating artists demonstrate the vitality and relevance of abstraction as it approaches its centennial. Artists: Fandra Chang, April Hankins, Prudencio Irazabal, Shirley Kaneda, Byron Kim, David Ortins, Fabian Marcaccio, Dona Nelson, Jo Ann Rothschild, Sandy Walker. Essay by Katy Kline. Artist entries by curators Katy Kline, Ron Platt and Helaine Posner.

The six artists represented in this exhibition employ a variety of aesthetic approaches to advance our understanding of our complex and multivalent relationships with the great apes. James Balog, Walton Ford, Sean Landers, Jean Lowe, Richard Ross and Daisy Youngblood either critique or look beyond the historically-erected symbology and archetypes which tend to dominate contemporary consideration of our simian next of kin. Essay and artists’ entries by curator Ron Platt; additional essays by Harriet Ritvo and Tommy L. Lott.

A document of the video installation by Spanish artist Antonio Muntadas, this catalog includes stills from the installation, comments from Muntadas, and production notes from Caterina Borelli. Between The Frames confronts viewers with a provocative series of interviews casting light on the practices and values embedded in the institutional presentation of contemporary art. It is a rich and illuminating stimulus to discourse — addressing as it does a variety of cultural practices from a truly international perspective. Published by the List Visual Arts Center and the Wexner Center for the Arts, Ohio State University, the catalog includes essays by Wexner Centercurator of new media Bill Horrigan and independent curator Debra Balken.

While the subject of the feminine has been explored in depth over the past generation, until very recently its counterpart, masculinity, has been largely ignored in contemporary art exhibitions. This thematic exhibition explores the social construction of masculinity through the works of eleven artists, including Matthew Barney, Tina Barney, Clegg & Guttman, Graham Durward, Lyle Ashton Harris, Dale Kistemaker, Mary Kelly, Donald Moffett, Keith Piper, Charles Ray and Michael Yue Tong. The fully illustrated catalog examines postwar views on masculinity from an interdisciplinary perspective. In addition to a primary focus on the visual arts, masculinity in sociology, literature, cultural studies and the mass media are also examined. Contributors include co-curators Helaine Posner and Andrew Perchuk, Simon Watney, Harry Brod, Steven Cohan, bell hooks, and Glenn Ligon.

Leon Golub and Nancy Spero are senior American painters whose works have consistently wrestled with questions of power and the individual. Golub’s monumental canvases, with their looming figures and lacerated surfaces thrust themselves belligerently into the spectator’s face. Spero’s more delicate works on paper, episodic and ephemeral, infiltrate the spectator’s awareness more surreptitiously. War and Memory, a joint retrospective, is the first major exhibition to survey their strangely interdependent symmetry. Essay by Katy Kline and Helaine Posner.

The capabilites of digital imaging challenge our assumptions about photography’s role in relation to issues of authenticity and reality, while also revealing how sophisticated new technologies allow artists unprecedented freedom in the creation and manipulation of photographic images. The six artists represented in this exhibition employ conceptual art strategies while maintaining a focus on the human form and human condtion. The heightened sense of reality created in these human and machine collaborations can seem the work of a spectral presence born during the interactive process. Artists in the exhibition are Anthony Aziz & Sammy Cucher, Keith Cottingham, Jeff Wall, and Michael Wenyon & Susan Gamble. Essay and artists entries by Ron Platt, assistant curator, List Visual Arts Center.

A group of large, dramatic woodblock prints by this California artist manage to balance the competing demands of eye, intellect and emotion. They hover between abstraction and representation. Though based in nature the prints are less the mirror of a specific location than an evocation of the rhythms and pulses of the natural world. Essay by Katy Kline.

Colombian artists Maria Fernanda Cardoso has devoted much of her artistic energy to exploring the often tenuous, always fascinating bond between humans and other animal species. In her sculpture she transforms preserved grasshoppers, snakes, frogs, piranhas and other fauna into classical minimal shapes and arrangements. Essay by curator Ron Platt.

This exhibition includes fourteen recent, large-scale black and white photographs by a German-born artist presently living and working in Montréal. Portraits, nudes, landscapes, urban sites and interior settings are among Grauerholz’s diverse subjects. Her tentative images are soft-focused, sepia-toned and ambiguous in relation to time and place. Influenced by film and literature, the artist wants her photographs to be “as open as I can possibly make them, so that the viewer can reinvest what he or she feels into a particular scene, into a particular image.” Essay by the curator Helaine Posner.

This exhibition brings together the work of twelve artists from the United States and Canada who undermine the decorative and comfortable domesticity usually associated with crafts. Though crafts have too often been considered the stepchildren of the more intellectual and elevated “Fine Arts”, these subversive crafts people acknowledge the realm of the familiar and homey everyday object as a powerful milieu to provide an intimate, experiential and incisive commentary on the emotive conditions of contemporary life. Artists: Laura Baird, Kate Boyan, Lou Cabeen, Nancy Edell, John Garret, Anne Kraus, Keith Lewis, Paul Mathieu, Matt Nolen, Richard Notkin, Leslie Sampson, Jane Sauer, Joyce Scott, Barbara Todd, and Lillian Tyrell. Introductory essay and essays on individual artists by Katy Kline.

This exhibition examines the prevalence of the body fragment as both theme and content in contemporary art, demonstrating the dramatic, often disturbing degree of dissolution which has characterized recent art. Work by artists Louise Bourgeois, Robert Gober, Annette Messager, Rona Pondick, Kiki Smith, David Wojnarowicz, Lilla LoCurto and William Outcault include representations of internal organs, bodily fluids, isolated limbs and other body parts which speak to the alienation and sense of fragmentation of individuals in today’s society. These artists deconstruct ideals of coherent identity and an integrated self. Introduction by Donald Hall. Essays by Thomas Laqueur and curator Helaine Posner as well as additional texts by the artists.

Japanese photographer Michiko Kon’s rich black and white photographs hover between the grotesque and the poetic. Her theatrically staged Surrealist still-lifes combine organic materials which range from flowers to vegetables to that most emblematic of Japanese cultural icons — raw fish. The sense of impending decay embodied in the fleshy materials and references to the body underscores photography’s ability to freeze and preserve the transitory. Introduction by Katy Kline. Essay by Michiko Kasahara.

This exhibition examines overlapping patterns of biological digestion, economic consumption, and aesthetic simplification. The observation is made that the streamlined style of modern design, which served the new ideals of bodily hygiene while engaging the manufacturing policy of planned obsolescence, emanated from the domestic landscape of the bathroom and kitchen. The organically modeled yet machine-made surfaces of streamlined objects are shown to have collapsed the natural and the artificial, the biological and the industrial, into an aesthetics of waste. Ellen Lupton and J. Abbott Miller.

Lebbeus Woods is an experimental architect whose wildly visionary inventions explore alternative possibilities in societal living. His technology is equally romantic, optimistic and sinister. Essay by Diana DuPont with additional text by the artist.

This two-person exhibition examines the fugitive nature of various scientific systems. Jon Tower’s drawings, sculpture and installations are wry ruminations on mathematics, chemistry and genetics and address how beliefs come to be accepted or rejected. Orshi Drozdik uses the display techniques of the natural science museum to comment nostalgically on the gradual obsolescence of Enlightenment physics, 19th century medicine and Linnean botany. Introductions by Katy Kline and Helaine Posner. Interview by Jan Avgikos and essay by Jon Tower.

The five artists in this exhibition incorporate existing photographs into their own photographic work, often radically rejuxtaposing the recycled or “cannibalized” imagery to darkly comic or profoundly disturbing effect. The work addresses such diverse issues as the objectification of women, the seductive nature of war, and genetic manipulation. Work by John O’Reilly, Tina Potter, Aura Rosenberg, John Schlesinger and Joachim Schmid. Essay and texts on each artist by Ron Platt.

The first American retrospective of this Danish artist’s work, this exhibition includes work executed from 1982 through 1989. An essay by the curator, Helaine Posner places the work in context.

An installation consisting of photography, video and sculpture examining the contradictions of the American past as well as the ways in which the media shape and distort our perceptions of cultural events. Essay by David Joselit with text by Warren Neidich. Introduction by Ron Platt and Anita Doutha.

Broughel’s assemblages, made with a bi-cultural collage of elements, speak of the conquest of the Iroquois and embody the Euro-Indian cultural pastiche that it produced. Eight chairs encourage viewers to ponder the thin line between borrowing and plundering and to acknowledge the morality of indebtedness. Essay by Edward Ball.

The Cuban sculptor, who died in 1988, created a small but influential body of work devoted to identifying a particularly Latin American mythology through an unusual combination of secularism and mysticism. The works on view, in wood and other natural materials, include the monumental piece left unfinished at his death. This is the first public exhibition of Elso’s work in the United States. Essay by Luis Camnitzer.

Painting, sculpture, crafts, and photography by ten artists from across the United States and Canada who use various subtle strategies to embed potent meaning within an attractive object or image. Work by Judie Bamber, Michael Banicki, John Currin, Ronald Jones, Ken Lum, Joyce Scott, Andres Serrano, Masami Teraoka. Essay by Dana Friis-Hansen.

A retrospective of the work of Boris Michailov and exhibition of four younger soviet photographers inspired by his work: Vladimir Kupreanov, Ilya Piganov, Maria Serebrjekova and Alexey Shulgin. Essays by John P. Jacob and Tatiana Salzirin provide an historical overview and context. Introduction by Katy Kline.

A collaborative project between the La Jolla Museum of Contemporary Art and the MIT List Visual Arts Center, this exhibit is a comparative look at smart art from two similarly sized cities whose identities derive at least in part from their respective positions in the orbits of the two centers of the American art cosmos, New York and Los Angeles. Work by 12 artists. Intro. by Hugh M. Davies and Katy Kline. Essay by Ronald J. Onarato.

This is the first selective survey of holography from MIT’s Spatial Imaging Group since its founding in 1982. The exhibit features many important design and technical advancements originated or developed by the laboratory headed by Dr. Stephen A. Benton. Introduction by Dana Friis-Hansen and Betsy Connors. An essay by Dr. Benton presents an overview of progress in holography and points to future developments in the field.

Over the past 15 years Mullican has developed a lexicon of stylized signs and images, and a variety of structures for the signs to organize our world and describe its systems and relationships. An extraordinary range of media have comprised his program, including bulletin boards, fabric banners, posters, stained glass, carved stones, rubbings, tapestries and, most recently, the invisible world of the computer data bank. Introduction by Katy Kline. Essay by Johannes Meinhardt (English translation from German) and interview with the artist by Michael Tarantino.

The artist has worked at the frontier of computer-assisted art for over fifteen years. This catalogue contains fifteen of the artist’s provocative computer-assisted portraits, which age or combine the features and facial structures of two or more subjects. Essay by Dana Friis-Hansen.

An exhibition of cameras and photographs by Chicago-based artist Jno Cook. He designed and constructed a wide variety of cameras, all made from reclaimed optical and mechanical materials, as well as common household objects such as cookie tins. Introduction by Ron Platt. Interview with the artist.

First one person museum exhibition of this young New York painter. Purdum’s large canvases, which she paints with her fingertips, are noted for their robust but delicately handled color. Essay by Dana Friis-Hansen.

This exhibition features 14 New England artists who address topical political and social issues which face the U.S., including freedom of expression, homelessness, militarism, toxic waste, AIDS, and substance abuse. It features painting, sculpture, photography, architecture, and environmental installations. Essay and texts on each artist by curator Dana Friis-Hansen.

Photographer Richard Ross’ “museology” work involves large triptychs in which mysterious and suggestive details from Old Master paintings were shot with a simple child’s plastic camera. Essay by Gerard Haggerty.

An eclectic selection of timepieces make up this exhibition which challenges conventional notions toward the marking of time. Nearly thirty artists, architects, and designers from the United States and Canada are represented. Essays by J. T. Fraser and Dana Friis-Hansen.

Exhibition of small-scale maquettes, studies and sculptures by Beverly Pepper. Essay by Judith Hoos Fox.

This dramatic exhibition of huge slabs of raw wood and monumental paper silhouettes was the sole representative of West Germany at the 1988 Venice Biennale. Essay by Katy Kline.

Exhibition of commissioned photographs examining the “look” of the technological revolution. Cumming’s interiors, Friedlander’s portraits, and Groover’s still lives are introduced by Katy Kline, with essays by Leo Marx and Alan Trachtenberg. 

Exhibition of sculptural paintings which combine industrial scale, high-tech materials, and electronic imagery with forms suggestive of the body or landscape in transformation. Essay by Dana Friis-Hansen.

A history and guide to the art and architecture of the Massachusetts Institute of Technology with four walking tour maps. Author: Katy Kline.

Exhibition of small scale sculpture in wood and various metals. Essay by Katy Kline.

Exhibition featuring private photographs by thirty contemporary artists from Czechoslovakia, East Germany, Hungary and Poland. Catalogue text includes discussion on the issues surrounding the creation of these works, and a critical, historical analysis. Essays by guest curator John P. Jacob and photography critic Lynn Zelevansky.

Exhibition of work by sculptor Tony Smith. Essay by Dana Friis-Hansen. Artist’s quotes.

Exhibition featuring work by Abram Ross Faber, Brewster Luttrell and Pia Massie, three Boston sculptors whose work incorporates found materials. Introduction by Katy Kline.

Exhibition of wood sculpture by Louise Nevelson. Essay by guest curator Ceil Friedman.

Exhibition featuring the work of Portuguese architect Alvaro Siza. Essay by guest curator Peter Testa.

Exhibition brochure exploring the engineering aspects of Calder’s sculpture. Essay by guest curator Joan Marter.

Exhibition focusing on 18 contemporary artists examining varying attitudes toward the body without clothes. Artists included are Lius Cruz Azaceta, Louise Bourgeois, Chuck Close, Robert Mapplethorpe, Alice Neel, TODT and others. Essays by Carrie Rickey and Dana Friis-Hansen.

In-depth documentation and discussion of the pioneering collaboration of artists and architects in the designing of MIT’s Wiesner Building. Essays by Robert Campbell and Jeffrey Cruikshank. Introduction by Calvin Tomkins. Interviews with artists, architects, and project protagonists: Jerome Wiesner, Deborah Hoover, Kathy Halbreich, William Porter, Alan Shields, John de Monchaux, I.M. Pei & Partners, Scott Burton, Kenneth Noland, Richard Fleischner, Steve Pelletier and Rob Steinberg and Harry Portnoy.

Exhibition featuring the work of Robert Moskowitz and Judith Shea. Essay by Katy Kline.

Exhibition featuring objects of American design from the 1930s and the 1980s. Essay by Katy Kline. Insert details the exhibition installation designed by Tod Williams & Assoc., Architects, NY.

Exhibition of small-scale maquettes, studies and sculptures by Jacques Lipchitz. Essay by guest curator Jeanne L. Wasserman.

Exhibition featuring the work of 20 contemporary performance, installation and recording artists. The exhibition was comprised of visual works as well as a series of artist’s audioworks on WMBR radio. Artists included Laurie Anderson, Jacki Apple, Glenn Branca, Jack Goldstein, Christian Marclay and others. Essay by guest curator Kevin Concannon.

Exhibition featuring installation work by Vito Acconci, David Ireland and James Surls in response to the theme of paradise. Essay by Gary Garrels.

Exhibition featuring sculpture by Jackie Winsor and Barry Ledoux. Introduction by Kathy Halbreich. Interviews with the artists.

Exhibition of photographs by Peter Campus and paintings and drawings by David Deutsch. Essay by Katy Kline and Kathy Halbreich. 

Exhibition focusing on the work and shared ambitions of Bill Jensen, Terry Winters, Brice Marden, and Myron Stout. Essay by Kathy Halbreich.

Catalogue documents MIT’s commission of monotype mural by Michael Mazur. Essays by Katy Kline and Eugenia Parry Janis.

Exhibition featuring the work of Vernon Fisher, Myrel Chernick and Paul Sharits in which language as an integral element. Essay by Kathy Halbreich. Interviews with the artists.

Exhibition featuring contemporary European prints by 18 artists including Georg Baselitz, Francesco Clemente, Felix Droese, Jörg Immendorf, Anselm Kiefer, Mimmo Paladino, Arnulf Rainer and others. Essay by Katy Kline and Garry Garrels.

Exhibition focusing on contemporary large scale works on paper by 17 artists including Chuck Close, Bryan Hung, Robert Moskowitz, Elizabeth Murray, Joel Shapiro and others. Essay by Katy Kline.

Exhibition focusing on the figurative aspects of contemporary painting, sculpture and photography. Artists included Jennifer Bartlett, Jonathan Borofsky, Barry Ledoux, Robert Longo, David Salle, Joel Shapiro, Cindy Sherman and others. Essay by guest curator Roberta Smith.

Exhibition featuring chairs, tables, and lamps by 17 contemporary architects including Frank Gehry, Vico Magistretti, Robert Mangurian, Billie Tsien, Tod Williams and others.

Exhibition featuring the work of painters Carroll Dunham, Ralph Hilton, John Kohring and Carol Lindsley. Essay by Kathy Halbreich.

Exhibition featuring site-specific installations by Richard Artschwager, Cynthia Carlson and Richard Haas. Essay by Susan Sidlauskas.

Brochure accompanying an installation by Jonathan Borofsky at MIT’s Hayden Gallery which included a ping-pong table, a coke machine, wall paintings, and a videotape documentary of the artist’s working process. Essay by Kathy Halbreich.

Exhibition featuring sculptures by T. Bills, R. Horn, J. Gibbons, and N. Pearson. Essay by Kathy Halbreich.

Exhibition featuring the work of Mel Bochner and Richard Serra focusing on the use of language as a stimulant for conceiving and making art. Essay by Kathy Halbreich.

Exhibition of the work of Italian architect and theorist Aldo Rossi. Essay by Katy Kline.