This comprehensive publication by the art foundation Thyssen-Bornemisza Art Contemporary (TBA21) engages with more than 100 works of art in over 1,300 pages, proposing a speculative topography that organizes and weaves together sequences of potential narratives and interrogations along with close examinations of different works of art and a collective archive of images.

This catalogue stems from an exhibition program which investigated the heritage of the 1968 project The Model, for which Stockholm's Moderna Museet was transformed into an adventure playground for children.

How have artists over the past 150 years related to migration and exile? And what role can a museum play in times of mass migration?

This catalogue stems from two eponymous exhibitions examining Hungary's art scene's drive toward abstraction to reflect on the complex social conditions of the country, from the 1960s to the present-day.

Artistic views on forestry and its actors (catalogue).

An overview of video art production from the Pearl River Delta in China: having emerged in the mid-1980s, this vital yet under-represented art scene is thoroughly documented in this richly illustrated catalogue (460 ill.) which features works by nearly sixty artists (catalogue of the inaugural exhibition at Times Art Center Berlin).

Stemming from the namesake exhibition program at Cooper Gallery, Of Other Spaces draws on women artists' activism from the 1970s to the present day to build a reflection on feminist thinking as a provocative and cogent mode of creative and critical inquiry.

Halfway between a catalogue and a reader, this publication documents a long-term, touring exhibition project on the critical reception of Hubert Fichte's ethnographic travel literature. This large-scale initiative brings forth a multi-faceted debate on colonial modernism, ethnography, poetry and sexuality.

This catalogue offers diverse representations of everyday life in Algeria and its diaspora through film, paintings, photography and sculpture by twenty-five contemporary artists. It includes the first English translations of key theoretical texts on Algerian contemporary art.

Our Happy Life investigates the architectural implications of the new happiness emotional paradigm by dissecting and questioning the political, economic, and emotional conditions that generate space today.

The comprehensive catalogue of the 9th Busan Biennale, curated by Cristina Ricupero and Jörg Heiser, on the theme of divided territories caused by war, conflict, or colonization.

The Fevered Specters of Art is the final chapter of a long-term project curated by Edit Molnár, Lívia Páldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus für Medienkunst, Oldenburg, in 2016. The show looked back on the epoch of Cold War radicalism and anti-colonial revolution, an era characterized by a proliferation of ideas about how radical social change might permeate the globe.

Dedicated to the manifestation of sisterhood in art from the 1970s until today, All Men Become Sisters focuses on art that resonated with feminist perspectives on work, production, and reproduction.

This catalogue accompanies the group exhibition curated by Meg O'Rourke at Eykyn Maclean gallery in New York. With Viennese architect Adolf Loos's eponymous 1908 diatribe against excessive ornamentation as its guide, the exhibition draws on the tenets set forth by Loos—simplicity, purity, freedom—with particular attention to their philosophical implications and their persistence into the latter twentieth century.

Perhaps It Is High Time for a Xeno-architecture to Match is a Brussels-based curatorial and research project that seeks to examine the possibilities for re-radicalizing architecture. This publication documents a conversation series from January to March 2017 that sums up their reflections.

A joint catalogue focusing on two group exhibitions at the Künstlerhaus Graz dedicated to the examination of current performative practices in relation with the main works of historical forerunners.

This catalogue documents a collective project intitiated by curator Natasha Ginwala entitled The Museum of Rhythm: a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. Deriving from an eponymous exhibition, the publication includes visual documentation of the exhibition as well as essays.

Myths of the Marble documents a 2017 group exhibition which reflects upon how the “virtual” has been engaged by contemporary artists as a way to consider the world as a site of possibility and limitation that both permeates physical space and online experience.

This catalogue surveys the literature on our relationship to a world of machines, new technologies, and electronic devices. It brings thoughts on automation and its promises, primarily the end of labor. The publication unfolds a bibliography and chronology on the subject.

Two-volume box set documenting a 2013 eponymous international festival reflecting on the impact of technologies in our present and future lives. Inspired by a seminal 1966 Stockholm festival, this event featured both lectures and artistic acts. The publication gathers the catalogue and proceedings of the 2013 event, archival materials, and includes unpublished correspondence by John Cage, and Buckminster Fuller, and texts by Alvin Lucier and Nam June Paik.

This catalogue is the first survey of the art and practice of Art+Positive, a significant affinity group of ACT UP New York during the early years of the AIDS epidemic. The publication presents previously unseen archives featuring artworks, documents, protest ephemera, and meeting notes, as well as commissioned essays and unpublished writings.

An overview of the works of the avant-garde group Warsztat Formy Filmowej (WFF), pioneers of video art in Poland and structural cinema in Central and Eastern Europe between 1970 and 1977. The publication examines all of the aspects of the WFF's activity, as well as their pedagogical heritage.

The publication traces the architectural program carried out by par Pierre Bal-Blanc at CAC Brétigny from 2003 to 2015, a series of site-specific projects with both creative and pedagogic purposes, favoring relations with the outside and the local residents.

Since 1953, the Kulturkreis der deutschen Wirtschaft has awarded the Ars viva Prize to young artists living in Germany. The 2018 edition goes to Anna-Sophie Berger, Oscar Enberg, and Zac Langdon-Pole.