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The more than 40 writings that make up this intellectual autobiography reveal a rare conjunction of personal candor and political commitment.

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The first comprehensive collection of writings by Martha Rosler considers the intersection of art and politics, the operation of art systems, feminist art practices, and the media.

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Critical texts, translations, documents, and photographs on the work of the Situationist International.

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In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career.

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An anthology of writings, interviews, and images by artist Ed Ruscha.

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In essays that span three decades, one of contemporary art's most esteemed critics celebrates artists who have persevered in the service of a medium.

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An examination of the artistic development of Robert Rauschenberg, focusing on his relationship with John Cage and his role in the making of the American neo-avant-garde.

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The paradox at the heart of the return to realism in the interwar years, as seen in work by Moholy-Nagy, Brecht, and others.

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Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perceptionin psychology, philosophy, neurology, early cinema, and photography.

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Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.

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A new theory of the readymade via a new reading of Picabia and a new writing of Dada.

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Taking the form of a protest against the official story of modernism, this text tells the story of the optical unconscious, an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s.

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Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present.

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Artists, art historians, and critics look at the legacies of feminism and critical theory in the work of women artists, more than thirty years after the beginning of the modern women's movement and Linda Nochlin's landmark essay "Why Have There Been No Great Women Artists"

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Revision of the author's thesis (doctoral)--Harvard University, 2014, under the title: Group Material and the 1980s: a materialist postmodernism.

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These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art"

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Examines the decade from Dien Bien Phu to the mid-1960s, when France shifted from an agrarian, insular society to a decolonized, Americanized and industrial one. The car, the new cult of cleanliness, and the waning of Sartre from national attention, focus in this prehistory of postmodern France.

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Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art.

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"An extended, critical appraisal of the contemporary German artist Gerhard Richter"--

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How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism.

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Slavoj eiuek provides a virtuoso reading of the psychoanalytic theory of Jacques Lacan through the works of contemporary popular culture, from horror fiction and detective thrillers to popular romances and Hitchcock films.

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The first collection of Annette Michelson's influential writings on film, with essays on work by Marcel Duchamp, Maya Deren, Hollis Frampton, Martha Rosler, and others.

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Essays that seek to redefine the status of theory in modernist critical discourse