Image/Vessel/Waste
“A Better Idea than the Best Constructed Charts”: Watercolor Views in Early British Hydrography
“The Medium Is Leaking”: Notes on the Work of Pierre Huyghe and the “Ecologization” of Contemporary Art
‘Out to See Video’: EZTV’s Queer Microcinema in West Hollywood
(Audio-Visuals)
A Feedback Situation: Dennis Oppenheim’s Cybernetics of the Family
A Logistical Inversion: From Konrad Lueg to Konrad Fischer
A Proposal: Must We Ecologize?
A Provocation to Contemporary Art as Place-Making: Some Observations after Documenta 15
A Self-Portrait of Christ or the White Noise of Photography? Paul Vignon and the Earliest Photograph of the Shroud of Turin
Abstract Habitats: Installations of Coexistence and Coevolution
Alberti, Ornament, Nature, and Law: A Reading of De re aedificatoria
Allan Sekula’s Ship of Fools/ The Dockers’ Museum
Allan Sekula, or What Is Photography?
An Artificial Mind in Mexico City (Autumn 1559)
An Eternal Esthetics of Laborious Gestures
Arresting Figures
Atmospheric Regulation in the Panorama
Beyond the Line, or a Political Geometry of Contemporary Art
By Means of the Line: Meyer Schapiro and Drawing as an Epistemological Tool
Carl Einstein’s History without Names: From Geology to the Masses
Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)
Click, Pulse: Frederico Morais and the Comparative Slide Lecture
Constructed Situations, Dynamic Labyrinths, and Learning Mazes: Behavioral Topologies of the Cold War
Contingent Cubism
Counter-forensics and Photography
Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence
Dance of Values: Reading Eisenstein’s Capital
Death from Above in Minard’s Napoleon Map
Desktop Arenas: Magazine Pieces and the Professions of the Neo-Avant-Garde
Doubling Time
Economies of the Interior: Thomas Hope and Interior Decoration
Editors’ Introduction: Allan Sekula and the Traffic in Photographs
Envisioning Assembly: Archigram and the Light/Sound Workshop
Evaporating Dürer
Extralegal Portraiture: Surveillance, between Privacy and Expression
Fiber Optics
Fieldnotes from Solaris: Ship’s Logs, Shipwrecks, and Salt Water as Medium
Film Courses in Art Schools
Found Paintings, Disassembled Movies, World Images
From Collective Creation to Creating Collectives: Arte programmata and the Open Work, 1962
Gestural Study
Global Patterns: Hannah Höch, Interwar Abstraction, and the Weimar Inflation Crisis
Guy Debord and the Cultural Revolution
Guy Debord’s Time–Image: In girum imus nocte et consumimur igni (1978)
Guy Debord, Filmmaker
How to Hear What Is Not Heard: Glenn Ligon, Steve Reich, and the Audible Past
Hurlements en faveur de vous
If a Painting Is Like a Window, Is It a Means of Ventilation?
In Light of the Arc
Inside: Out
Introduction to Wölfflin’s “On Right and Left in Images”
Landscapes of Ice, Wind, and Snow: Alexander Kluge’s Aesthetic of Coldness
Learning with Documenta 15: Principles, Practices, Problems
Letter to an Encyclopedic Museum Curator
Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics
Loquacious Objects: Contemporary Iranian Art, Autotranslation, and the Readings of Benevolence
Michael Rakowitz’s The Invisible Enemy Should Not Exist
Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Missed Encounters: Introduction to Documenta 15 Dossier
Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford
Mood as the Content of Modern Art
Mood for Modernists: An Introduction to Three Riegl Translations
Necessary Variation and Variety
Nothing to See Here: On the Bracketing of the Spectator in a Hyperrelational Exhibition
Observations on Painting
On “About Grey Room”
On Cristoforo Sorte’s Osservationi nella pittura: Water, Fire, and Landscape in Early Modern Venice
On Documenta 15
On Drawing from Memory and from Objects
On Pierre Huyghe’s UUmweltanschauung: Art, Ecosystems Aesthetics, and General Ecology
On Right and Left in Images
On the Graphic Analysis of Forms in Painting
Photography and the Limits of National Identity
Piranesi Slices
Political Constructivism
Politics for the White Cube: The Italian Way
Post-Election Artists Dossier
Reflections on Lumbung, Storytelling, and Collective Learning
Rethinking Sekula from the Global South: Humanist Photography Revisited
Roman Death Masks and the Metaphorics of the Negative
Rumor and Media: On Circulations and Credence (via Kant and Marx)
Seurat’s Media, or a Matrix of Materialities
Something One Recognizes Yet Can’t See: Andy Warhol in and as Media
Strangeloves: From/De la région centrale, Air Defense Radar Station Moisie, and Media Cultures of the Cold War
Straw in the Ice: Stories
Taylorism Transfigured: Industrial Rhythm and the British Factory
Ten Short Notes on Color, Anthropology, and Makeup
The Cunning of Sir Sloshua: Reynolds, the Sea, and Risk
The Flying Proletarian: Soviet Citizens at the Thresholds of Utopia
The German Campaign against Cultural Freedom: Documenta 15 in Context
The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle
The Labor of Authorship: Harun Farocki’s Early Writing
The Phantasmagoric Dispositif: An Assembly of Bodies and Images in Real Time and Space
The Restoration of the Wall Paintings in the Holy Cross Chapel of the Wawel Cathedral in Kraków
The Subject of Black: Abstraction and the Politics of Race in the Expanded Cinema Environment
Toward a Reappraisal of Comparative Studies: The Case of South American Modernism
Trompe L’oeil and Financial Risk in the Age of Paper
Unfolded, Not Opened: On Bernhard Siegert’s Cultural Techniques
Vacuum Cleaner or Submachine Gun: A Traveling Cinema for Engineers
Vegetal Gestures: Cinema and the Knowledge of Life in Weimar Germany
Virtual Space, Bodily Matter: Bruce Nauman’s Holograms
When We Were on the Shenandoah
With and Against Cinema
