The first monograph on the New York based artists’ collaborative known for its socio-political art practice. Organised by former group members in keeping with the methods and aims Group Material employed, the book charts the origins, processes, developments, projects and contexts of the group’s activities, and draws heavily from Group Material’s archive, including original documents, photographs, drawings, correspondence, artefacts, anecdotal information and texts. Group Material created 45 projects during its period of activities (1979–1996), each represented though installation photography and information from original proposals, exhibition statements, press releases, responses, etc. One emblematic exhibition project, AIDS Timeline, is examined in detail, from collected material and newly conducted interviews. Essays by Doug Ashford, Julie Ault, Sabrina Locks and Tim Rollins further illuminate the methods and principles of Group Material’s practice.

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty – an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original. Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke’s facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.

Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are frequently not object-based creates challenges when exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies of conceptualist group shows, and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, as well as the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions but to raise awareness within the traditional curatorial field. It is relevant for students of art and culture (particularly museum and curatorial studies), art and museum professionals, and anyone interested in the art of the 1960s and 1970s.

Synopsis: This is the reissue of the long out-of-print publication GAAG: The Guerrilla Art Action Group, 1969-1976: A Selection, first published in 1978. The book serves as the primary text to the significant work of the activist artist group GAAG (Jon Hendricks, Poppy Johnson, Silvianna, Joanne Stamerra, Virginia Toche and Jean Toche), both as a document of the group’s ideological and logistical concerns, and more broadly as a historical record for 52 of the many political art actions they carried out through the late Sixties and early Seventies. Guided by their belief that art and culture had been corrupted by profit and private interest, GAAG formed in October 1969 as a platform for social struggle. Their work asked how artists could work effectively towards meaningful change, most often through direct provocation and confrontation–symbolic, non-violent actions staged in protest and ridicule of the ethical failures by the art and media establishments, as well as the US government. Their activities defied the brutal, close-minded workings of an artistic/political system that traded in dirty money, served the elite, established a trivial cultural canon, and perpetuated bloody wars abroad. GAAG: The Guerrilla Art Action Group, 1969-1976: A Selection collects the manifestos, letters and press communiqués issued by the group (to Nixon, Hoover, The Secretary of Defense, Museum officials, and others). Their missives are printed as facsimiles, alongside other print material, including handwritten expenses, and related documents, that stand as statements of purpose and protest. Photographers Ka Kwong Hui, Joanne Stamerra, Jan Van Raay and others were often on hand as many of the actions unfolded, offering a remarkable and candid visual history to the group’s activities and confrontations GAAG: The Guerrilla Art Action Group, 1969-1976: A Selection is a tremendous resource on the important work of the group, providing insight into social action and political art activities with lasting implications. The book stands both as a historical documentation as well as a model for contemporary and future critique and practice.

Walid Raad (born 1967 in Lebanon) produces performances, video and photographs. He founded The Atlas Group in 1999, a fictitious archive consisting of lectures, documentaries and installations about the civil war in Lebanon. With this archive he has created an alternative world, although the texts and picture material he employs are in a conventional format. This enables Raad to portray the conflict in Lebanon not as a historical fact but as an abstract composition of memories and media reports. In The Fakhouri File Walid Raad documents the historical figure of Dr. Fadi Fakhouri, a leading Lebanese historian of the civil war up till his death in 1998, through the medium of notebooks, videos and photographs. English, French and Arabic text

At the invitation of the Steelcase Design Partnership–a group of leading contract furnishing, lighting, and textile companies–more than 120 prestigious firms in the various fields of design were asked to share their ideas on the world of materials. Now available for the first time in paperback, Mondo Materialis is the elegant book that accompanied this innovative exhibition.

The object of this project was to record each architect or designer’s ideas for the material at hand–be it recycled, found, or specially developed by industrial designers–and to demonstrate the possibilities it presented. Each created a 30-inch-square collage panel, and the resulting images provide a stunning glimpse into the ways and means by which some of the most useful and beautiful aspects of our daily lives have been–and will continue to be–created. Also included in Mondo Materialis are statements from such famous firms as Richard Meier & Partners, Pei Cobb, Freed & Partners, Cesar Pelli & Associates, Dakota Jackson, Inc., Venturi, Rauch, Scott-Brown, and Andre Putman’s Ecart describing their specific panels or simply outlining their design philosophies. Mondo Materialis is an invaluable idea and design source book for every architect and materials designer and for anyone interested in design. It is a compelling, thoughtful, and altogether dazzling foray into the possibilities for our man-made environment.

The invention of the sulphur concrete block was the result of experiments performed by the Minimum Cost Housing Group at McGill University in Montreal in the 1970s. The international research group explored self-building using materials that would present an alternative to the functionalistic logic of development aid programs tied to the Western construction industry. The “Other Half”―a term that was coined to describe decolonized countries and urban populations living in informal housing at the time―was the focus of their experiments with alternative building solutions. Beginning with an overview of how and why the block was made, its usage and its afterlife, and going on to examine its status within architectural historiography, this book shows how the block became both a vessel and vector for the projections and questions explored by the transdisciplinary group of the Bauhaus Lab 2020.

For decades, young people tried to get the city to fund an autonomous youth center. All their proposals were stonewalled. Then, in 1980, a CHF 60 million loan was approved to renovate Zurich’s opera house: a bundle was to be forked out for “serious” bourgeois culture and zilch for the city’s youth. That was the last straw: On May 30, 1980, protestors held a demonstration in front of the opera house that turned into a street riot and eventually a city-wide protest movement spearheaded and fueled by autonomous groups. Over the course of the following weeks, the protests turned uglier, and so did the police’s aggressive attempts to quell the commotion. Zürcher Bewegung, Band 32 (Zurich Movement, Vol. 32), published by Verlag ohne Zukunft in 1981, is an illustrated timeline of the “Opera House Riots” that wreaked havoc in Zurich back in 1980. The book opens with the violent climax of the protests, the demo in front of the opera house, and closes on December 31 of that year with a stink bomb attack during the New Year’s Eve performance of a play at Zurich’s Schauspielhaus. The book combines raw candid black-and-white photos with facsimiled news clippings of tabloid headlines as well as quotes from Swiss politicos and police officers, forming a sort of fragmentary running commentary on the documentary photographic material. Olivia Heussler, Malou Muralt, Dieter Oswald, Daniel Schäublin, Andi Zai et al. shot the pictures and edited the book. They wrote: “The book: not souvenirs to dull our own recollections, but raw photos of a battered city. Today, thanks to beautiful chaos, we’re in a state of emergency}.” Now, to mark the 40th anniversary of the 1980 Opera House Riots, Edition Patrick Frey has taken up an idea floated by Fredy Meier to print a facsimile of this very first book about the Zürcher Bewegung. It’s available for the same price it sold for then: 12 Swiss francs.

One of the most adventurous American artists working today, Dennis Oppenheim has centered his artistic investigations on the dialogue between art and the self. An active innovator since the sixties, Oppenheim has pioneered both body art and so-called land art. Most famous for his whimsical, large-scale installation pieces, Oppenheim has worked with a variety of mediums: from performance and video art, to three dimensional moving machine pieces, and sculptural works employing unorthodox materials. This book is a comprehensive compendium of Oppenheim’s art, his most complete monograph to date, and includes an interview with the artist. From a giant metallic upside-down church, to a group of human-sized hot dogs in sleeping bags gathered around a campfire, Oppenheim’s work is alternately strange, humorous, and fascinating.D

One of the most adventurous American artists working today, Dennis Oppenheim has centered his artistic investigations on the dialogue between art and the self. An active innovator since the sixties, Oppenheim has pioneered both body art and so-called land art. Most famous for his whimsical, large-scale installation pieces, Oppenheim has worked with a variety of mediums: from performance and video art, to three dimensional moving machine pieces, and sculptural works employing unorthodox materials. This book is a comprehensive compendium of Oppenheim’s art, his most complete monograph to date, and includes an interview with the artist. From a giant metallic upside-down church, to a group of human-sized hot dogs in sleeping bags gathered around a campfire, Oppenheim’s work is alternately strange, humorous, and fascinating.

1965-1969: A Break from the Past, a Nod to the Future. The late 1960s, when a radical change took place in the fields of architecture and design, are the focus of this volume. Old values such as functionality, elegance, and faithfulness to materials, which had been relevant for nearly half a century, lost their importance and made space for the ideas of pop culture and the sociocritical experiments of a new generation of architects and designers who no longer wanted to live within the styles of their fathers and grandfathers. Groups of architects and designers like Archizoom and Archigram questioned long-established status symbols, fashion, and consumption and created provocative alternative designs, which were reflected in Anti and Radical Design. Volume VI in the domus series features designs by Joe Colombo, Ettore Sottsass, Gae Aulenti, Olivier Mourgue, Achille and Pier Giacomo Castiglioni, Verner Panton, Kenzo Tange, Luigi Moretti, Oscar Niemeyer, and Gio Ponti, among many.

Multiples, Inc. was an art publishing company founded in 1965 by a group of five partners, including Marian Goodman. During its existence, Multiples, Inc. published seminal editions with some of the most important artists of the 20th century over a period of almost three decades between 1966 and 1992. The 1960s were the high times of multiples; artworks were not conceived as single objects but as objects to be published in several examples, often using new materials and contemporary manufacturing techniques. Producing artworks in editions allowed a democracy of distribution, permitting them to be offered at lower prices, in turn making current developments in the art world available to a larger audience. While many publishers emerged in the U.S. and in Europe in the 1960s, not all of these organizations remained active into the future, whereas Multiples, Inc. survived the initial impetus of the new medium and went on to increasingly produce prints in the 1970s and 1980s. The catalogue includes a historically complete list of all the Multiples, Inc. editions, as well as many documents illustrating its wide-spanned history.

Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, edited by director Jo Bonney, features the work of 42 solo artists spanning the century-from Beatrice Herford in 1869 to Dawn Akemi Saito in 1994. Each artists’ work is introduced by a journalist, artist, critic, agent, producer or educator who is intimately familiar with the material and its links to other forms such as vaudeville, theatre, cabaret, music, standup comedy, poetry, the visual arts and dance. In Bonney’s words, “This anthology documents a part of our literary/stage history and offers the possibility of its being appreciated in a new context, for a new generation.”Includes work by Beatrice Herford, Jackie “Moms” Mabley, Ruth Draper, Lord Buckley, Brother Theodore, Lenny Bruce, Lily Tomlin and Jane Wagner, Andy Kaufman, Ethyl Eichelberger, Laurie Anderson, Rachel Rosenthal, Spalding Gray, Eric Bogosian, Jessica Hagedorn, Diamanda Galas, Ann Magnuson, Rhodessa Jones, Tim Miller, John O’Keefe, Anna Deavere Smith, Danitra Vance, David Cale, Whoopi Goldberg, John Fleck, Reno, Heather Woodbury, Robbie McCauley, Lisa Kron, Brenda Wong Aoki, Guillermo Gomez-Pena, Holly Hughes, Luis Alfaro, John Leguizamo, Josh Kornbluth, Deb Margolin, Roger Guenveur Smith, Anne Galjour, Danny Hoch, Marga Gomez, Mike Albo and Virginia Heffernan, Dael Orlandersmith and Dawn Akemi Saito.

Begun in 1966, Superstudio’s journey led its members to reflect on ways of inhabiting a ‘round and rotating’ world. Superstudio Migrazioni offers a new perspective on the group’s œuvre, described as ‘radical’ by Germano Celant. More than an exhibition catalogue, Superstudio Migrazioni proposes three parallel yet complementary explorations – through texts and interviews, through images and through archives – of the collective journey that pushed architecture to its limits. At first ‘super’ and fundamentally realistic, and adopting consumption and production mechanisms in an ironic and critical manner, Superstudio’s architecture evolved to encompass ‘things, the body, the Earth’, before dissolving all materiality, retaining only a symbolic dimension and blending with life itself.

CONTRIBUTORS: ABSALOM & BARDSLEY / ROMAN BARTON HENDRICK BÜNDGE / LISA HAAG / SEBASTIAN HINZ / MICHAEL HÖPFNER / ANDY KANIA / MATT LAMBERT / AGNES LAMMERT / TOM MARRIOTT / MARUAN PASCHEN / GIULIA PINES / RICARDA ROGGAN The second issue depicts Georg-Schwarz-Straße in Leipzig. Drawn towards the street by its dark and mysterious quality, the contributors attempt to reveal hidden layers and stories of a place that, in many ways, leads to a promise the city of Leipzig withheld for the past hundred years – and still withholds. »STREETS ARE ALWAYS LARGER FROM THE INSIDE THAN FROM THE OUTSIDE« Artist Michael Höpfner captures the street through a walking intervention to the words of author Maruan Paschen while photographers Ricarda Roggan and Andy. Kania go on photographic trips using disposable cameras. Artists Absolom & Bardsley let forgotten groups of youths who fought against the Nazi regime reappear on the street in a photo series and editor Grashina Gabelmann and artist Agnes Lammert reveal the secrets of the mysterious House No. 1. Photographer and filmmaker Matt Lambert finds a hideaway on the street in his series »Schlupfwinkel« whilst Tom Marriott returns to the street for his outstanding visual work »Reflex«. Writer Roman Barton creates his own multi-layered archive using actual archive material. French folds provide lush hidden pages for the reader to find. In a pop conversation writer Sebastian Hinz and editor Fabian Saul talk about the GDR subculture while artist Martin Wühler and writer Hendrik Bündge team up for a 2065 sci-fi story set on the street. Editor Fabian Saul mixes fact and fiction, people and events together in his ongoing series »Traces of Resistance«. And there‘s much more: experimental sheet music, photos, drawings, poetry and the people of Georg-Schwarz-Straße. The magazine consists of 168 pages + a 24 paged booklet with selected texts translated into German as well as 12 secret pages inside french fold and gatefold cover. This issue was co-designed by James Lunn.

In the summer of 2017, Chen Haishu and his wife moved to Nordstadt District of Karlsruhe, Germany. The building they live, along with the 50 surrounding buildings with almost the same appearance, belonged to Paul Revere Village, the new military base of the U.S. Army in Karlsruhe after the Second World War. Like other U.S. military bases in Germany, Paul Revere Village is well-equipped and self-contained, like a “small American”. The American troops stationed here had influenced the local German society in different aspects. The changes in the international situation also affected the relationship between the U.S. military in Germany and the German natives. After the end of the Cold War, the American troops withdrew from Karlsruhe and handed over the barracks, together with their supporting facilities – the military airport, schools and other infrastructure to Germany. This area was subsequently converted into a new urban district. The buildings of barracks were expanded, added with extra storeys and equipped with balconies, becoming residential buildings for civilians; the airport was set as a nature reserve. Although the U.S. military has completely withdrawn, its influence on German society for 50 years did not dissipate. As new residents, Chen and his family experienced and practiced the functional transformation of living space and urban space through their own residence. In the project “German Balcony”, Chen documents the daily life of the area while looking for the material about the U.S. military in Karlsruhe from the local archive, and combines them together. Under different historical conditions, the coexistence of different groups and cultures faces similar or divergent difficulties. In this way, the work blurs the boundaries between the past and the present, public and private, and shows how the current daily life can be re-expanded in this historical relic to create new collective memories.

A dome is just a portion of a sphere. Lloyd Kahn is at it again, with Domebook 2. Kahn’s seminal book Shelter was one of the original inspirations for our library project. He says about the Domebook, “t’s much easier to build, than it is to write about it.” True to this sentiment Domebook contains over 100 pages of beautiful images and illustrations with brief and clear instructions – both written and drawn – and conversations about inspirations for building shelter out of domes. Buckminster Fuller, the key thinker behind Kahn and others’ fascination with dome building, gave away his original design for what he called the Sun Dome in the May 1966 issue of Popular Science. The plans, after Fuller improved them, were later sold for $5 by the magazine. Fuller’s geodesic geometry was built with mathematics, wood scraps and staples; a model that Kahn took up with a passion, continuing the meme with Domebooks 1 & 2, building domes around California. Domebook 2 was written after many years of personal research with groups of people from the high school students and teachers at Pacific High School in California to the radical arts group Ant Farm, known for the inflatable structures (Inflatocookbook), to willing friends who wanted to experiment with their living situations. “Make models,” words of wisdom and encouragement from Kahn and friends. The group made multiple models before building their domes. The many domes that are included in the book were built in varied landscapes with materials from wood paneling, polyethylene, vinyl, Plexiglas, hot glue, bolts, and even red wood scraps and staples. The book notes that people have built shelters for thousands of years using the materials at hand inspired by “architecture of necessity.” Kahn laments that most likely too much money was spent on the creation of domes out of man-made materials, when a sufficient shelter could have been built from more local and inexpensive material. Despite the truth in this statement, the designs in this book built with a – blueprint of mathematics – are about a shift in consciousness around ideas of joy, authorship in architecture, and creative use of space.

A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream.

This groundbreaking book―part exhibition catalogue, part cultural history―chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites―including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others―that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated.

Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.

Contributors
Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam

Interviewees
Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez,
Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson

An American sculptor, painter, and installation artist, Paul Thek (1933–1988) is primarily known for hyper-realistic works of human body parts executed in fleshlike beeswax and for his strongly symbolic, room-size installations constructed from transitory materials. A major figure on the 1960s New York art scene, Thek also spent time in Europe, where he paved the way for artists adopting collaborative strategies. Although he gained a large following and was featured in more than one hundred solo and group exhibitions, the anti-establishment “artist’s artist” was practically forgotten at the time of his death.

Major exhibitions abroad and critical attention from younger artists have done much to revive his reputation, and Paul Thek: Diver expands on those efforts by bringing the artist’s resounding influence on the art world up to date. Published to accompany Thek’s first retrospective in the United States, this landmark publication includes nearly 300 chronologically arranged illustrations of sculptures, paintings, prints, and other works featured in the exhibition as well as four special “in-depth” image sections focusing on key installations, projects, and pages from the artist’s journals.  An extensive selection of documentary photographs, many never before published, illuminate Thek’s artistic aesthetic and production process. With a bibliography, exhibition history, and checklist of works in the exhibition, this overdue acknowledgment of Thek’s brief, but broad-reaching career will be the authoritative volume on the artist for years to come.

Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s foremost curators and illustrated with rare documents and illustrations.

Artists featured include the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broothaers; John Cage; Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; and Andy Warhol, among other examples drawn from around the globe.

In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form — and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.”

Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Hüller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.

Thought-provoking Dutch artist, Aernout Mik presents four new absorbing and unsettling video installations. The shifting distribution of power and patterns of human behaviour are played out with Mik’s unique sense of the absurd. Raw Footage uses unseen material from ITN’s archives; Scapegoats recalls the aftermath of responses to such recent disasters as the New Orleans floods; Training Ground is a simulation of a police training arena and Vacuum Room shows scenes from a political assembly disrupted by a group of young protestors.

Comprising fifty-eight fabric elements – what the artist has termed “instruments for process”-this multipart sculpture, which began in 1963 in Düsseldorf and was completed in 1969 in New York City, is Franz Erhard Walther’s most ambitious work. This publication will retrace Walther’s use of malleable materials and ephemeral “actions” as the basis for his sculptures, his understanding of the role of language, and the continued presence of drawing as integral to his conception of space. The book is a unique project grown out of the inclusion of this major work in Dia’s collection in the exhibition Franz Erhard Walther: Work as Action, presented at Dia:Beacon in 2012. As with Walther’s similar works, “First Work Set’s” individual fabric elements are activated by visitors in a series of quotidian actions such as folding, dropping, leaning and measuring, that often entail cooperation among a couple or a group. For decades, museum exhibitions of this work have placed folded archival versions of the fabric elements in vitrines, preventing viewers from receiving the direct, performative encounter originally intended by the artist. For this exhibition at Dia:Beacon, Dia worked collaboratively with Walther to select a number of the original fabric elements available to be directly handled and performed by visitors. During the exhibition, Dia held a colloquium event inviting leading scholars to not only take advantage of the opportunity to experience the work firsthand in this way, but to present new thinking on Walther’s oeuvre.

In 1969, a group of young Puerto Rican activists founded the Young Lords Party in New York City, taking inspiration from the Black Panthers. Palante, the first book by and about the radical organization, is brought back into print here with new introductory material. Capturing the spirit and actions of the sixties movements, Palante features political essays by members, oral histories of their lives leading into the party, and more than seventy-five photos of their vibrant membership and actions.

Michael Abramson is a photographer and publisher who lives in Brooklyn, New York.

Iris Morales is the producer of the documentary ¡Palente, Siempre Palente! The Young Lords, which aired on PBS, and is the executive director of the Union Square Awards.

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