From the 1950s through ’70s, Greek proto-Arte Povera artist Vlassis Caniaris introduced specific sites of political and personal histories into gallery and museum settings with tableau arrangements created from everyday working class objects. Material, form, texture and display comprise a sophisticated vocabulary of presentation organized to draw attention to immigrant plight and the social conditions of displacement, as well as to distinct modes of viewing and viewer-object seperation as determined by exhibition environments.

Produced on the occasion ofstanley brouwn: Mens Loopt op Planeet Aarde/Man Walking Planet Earth, at the Stedelijk Museum, Schiedam, 14 October, 2017–21 January, 2018.

“Where other artists give free rein to paint or pencil, stanley brouwn (1935-2017) opted for ‘distance’ and ‘measurement’ as media. His work is about directions and distances and how to move within that context. His first museological exhibition in the Stedelijk Museum Schiedam was in 1970. The exhibition Man Walking Planet Earth, close on half a century later, is a tribute to the artist who evolved into one of the most prominent conceptual artists in the world. He died in May 2017.”—exhibition press release

Booklet published on the occasion of a 1996 exhibition commissioned by Paul McCarthy and featuring the work of three European artists exiled in California: Guy de Cointet, Bas Jan Ader and Wolfgang Stoerchle. The publication includes texts by McCarthy and Cornelia Butler, biographical and bibliographical notes

Guy de Cointet (American, b. France. 1934–1983) was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources—he often cited Raymond Roussel’s novel “Impressions of Africa” as influential—and working these elements into non-linear narratives, which were presented as plays to his audience.

Booklet published on the occasion of a 1996 exhibition commissioned by Paul McCarthy and featuring the work of three European artists exiled in California: Guy de Cointet, Bas Jan Ader and Wolfgang Stoerchle. The publication includes texts by Bas Jan Ader, Paul McCarthy, and Thomas Crow, biographical and bibliographical notes.

Dutch/Californian performance artist Bas Jan Ader (1942-1975) was last seen in 1975 when he took off in what would have been the smallest sailboat ever to cross the Atlantic. He left behind a small oeuvre, often using gravity as a medium, which more than 30 years after his disappearance at sea is more influential than ever before.

Artist Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century. Their captivating passages brim with wit, wry observation, and (occasional) disgust, offering viewers “ways out,” even if only while reading.

Commissioned by If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, The Drumhead follows a two-year collaboration with KUB Arena of the Kunsthaus Bregenz, The Showroom London, CCA Glasgow, and the Institute of Modern Art, Brisbane. The book immodestly distills these institutional encounters into a multipart narrative that delves into the lives and psyches of those in the service industry. Exhaustion and frustration besiege a set of characters and the architecture that barely contains them, all of which are cipher-like in their multiplicity (and duplicity). Designed by HIT.

In South of Pico, Kellie Jones (curator of Now Dig This, 2011) explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as David Hammons, Melvin Edwards, Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces.