Over the past four decades, Barbara Bloom (American, born 1951) has engaged in a nonceptual practice centered on photography and intricate image-based installations featuring diverse elements such as sculptures, found objects, and film stills.

Bloom rarely presents a singular image or object, but concerns herself with the relationships between objects and images, and the meanings implicit in their placement and combination. Bloom’s artwork uses beauty as a premise for investigating illusion, fragility, and transience.

Reprint of Nemam vremena (1979) [I Have No Time (1979)] (1983) by Mladen Stilinović. The 1983 version was offset printed by Edition Dacic, Tubingen, in an edition of 150 copies. Nemam vremena (1979) [I Have No Time (1979)] was the first printed version of I Have No Time, and was an Artist’s Edition, 70 copies. It was offset printed in Zagreb, seven sheets, softcover, stapled, 17.5 x 13.5 cm. Nemam vremena (1978) [I Have No Time (1978)] was the original version of I Have No Time. It was handwritten by Mladen Stilinović in pencil on paper, nine sheets (four written on), cardboard covers, stapled, 17 × 24 cm.

This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York.

Edited by Yvonne Rainer, this selection of texts and images by Rainer and various authors, offers a retrospective portrait of her work, focusing on some of her most notable performances and projects from both the late 1960s (Trio A, The Mind Is a Muscle) and since her return to dance with the White Oak Dance Project in 2000.

Rainer is known for her challengingly experimental and sometimes minimalist work as a dancer, choreographer, and filmmaker, which spearheaded the rise of postmodern dance. An essay by Rainer frames things from the perspective of an ageing dancer who is aware of her physical limitations. With a conversation between Rainer and dancer Trisha Brown.

Composed in the space between the page and live performance, Latimer’s recent essays and poems collected here examine issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making. Shifting between written language and live address, between the needs of the internal and the external voice, Like a Woman retrieves the refrain, the litany, and the chorus, exploring their serial ecstasies and political possibilities.

Artists on Hanne Darboven is the first instalment in a series culled from Dia Art Foundation’s ‘Artists on Artists’ lectures, focused on German conceptual artist Hanne Darboven. Established in 2001, the lecture series highlights the work of modern and contemporary artists from the perspective of their colleagues and peers. The inaugural ‘Artists on Artists’ title is published in conjunction with the opening of Darboven’s 1980–83 installation “Kulturgeschichte 1880–1983” (“Cultural History 1880–1983”) at Dia:Chelsea in New York City.