The Halifax Conference presents a transcript of a conference held at the Nova Scotia College of Art and Design on October 5–6, 1970, transcribed and adapted by artist Craig Leonard.

Organized by Seth Siegelaub, the Conference was conceived as a means of bringing about a “meeting of artists…[from] diverse art making experiences and art positions…in as general a situation as possible.” Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within.

Attendees at the conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.

Wolfgang Stoerchle is a particularly notable artistic figure of the early seventies who left a certain but little advertised mark on a generation of Californian artists, especially through videotapes and performances involving his body as raw material. His short but eventful life is surrounded by rumours, and his abrupt death in 1976 may have emphasised the myth around him even more. His entire body of work was produced in eleven years, between 1965 and 1976. Forty-five years after he passed away, his name still drifts across the West Coast art world, awaiting wider recognition. This is the first monograph on Stoerchle’s work and includes interviews with Daniel Lentz, Paul McCarthy, Matt Mullican, David Salle, Helene Winer, and an unpublished review by James Welling, alongside ephemera and documentation of Stoerchle’s video works and performances, as well as rarely seen sculptures, installations, and paintings.

Edited by Alice Dusapin, with Justin Jaeckle and designed by Coline Sunier & Charles Mazé.

Produced on the occasion of Gorgona: Please Attend at Zak Branicka, Berlin, 18 January–2 March, 2013. The Gorgona group (named after the mythological creature Gorgon), was a Croatian avant-garde art group which consisted of artists and art historians. The group, made up of Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa operated in Zagreb between 1959 and 1966.

Cards produced on the occasion of Füsun Onur: Once upon a time…, a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist’s recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.

Produced on the occasion of Füsun Onur: Once upon a time…, a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist’s recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.

One Thing I Know is Pati Hill’s third novel, first published in 1962, when she was forty-one and had just given birth to her first and only child. It is the last novel she wrote before claiming to “quit writing in favor of housekeeping”.

Untrained as an artist, she began to use the photocopier as an artistic tool in the early 1970s and continued to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text. In addition to this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, artist’s books, and poetry.

Afterword by Baptiste Pinteaux.