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.

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

Published by Raven Row, London, this publication was produced alongside the first survey of his work from the 1960’s. Introduced to art as a teenage gallery assistant in 1958, by 1962 he was producing advanced artwork, embracing the transdisciplinarity of the time, while juggling the roles of social scientist, engineer, designer and artist. With texts by Antony Hudek, Emily Pethick, Christabel Stewart and Andrew Wilson. Designed by John Morgan Studio.

This publication attempts to map a visual approach to one of the world’s foremost documentary and essay filmmakers, Harun Farocki.

Unlike the many other, more theoretical publications about his work, this book operates with still images beyond an illustrative or documentary purpose.

By means of repetition, interruption and displacement, the configurations pursue specific movements within each film, taking into account mechanisms of order and open-endedness that are characteristic for Farocki’s work in general.

Diagrams traces the dynamics in ten of Farocki’s films and presents them along with each film’s complete commentaries, dialogues and intertitles, celebrating their major critical gesture: the exposition of mediality.

Edited by Benedikt Reichenbach. Text by Thomas Elsaesser, Maren Grimm, Jan Verwoert, Christa Blümlinger, Dietrich Leder, Ute Holl, Benedikt Reichenbach, Matthias Rajmann, Hila Peleg, Anselm Franke.

Printed on the occasion of Giorgio Griffa’s 1975 exhibition at Kunstraum Munchen. Actual size reproductions of 31 works on paper.

Tummy Rumble (To Me, Rubble) was originally created for the exhibition Signals From The Periphery, held at the Tallinn Art Hall in July 2017. The installation consisted of a wall drawing and a video with sound and narration. The work is a collaboration between the designer and illustrator Rudy Guedj (installation, video, drawings, book design), and the writer Will Pollard (text, narration in the video).

The publication Tummy Rumble (To Me, Rubble) puts the original text and illustrations into a new dialogue, thus working both as a documentation and a final translation of the work.

Was Ist Los is a facsimile reproduction of a 2003 essay by Seth Price, bound within a one-of-a-kind spray-painted cover. Previously published as "Decor Holes," "Unique Source/All Natural Suicide Gang," "Akademische Graffiti," and "Depletion," it was first written to accompany Price's 2006 album Akademische Graffiti.