With contributions by Stuart Bertolotti-Bailey, Rob Giampietro, Anthony Huberman, J. Christopher Jones, Louis Kaplan, Edgar Allan Poe, Seth Price, David Reinfurt, David Senior and Giles Weaver.

Over the past few years, Dexter Sinister has been interested in exploring contemporary publishing in its broadest, most exploded sense. The first part of this book consists of pieces of writings written since the conception of their New York basement workshop and bookstore in the summer of 2006. These writings were previously published online as PDFs in the Library at www.dextersinister.org. They were primarily written by Dexter Sinister or by one of a circle of regular collaborators, often for their house journal Dot Dot Dot, or as supplements to other books or exhibitions.

F.R.DAVID was concerned with the organisation of reading and writing in contemporary art practice. Following and open call, this is – the very last issue – a collectively-compiled “Erratum”, or addendum [if you will] to the twenty-three issues from 2007 until now.

Edited with Paul Abbott, After 8, Alma Sarif, Phil Baber, Daniel Blumberg, Thomas Boutoux, Kristien Van den Brande, Chloe Chignell, Martina Copley, Anthony Elms, Chris Evans, Carolina Festa, Kasper Feyrer, Richard Finlay Fletcher, Ben Green, Mariëtte Groot, Krist Gruijthuijsen, Léa Guillon, Sarah Handley, Gloria Hasnay, Loes Jacobs, Michel Khleifi, Willis Kingery, gerlach en koop, James Goggin, Keira Greene, Léa Guillon, Jacob Lindgren, Kobe Matthijs, Martino Morandi, Zen Nguyen, Alice Notley, Robert M. Ochshorn, Oscar the dog, Willem Oorebeek, David Reinfurt, Scott Rogers, Andrés de Santiago Areizaga, Rosa Sarholz, Clara Schulmann, Andrea di Serego Alighieri, Sabrina Tarasoff, Kristy Trinier, Seymour Wright and Unknown.

Wols (1913–1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is however very little known. In an unusual travel across time and space his work is discussed in connection to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the eponymous exhibition Always Starts with an Encounter, Wols-Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens in 2016, further explores the relationship between the work of the two artists through an indexical structure, various textual forms and inflections, different registers of images and close-up textures that act like another text. Spectral and suggestive, but also precise and factual it reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic.

Texts by Quinn Latimer, Laura Preston, Helena Papadopoulos, Oliver Berggruen. Designed by O-R-G Inc., David Reinfurt.

• Josef Bauer, Körpergalerie,1974
• Dear Trisha Brown: A letter from Robert Wilhite
• Dear Mr Christopher Williams: A letter from Robert Wilhite
• Nina Beier: In tribute to time spent walking with Will (2013)
• Will Holder: Caption card (2014)
• Democracy is Empty, A conversation between Doug Ashford and Mierle Laderman Ukeles, originally published in Documents, no.10, Fall 1997, pp. 23–30
• Lucky Dime, for Seth Siegelaub by Willem Oorebeek
• Thoughts on control by Raivo Puusemp
• Jan Mot and Germaine Kruip in discussion about Ian Wilson
• A letter to Céline Condorelli by Tyler Coburn
• A conversation between Eva Berendes and Doug Ashford
• A conversation between Lucy Skaer and Willem Oorebeek
• Invited by Tirdad Zolghadr, Marina Noronha’s Curatorial Systems Manifesto (as a response to Mierle Laderman Ukeles)
• Céline Condorelli, Three letters to all and no one: strangers, friends, collaborators, allies
• Notes on a lunch meeting (with Willem Oorebeek) by Kate Strain
• Sarah Browne, Remembering Gray, 2013: In collaboration with Alice Lyons
• Beatrice Gibson, A letter to Axel Wieder (and also implicity to Will Holder)
• David Reinfurt and Stuart Bailey: A conversation
• Victoria Dejaco: Lantern slides

Designed by Marc Hollenstein.

The Los Angeles based artist Shannon Ebner extends her exploration of photography, sculpture and language in this remarkable book, The Sun as Error. In collaboration with Dexter Sinister (design duo David Reinfurt and Stuart Bailey), The Sun as Error re-investigates the meaning and language of photographs, creating both an open-ended reading of her practice and also rethinking the idea of an artist’s monograph. Far from straightforward, the book interweaves her bodies of work, previously unseen one-off pieces, with the language of technical diagrams, optical illusions, and graphic design. One of the persistent motifs through the book’s sequence is an asterisk and, specifically, one imbued with the legacy of the graphic designer Muriel Cooper. As the first design director for MIT Press and the cofounder of the Visible Language Workshop, Cooper’s legacy for reorienting and repositioning the direction of an artist’s monograph is imaginatively explored in the creative partnership of Dexter Sinister and Shannon Ebner.

Los Angeles artist Shannon Ebner extends her exploration of photography, sculpture and language in this remarkable book, The Sun as Error. In collaboration with Dexter Sinister (design duo David Reinfurt and Stuart Bailey), The Sun as Error re-investigates the meaning and language of photographs, creating both an open-ended reading of her practice and also rethinking the idea of an artist’s monograph. Far from straightforward, the book interweaves her bodies of work, previously unseen one-off pieces, with the language of technical diagrams, optical illusions, and graphic design. One of the persistent motifs through the book’s sequence is an asterisk and, specifically, one imbued with the legacy of the graphic designer Muriel Cooper. As the first design director for MIT Press and the cofounder of the Visible Language Workshop, Cooper’s legacy for reorienting and repositioning the direction of an artist’s monograph is imaginatively explored in the creative partnership of Dexter Sinister and Shannon Ebner. This 2011 reprinted bootleg version of the original monograph is printed in a black and white paperback book.