Pied-à-terre is a space run by McIntyre Parker from 2009 – ongoing. This publication gathers texts and contributions by artists, curators, and writers who visited or worked with Pied, forming a subtle portrait of the project.

With contributions from Benjamin Ashlock, Kim Bennett, Amanda Gracia Blanco, Juliette Blightman, Alice Channer, Shannon Ebner, Anthony Huberman, Blueberry Elizabeth Morningsnow, Kim Nguyen, Josh Minkus, K.R.M. Mooney, McIntyre Parker, Scott Ponik, Lisa Radon, Nick Raffel, Sophia Rhee, Michael Snow, Jordan Stein, Diego Villalobos, Hazel White.

Offset printing by Gary Robbins, sewing and letterpress by Aaron Flint Jamison.

Over the course of approximately one year, The Registry of Promise consisted of four autonomous, interrelated exhibitions, which can be read as individual chapters in a book. In this series, Chris Sharp reflects on our increasingly fraught relationship with what the future may or may not hold, and the work engages with and plays upon the various readings and mutability of “promise”, along with the inevitability of what may come, whether positive or negative. Such polyvalence is particularly topical, as we have shifted from the anthropocentric promise of modernity to a negative faith in the post-human.

Including artists Becky Beasley, Patrick Bernatchez, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Alexander Gutke, Jochen Lempert, Jean-Luc Moulène, Marlie Mul, Matt Mullican, Rosalind Nashashibi, Antoine Nessi, Jean-Marie Perdrix, Reto Pulfer, Mandla Reuter, Hans Schabus, Lucy Skaer, Michael E. Smith, Carlo Gabriele Tribbioli, Francisco Tropa, Andy Warhol, Anicka Yi.