A critical spatial practice is a means of rethinking one’s modes of action and codes of conduct. Edited by architects Nikolaus Hirsch and Markus Miessen, this series reinvents its internal structure according to the content of each volume: a toolbox that ranges from single-authored essays to conversations, manifestos, fiction, investigative journalism, historical studies, and artistic interventions, each accompanied by an artist contribution. The series follows the tradition of the discipline of architecture using the publication format as a testing ground for ideas.

Founded in 2003 by Isabelle Graw and Daniel Birnbaum, Institut für Kunstkritik is a program that examines art criticism and connected disciplines. As well as single-authored books, this series comprises volumes based on symposia and lecture series, bringing together contributions by art historians, critics, artists, and writers. The goal of the series is to provide insights into current debates on the shifting relationship among criticism, art, and the market.

The Solution Series is a steadily growing collection of proposals related to nation-specific issues as well as contemporary borderless crises. Edited by writer Ingo Niermann, the series invites original and compact ideas from writers, artists, and designers familiar with the issues at hand. These solutions—which take the form of speculative essays, fiction, artistic interventions, design, or a combination thereof—are as imaginative as they are provocative, as unexpected as they are uncannily familiar.

Imagine Otherwise is an anthology of books on queer, non-binary, or female-identifying artists who have produced a substantial body of work but may have no publication concerning their art or life in print at the time of commissioning. The series—a living archive and a modular score—comprises books that serve as field guides into artistic lives that remain unexplored or inaccessible. The overall proposition, to “imagine” a world “otherwise,” stems from the desire to find a different way of looking, writing, and reading about art. To consciously create a form of publishing that allows art to be examined unreservedly, unburdened of the limits imposed by any perceived “dominant hand” of hegemony. Imagine if every book on art was authored or narrated via the distinct contours of the artist’s work and/or biography—the writer and artist guiding the reader through a personal lens, in their distinct voice, rarely conforming to a singular style. Each book in the series is conceived as an exploratory document and collaborative composition. Together, author and artist, dead or alive, propose acts of worldbuilding—fulfilling a dream to explode the sanctioned modes through which art is experienced in the collective imagination.

This series stems from a discontent with the indictment of identity politics as antithetical to “real” politics. The political, in this conception, is aligned with the need to transcend markers of identity that are said to hinder class solidarity and the potential for coalition building. Yet appeals to move beyond identity tend to leave unexamined the gender and racial schemas that undergird the notion of universalism, hence overlooking—and refracting—legacies of violence and oppression. On the Antipolitical aims to confront capitalist hegemony but does not aspire toward an abstract polity. Challenging the persistence of colonial formations in contemporary theory, the series argues that discussions of identity do not subtract or divert from political struggle, but rather add to it. The series is edited by Ana Teixeira Pinto.

This series of paperback readers collects essays and interviews from the orbit of the monthly art publication edited by Julieta Aranda, Brian Kuan Wood, and Anton Vidokle. Focusing on anthologies and single-authored books that further develop the journal’s investigation of cultural, political, and structural paradigms, the series aims to spotlight the most original voices in contemporary art and theory. Liam Gillick created the original cover design.

Each book in the series takes the work of a single artist as its point of departure, spiraling outward to create an expansive and carefully edited ecosystem of ideas and voices. Each volume includes newly commissioned writing as well a selection of perspectives, images, and references related to the year-long research seasons at CCA Wattis Institute for Contemporary Arts.

THE INCIDENTS is a book series based on events at the Harvard University Graduate School of Design. The series is edited by Ken Stewart and Marielle Suba and designed by ELLA.

The EP series fluidly moves between art, design, and architecture, and introduces the notion of the “extended play” into publishing, with thematically edited pocket books as median between popular magazines (“single play”) and academic journals (“long play”).

From an economic perspective, art has traditionally been regarded as an instrument: artists and art are seen as an investment or factor of production that can be exchanged for something else. This publication series begins by exploring the intentional in art rather than the instrumental. How can we account for art without reducing it to its components or effects? Without first instrumentally embedding it in the traditional conversations, cultures, and habits of the art world?

Edited by culinary historian Charlotte Birnbaum, On the Table is a series of publications exploring the encounter between food and art.

Montana is a propositional series exploring the adjacencies of the literary and the visual, the poetic and the political. Deeply invested in the production of a radical present and future, the books of Montana form an ecology of thought that is connected in spirit, practice, and language, yet distinct and diverse, spanning geographies and time. Edited by Leah Whitman-Salkin.

The XXI-Century Science series edited by Armen Avanessian, Werner Boschmann, and Karen Sarkisov is a cross section of current research in the natural sciences and humanities focused on the discovery of new disciplines and research topics. Each volume engages with an issue that can be tackled only by combining the methodologies, critical perspectives, and insights developed in emerging areas of knowledge. With contributions from international scholars and thinkers, the series navigates uncharted scientific landscapes and privileges productive exchange, speculative thinking, and theories in the making.

Edited by Anthony Downey, Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. Each volume endeavors to ask: In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce?

Visual culture is a cross-disciplinary site of encounter for divergent perspectives, including competing attitudes toward the ethical status and ideological functioning of the visual itself. Each volume in this series investigates a single pertinent topic: two colleagues with shared interests—and differing points of view—examine their chosen subject in a particularized and probing manner. Within the format—two essays and a conversation—contents unfold in their own way with respect to their positions, polemics, and poetics. The series is edited by Jorella Andrews, professor in the Department of Visual Cultures, Goldsmiths, University of London.

Edited by Geoff Cox and Jacob Lund, the Contemporary Condition aims to question the formation of subjectivity and the concept of temporality in the world now. It begins from the assumption that art, with its ability to investigate the present and make meaning from it, can lead to an understanding of wider developments within culture and society. Addressing a perceived gap in existing literature, this series focuses on three broad strands: the issue of temporality, the role of contemporary media and computational technologies, and how artistic practice makes epistemic claims.

Initiated by the Cultures of the Curatorial graduate program at the Academy of Fine Arts Leipzig, this series assesses the curatorial turn in contemporary cultural practice and discourse. The contributing authors, from a variety of disciplines and professional backgrounds, consider recent developments within the curatorial field, allow for self-reflexive analysis, and explore the conditions—disciplinary, institutional, economic, political, and regional—under which art and culture become public.

The Sandberg Instituut at the Gerrit Rietveld Academy, Amsterdam, offers master programs in fields of art and design. Working to align the institute with urgent contemporary topics, director Jurgen Bey has introduced a series of one-off, two-year master programs. The Sandberg Series is a record of these temporary programs as well as a platform for critical reflection on this educational model. Each volume delves into the insights and outcomes of the program it covers and provides space for engagement with a broader public.

Thoughts on Curating presents a series of single-essay publications by some of the world's leading voices in curatorial practice and theory today. Edited by Steven Henry Madoff, founder of the master's program in Curatorial Practice at the School of Visual Arts, New York.

Fogo Island Arts’ monographic publication series accompanies major solo exhibitions and commissions presented at the Fogo Island Gallery. The volumes provide extended consideration of an artist’s work in formats including critical essays, interviews, experimental writing and fiction. Combined with installation views, process documentation and artist contributions, FIA publications serve as a record of the artist’s time on Fogo Island and their creative contributions that can be disseminated internationally.

This series stems from the research-driven program of the Academy of Fine Arts Vienna. Each comprehensive volume is edited by members of the university and comprises essays and artworks in an area of research related to art theory, cultural studies, or art history. The discussions in each volume represent those currently taking place in the university and elsewhere in academia and contemporary art. International conferences and research projects organized at the academy serve as the point of departure for the individual volumes.

This series of pocket-size books hones the format of the monograph and the critical essay. The black volumes showcase projects by artists such as Isa Genkzen, Cerith Wyn Evans, and Tue Greenfort, contextualizing them through the writings of noted international critics and curators. The white volumes contain essays by prominent critics and curators such as Nicolas Bourriaud, Daniel Birnbaum, and Jean-Yves Leloup on urgent theoretical issues of the day.

The Jahresring is an annual publication series—a “meeting point for creative and critical forces,” as its inaugural issue stated in 1954—one of the longest running in Germany for contemporary art and literature. In 1989, Brigitte Oetker became the series editor and revamped the conceptual orientation of the content. Each year, alternating guest editors—curators, artists, scientists—are invited to reflect on current trends and issues in art and society.

Bulletins of The Serving Library is a composite printed/electronic publication published by Dexter Sinister. Each of the twelve issues makes up a semester’s worth of material—original writings, reprints, and artist contributions—on a variety of themes such as libraries, media, and time; education; typography; psychedelia; Germany; fashion; numbers; sports and games; and color. The Bulletins ran from 2011 to 2017.