The Contemporary Composition (Berlin: Sternberg Press, 2016),
Can we speak of composition when we are in a state of unfathomable decomposition? Art being made today defies coherent categorization, and the world presents itself, day after day, as spinning into confused chaos, structural disintegration, and violent disorder. Revising his well-known histories of contemporary art, Terry Smith argues that we must respond to the compelling need for coeval composition at a time defined by the contemporaneity of divisive difference. This book traces how—despite many obstacles—visual artists across the globe are rising to this challenge.
The second volume of the Contemporary Condition series continues the investigation into contemporaneity as a defining condition of our historical present. The series aims to question the formation of subjectivity and 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 on the subject, the 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.
The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 02
Copublished with Aarhus University and ARoS Art Museum
Design by Dexter Sinister
vol. 2 in the series The Contemporary Condition, edited by Jacob Lund and Geoff Cox, Aarhus University and the Arhos Art Museum, Aarhus
Talking Contemporary Curating
By Terry Smith. Preface by Kate Fowle
Talking Contemporary Curating is a compilation of conversations between art historian Terry Smith and 12 leading international curators, art historians, and theorists deeply immersed in reflecting upon the demands of their respective practices; the contexts of exhibition making; and the platforms through which art may be made public. The contributors include Zdenka Badovinac, Claire Bishop, Zoe Butt, Germano Celant, Carolyn Christov-Bakargiev, Okwui Enwezor, Boris Groys, Jens Hoffmann, Mami Kataoka, Maria Lind, Hans Ulrich Obrist, and Mari Carmen Ramírez. Read together, they present a fascinating picture of how curating can contribute to a broader understanding of our contemporary world.
The conversations are framed by Smith’s opening chapter “The Discourse” in which he tracks the advent of a self-reflexive “discursive” era in curating. In the last decade, curators have developed a language specific to their field that has contributed to further shaping curatorial practice itself.
In her Preface, series editor Kate Fowle describes Smith’s work as “discourse in the making, emerging from talking, spurred by the ‘doings’ of twelve practitioners who are immersed in the potential of curating now.”
The exchanges in this publication build upon, question and challenge Smith’s premises in Thinking Contemporary Curating, the first-ever book-length text to explore what is distinctive about curatorial thought, published by ICI in 2012. In the two years following, Smith conducted interviews, discussions, and research involving colleagues in the field, inviting them to respond to the publication. This research took Smith from the U.S., to Europe, to Japan and beyond, and led to the conversations in Talking Contemporary Curating.
6.25 x 8.5 inches, Paperback
Published by Independent Curators International (ICI), 2015
Distributed Art Publishers (DAP) – $19.95
Contributors to the publication:
Zdenka Badovinac, Director of the Moderna galerija in Ljubljana, Slovenia;
Claire Bishop, art historian, critic, author, and Professor in the History of Art Department at CUNY Graduate Center, New York;
Zoe Butt, Executive Director and Curator of Sàn Art, Ho Chi Minh City, Vietnam;
Germano Celant, Artistic Director of the Prada Foundation, Milan, Italy, and Senior Curator of Contermpoary Art at the Guggenheim Museum, New York;
Carolyn Christov-Bakargiev, Curator of the 2015 Istanbul Biennial, Turkey, and former Artistic Director of dOCUMENTA(13), Kassel, Germany;
Okwui Enwezor, Artistic Director of the 2015 Venice Biennale, and Director of Haus der Kunst, Munich, Germany;
Boris Groys, Global Distinguished Professor of Russian and Slavic Studies at New York University;
Jens Hoffmann, Deputy Director and Chief Curator at the Jewish Museum, New York;
Mami Kataoka, Chief Curator of the Mori Museum, Tokyo, Japan;
Maria Lind, Director of the Tensta Konsthall, Sweden;
Hans Ulrich Obrist, Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London;
Mari Carmen Ramírez, Curator of Latin American Art and director of the International Center for the Arts of the Americas at The Museum of Fine Art, Houston;
With a Preface by Kate Fowle, series editor, ICI’s Director-at-Large and Garage Museum of Contemporary Art’s Chief Curator.
Savremena umetnost I savremenost: zbirka eseja [Contemporary Art and Contemporaneity: Collected Essays] (Orion Publishers: Belgrade, 2014), translated into Serbian by Andriji Filipovic.
Sodobna Umetnost in Sodobnos: Zbirka Esjeci [Contemporary Art and Contemporaneity: Collected Essays] (Ljubljana: SDLK, Slovensko drustvo likovnih kritikov [Slovenian Society of Critical Aesthetics], 2013)
Thinking Contemporary Curating is the first book to offer an in-depth analysis of the volatile territory of international curatorial practice and the thinking—or insight—that underpins it. In five essays, renowned art historian and critic Terry Smith describes how today curators take on roles far beyond exhibition making, to include reimagining museums; writing the history of curating; creating discursive platforms and undertaking social or political activism, as well as rethinking spectatorship.
The catalyst for the publication was “The Now Museum” conference that ICI produced in collaboration with the CUNY Graduate Center and the New Museum in New York in 2011. In panel discussions and lectures over 30 leading artists, art historians, curators and museum directors, such as art historian Claire Bishop, Okwui Enwezor (Director, Haus der Kunst), Massimiliano Gioni (Associate Director and Director of Exhibitions, New Museum), Lu Jie (Director, Long March), Maria Lind (Director, Tensta Konsthall) and Terry Smith discussed the diversification of the notion of the “museum of contemporary art,” providing intergenerational perspectives on recent developments across Africa, the Americas, Asia, Europe and the Middle East. This spurred a year-long journey for Smith, responding to ideas, events and encounters in the art world in the process of questioning what “curating” is today, which forms the heart of this publication.
“Through his act of global metacurating, Terry Smith places different and sometimes contradictory curatorial practices and attitudes into a panorama that fascinates and intellectually engages the reader. It is a must-read for everybody who wants to understand the inner logic of contemporary art processes.” –Boris Groys, Global Distinguished Professor of Russian and Slavic Studies, New York University
Thinking Contemporary Curating is the first in a new series entitled Perspectives in Curating developed by ICI to provide sustained analysis on topics that are pressing for curators now.
Thinking Contemporary Curating was made possible, in part, by grants from the Elizabeth Firestone Graham Foundation and the Robert Sterling Clark Foundation. Additional support for this publication was received from the ICI International Forum Patrons Melva Bucksbaum and Raymond Learsy, Haro and Bilge Cumbusyan, Carol and Arthur Goldberg, Belinda Kielland, Patricia and Charles Selden, Younghee Kim-Wait, Georgia Welles and Elizabeth Erdreich White.
By Terry Smith. Introduction by Kate Fowle
Softcover, 272 pages, 54 B&W illustrations
Published by Independent Curators International (ICI), New York, 2012
Thinking Contemporary Curating is available as digital and softcover versions and is distributed by Distributed Art Publishers (DAP), ISBN: 978-0-916365-86-8. Paperback, 6.25 x 8.5 inches, 256 pages, 25 black-and-white illustrations. $19.95.
e-book available at
Contemporary Art: World Currents
292 x 220
ISBN 978 1 85669 716 3
Published August 2011
Publisher: Pearson/Prentice Hall
Format: Cloth; 348 pp $74.67 Paperback $65
General Introduction: Contemporary Art
in Transition: From Late Modern Art to Now
I BECOMING CONTEMPORARY
1. Late Modern Art becomes Contemporary
2. The Contemporary Art Boom
II THE TRANSNATIONAL TRANSITION
3. Russia and (East of) Europe
4. South and Central America, the Caribbean
5. China and East Asia
6. India, South and Southeast Asia
9. West Asia
III CONTEMPORARY CONCERNS
10. World Pictures: Making Art Politically
11. Climate Change: Art and Ecology
12. Social Media: Affects of Time
13. Coda: Permanent Transition
A Directory of Selected Contemporary Art Websites
Contemporary Art: World Currents argues that, in recent decades, a worldwide shift from modern to contemporary art has occurred. Artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences and its challenging complexities.
This book shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s. It then became a global phenomenon as artworlds everywhere began to connect more closely, to become contemporaneous with each other. New communicative technologies and expanding social media are now shaping the future of art. Terry Smith offers the first account of these changes, from their historical beginnings to the present day.
This book breaks new ground in tracing how modern, traditional and indigenous art became contemporary in each of cultural region of the world. The author argues that it is diversity, or the contemporaneity of difference, not a convergence towards sameness, which makes today’s art contemporary.
University of Chicago Press, 2009
344 pages, 75 halftones 6 x 9 © 2009
Cloth $75.00, ISBN: 9780226764306 Published October 2009
Paper $25.00, ISBN: 9780226764313 Published October 2009
Who gets to say what counts as contemporary art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Revealing how all of these groups have shaped today’s multifaceted definition, Terry Smith brilliantly shows that an historical approach offers the best answer to the question: What is Contemporary Art?
Smith argues that the most recognizable kind is characterized by a return to mainstream modernism in the work of such artists as Richard Serra and Gerhard Richter, as well as the retro-sensationalism of figures like Damien Hirst and Takashi Murakami. At the same time, Smith reveals, postcolonial artists are engaged in a different kind of practice: one that builds on local concerns and tackles questions of identity, history, and globalization. A younger generation embodies yet a third approach to contemporaneity by investigating time, place, mediation, and ethics through small-scale, closely connective art making. Inviting readers into these diverse yet overlapping art worlds, Smith offers a behind-the-scenes introduction to the institutions, the personalities, the biennials, and of course the works that together are defining the contemporary. The resulting map of where art is now illuminates not only where it has been but also where it is going.
Table of contents
List of Illustrations
Preface and Acknowledgments
Introduction: Contemporary Art Inside Out
Part I Museums: Modern / Contemporary
1. Remodernizing Manhattan
2. Sublime-on-Hudson: Dia: Beacon Now
3. Sensation = Saatchi
4. Contemporizing the Tate Modern
Part II Spectacles: Architecture / Sculpture
5. The Experience Museum: Bilbao and Beyond
6. The Intensity Exhibit: Barneyworld at McGuggenheim
Part III Markets: Global / Local
7. Going Global: Selling Contemporary Art
8. From the Desert to the Fair
Part IV Countercurrents: South / North
9. The Postcolonial Turn
10. Our Otherness: The Beauty of the Animal
Part V Contemporaneity: Times / Places
11. Taking Time . . .
12. Art, Truth, and Politics
Part VI. An Art Historical Hypothesis
13. What Is Contemporary Art?
Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity.
Editors: Terry Smith, Okwui Enwezor, and Nancy Condee. 456 pages (October 2008) 77 illustrations
Duke University Press, 2008
In this landmark collection, world-renowned theorists, artists, critics, and curators explore new ways of conceiving the present and understanding art and culture in relation to it. They revisit from fresh perspectives key issues regarding modernity and postmodernity, including the relationship between art and broader social and political currents, as well as important questions about temporality and change. They also reflect on whether or not broad categories and terms such as modernity, postmodernity, globalization, and decolonization are still relevant or useful. Including twenty essays and seventy-seven images, Antinomies of Art and Culture is a wide-ranging yet incisive inquiry into how to understand, describe, and represent what it is to live in the contemporary moment.
In the volume’s introduction the theorist Terry Smith argues that predictions that postmodernity would emerge as a global successor to modernity have not materialized as anticipated. Smith suggests that the various situations of decolonized Africa, post-Soviet Europe, contemporary China, the conflicted Middle East, and an uncertain United States might be better characterized in terms of their “contemporaneity,” a concept which captures the frictions of the present while denying the inevitability of all currently competing universalisms. Essays range from Antonio Negri’s analysis of contemporaneity in light of the concept of multitude to Okwui Enwezor’s argument that the entire world is now in a postcolonial constellation, and from Rosalind Krauss’s defense of artistic modernism to Jonathan Hay’s characterization of contemporary developments in terms of doubled and even para-modernities. The volume’s centerpiece is a sequence of photographs from Zoe Leonard’s Analogue project. Depicting used clothing, both as it is bundled for shipment in Brooklyn and as it is displayed for sale on the streets of Uganda, the sequence is part of a striking visual record of new cultural forms and economies emerging as others are left behind.
What are the major changes in world contemporary art? How might independent, non-commercial and openhearted private foundations take stock of these changes and make a distinctive contribution to sustaining valuable contemporary art and to increasing enlightened understanding of it?
These questions were posed at a one-day forum held at Sherman Galleries, Sydney, on 10 August 2006, entitled “Public Spaces/Private Funding: Foundations for Contemporary Art”.
In this volume, Professor Terry Smith, David Elliott, Lynne Cooke, Rupert Myer AM and Dr Gene Sherman respond from scholarly, art critical, curatorial and philanthropic points of view. They assess the work of foundations in many parts of the world and outline the climate for philanthropy in Australia.
Their main focus is the increasingly pertinent question: How might private initiatives most help contemporary art in Australia, now and in the foreseeable future, taking into account the regional and international contexts in which art is produced and circulates?
All publications are available for sale through Sherman Contemporary Art Foundation. To enquire about or purchase a title, please contact Jaime Wheatley, tel 61 2 9331 1112 or email firstname.lastname@example.org
The Architecture of Aftermath. Smith, Terry, 280 p., 58 halftones. 7 x 10 2006
Cloth $75.00sc 0-226-76468-0 Spring 2006; Paper $30.00sp 0-226-76469-9 Spring 2006
University of Chicago Press, 2006
The September 11 terrorist attacks targeted, in Osama bin Laden’s words, “America’s icons of military and economic power.” In The Architecture of Aftermath, Terry Smith argues that it was no accident that these targets were buildings: architecture has long served as a symbol of proud, defiant power—and never more so than in the late twentieth century.
But after September 11, Smith asserts, late modern architecture suddenly seemed an indulgence. With close readings of key buildings—including Jørn Utzon’s Sydney Opera House, Minoru Yamasaki’s World Trade Center, Frank Gehry’s Guggenheim Museum Bilbao, and Richard Meier’s Getty Center—Smith traces the growth of the spectacular architecture of modernity and then charts its aftermath in the conditions of contemporaneity. Indeed, Smith focuses on the very culture of aftermath itself, exploring how global politics, clashing cultures, and symbolic warfare have changed the way we experience destination architecture.
Like other artists everywhere, architects are responding to the idea of aftermath by questioning the viability of their forms and the validity of their purposes. With his richly illustrated The Architecture of Aftermath, Smith has done so as well.
TABLE OF CONTENTS
List of Illustrations
Introduction: After Effects—Architecture, Iconomy, Contemporaneity
Part I: Dispacing Time
1. The Bilbao Affect: Culture as Industry
2. Flashback: Uluru and the Sydney Opera House
3. The Past-Modern Present: Empire Redux at the Getty Center
4. Remembrance Now: Architecture after Auschwitz at the Jewish Museum, Berlin
Part II: Targets and Opportunities
5. WTC Fast Forward: Skyscrapers on the Isle of the Dead
6. Architecture’s Unconscious: Trauma and the Contemporary Sublime at Ground Zero
7. Shock.Build.Mourn.Hope: Architects Confront Contemporaneity
Conclusion: Aftermath and After
Transformations in Australian Art, Volume 1: The 19th Century – Landscape, Colony and Nation, Smith, Terry, Sydney, Craftsman House, B V I, Thames & Hudson (Australia), 2002
TABLE OF CONTENTS
Introduction: The Visual Cultures of Colonialism
1. Convicts and Capital: The visual economy of surveillance
2. Land Into Landscape: The setting of settlement
3. The Divided Meaning of Shearing the Rems: Artists and nationalism, 188-1895
4. Landscape with Feeling: Golden summers and modern life
List of Figures
Transformations in Australian Art, Volume 2: The 20th Century – Modernism and Aboriginality, Smith, Terry, Sydney, Craftsman House, B V I, Thames & Hudson (Australia), 2002
TABLE OF CONTENTS
Introduction: Mismatch/Misfit: Modernism and Aboriginality
1. What was Australian Modernism?
2. Adopt, Adapt, Transform! Modernist strategies in Margaret Preston’s Still Life, 1927
3. Albert Namatjira and Margaret Preston: Changing an unequal exchange
4. Abstraction in the 1950s and 1960s: Making it local
5. THe Provincialism Problem
6. Conceptual Art is Transit
7. Aboriginality and Post-modernity: Parallel lives
List of Figures
Impossible Presence brings together new work in film studies, critical theory, art history, and anthropology for a multifaceted exploration of the continuing proliferation of visual images in the modern era. It also asks what this proliferation–and the changing technologies that support it–mean for the ways in which images are read today and how they communicate with viewers and spectators.
Framed by Terry Smith’s introduction, the essays focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book’s first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous peoples, and the communicative formations that result from the trafficking of images between people from vastly different cultures. With a stellar list of contributors, Impossible Presence offers a wide-ranging look at the fate of the visual image in modernity, modern art, and popular culture.
Fred R. Myers
Hugh J. Silverman
TABLE OF CONTENTS
Preface and Acknowledgments
Enervation, viscerality: the fate of the image in Modernity
1. Too much is not enough: metamorphoses of Times Square
2. New thresholds of vision: instantaneous photography and the early cinema of Lumière
3. Through a fishwife’s eye: between Benjamin and Deleuze on the timely image
Peter J. Hutchings
4. Realism of low resolution: digitisation and modern painting
5. Beauty and the contemporary sublime
6. Andy Warhol: snobbish machine
7. Andy Warhol: chiasmatic visibility
Hugh J. Silverman
9. Visceral Cholos: desublimation and the critique of Mestizaje in the Bolivian Andes
10. Traffic in culture: on knowing Pintupi painting
Fred R. Myers
11. Warped Space: architectural anxiety in digital culture
List of Images
Notes on Contributors
Jacques Derrida: Deconstruction Engaged The Sydney Seminars, edited by Paul Patton and Terry Smith, Power Publications, Sydney 2001
ISBN 1 86487 433 3, 119pp, paper
Price: A$19.95 (with GST A$21.95)
From Power Institute, University of Sydney
Jacques Derrida’s two Sydney seminars of August 1999 enabled him to present some of the principal themes of his work to non-specialist audiences. As might be expected of a Sydney setting, warmth of feeling and openness of spirit pervaded both occasions. Derrida’s willingness to engage with both interlocutors and audiences ensured an exciting demonstration of the subtlety and flexibility of deconstructive thinking in action. This book is reconstructed from the transcripts of those sessions. It provides a clear, systematic and highly accessible introduction to many of the central concerns of Derrida’s engagement with philosophy, visual art and politics.
In Visible Touch: Modernism and Masculinity, Smith, Terry, editor. University of Chicago Press. Co-published with Power Publications, Sydney.
258 p., 83 halftones. 8 x 9-1/2 1998
Cloth ANZ $60.00sc 0-226-76411-7 Spring 1998
Paper $25.00sp 0-226-76412-5 Spring 1998 Australia and New Zealand sales via Power Institute, University of Sydney or via University of Chicago Press
In this collection, outstanding historians and theorists explore the representation of heterosexual masculinity embodied in modernist art. Examining such major European modernists as Cézanne, Caillebotte, Matisse, Wyndham Lewis, and Boccioni, these writings offer a history of how artists sought to shape their sexuality in their work. In turn, the essays also show how the artists were shaped by the historical shifts in the gender order and by the exchanges between sexualities occurring in their social worlds. For example, the piece on Wyndham Lewis shows how he subscribed to an exaggerated masculinism, while the essays on Boccioni and Matisse bring out the efforts by these men to understand feminine sexuality. In the theoretical essays, Bernard Smith questions modernism itself as a style category. And Richard Shiff and W.J.T. Mitchell trace the consequences for art theory of recognizing the physical presence of modernist artworks and the agency of imagery in our encounter with contemporary art.
TABLE OF CONTENTS
Preface and Acknowledgments
Introduction: Intensity: Modernism’s Phallic Aesthetics by Terry Smith
Ch. 1: Freud’s Cezanne
T. J. Clark
Ch. 2: Masculinity, Muscularity and Modernity in Caillebotte’s Male Figures
Ch. 3: Expression, Disfiguration: Matisse, the Female Nude and the Academic Eye
Ch. 4: Mother and Son: Boccioni’s Paintings and Sculpture 1906-1915
Ch. 5: The Popular Culture of Kermesse: Lewis, Painting and Performance 1912-13
Ch. 6: Modernity and the Formalesque
Ch. 7: Breath of Modernism (Metonymic Drift)
Ch. 8: What do Pictures Want? An Idea of Visual Culture
W. J. T. Mitchell
Ch. 9: Gloria Patri: A Conversation about Power, Sexuality and War
Mary Kelly, Terry Smith.
List of Images
Notes on Contributors
Ideas of the University
edited by Terry Smith
Power Publications, University of Sydney, Co-published with the Research Institute for the Humanities and Social Sciences, The University of Sydney, 1996
Does the university have a future? Has the modern university failed? Is it, as Bill Readings has claimed, in ruins? The authors in this volume remain positive about the potential of universities to create the conditions of their own reinvention, by renewing themselves from within and by working in concert with the communities around them. They pose sharply critical questions about how universities are being shaped by varying degrees of internal doubt, external antipathy yet increasing public need. Addressing topics ranging from the current political crisis around Australian universities to the persistence of medieval conceptions of knowledge, they ask: what forms will the university take in postmodernity?
Samuel Weber explores the impact of globalisation and virtualisation on universities world-wide, and Gavin Brown poses the challenges for the University of Sydney. Diane Austin-Broos emphasises the importance of local knowledges, and Paul Patton the university as the site of a series of productive problems. Based on a Symposium held at the University of Sydney in 1996, and containing a record of the discussion following these talks, this volume is envisaged as the first in a series.
ISBN 1 86451 248 2
4 b/w images
Price: A$11.00 (with GST $14.25) via Power Institute, University of Sydney
Smith, Terry Making the Modern: Industry, Art, and Design in America. University of Chicago Press 528 p., 156 halftones. 6-5/8 x 9-3/8 1993
Paper $37.50sp 0-226-76347-1 Fall 1994
sales via University of Chicago Press
In this ambitious book, Terry Smith chronicles the modernist revolution in American art and design between the world wars–from its origins in the new industrial age of mass production, automation, and corporate culture to its powerful and transforming effects on the way Americans came to see themselves and their world. From Ford Motor’s first assembly line in 1913 to the New York World’s Fair of 1939, Smith traces the evolution of visual imagery in the first half of America’s century of progress.
TABLE OF CONTENTS
List of Illustrations
Introduction: The Visual Imagery of Modernity
Pt. 1: The Modernization of Work: Detroit, 1910-1929
1: Fordism: Mass Production and Total Control
2: Architecture and Mass Production: The Functionalism Question
3: Henry Ford and Charles Sheeler: Monopoly and Modernism
4: The Garden in the Machine
Pt. 2: Modernization and National Dissensus: Imagery of Reality in the 1930s
5: The Shaping of Seeing: Outrageous Fortune
6: The Resistant Other: Diego Rivera in Detroit
7: Frida Kahlo: Marginality and Modernity
8: Of the People, For the People
9: Official Images, Modern Times
Pt. 3: Design or Revolution? Styling Modernity in the 1930s
10: Designing Design: Modernity for Sale
11: “Pure” Modernism Inc.
12: Funfair Futurama: A Consuming Spectacle
Pt. 4: The Modern Effect
13: Modernity becomes Normal
List of books
Contemporary Art: World Currents (London: Laurence King; Upper Saddle River, NJ: Pearson/Prentice Hall, 2011)
What is Contemporary Art? (Chicago: University of Chicago Press, 2009)
Editor (with Okwui Enwezor and Nancy Condee), Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity (Durham, NC: Duke University Press, 2008)
The Architecture of Aftermath, Chicago, University of Chicago Press, 2006
Transformations in Australian Art, vol. 1, Nineteenth Century: Landscape, Colony and Nation; vol. 2. Twentieth Century: Modernism and Aboriginality, Sydney: Craftsman House, 2002
Editor, with Paul Patton, Jacques Derrida, Deconstruction Engaged: The Sydney Seminars, Sydney: Power Publications, 2001 (Japanese edition, Tokyo: Minori, 2005)
The Code of Practice for the Australian Visual Arts and Craft Sector (National Association of the Visual Arts: Sydney, 2001, general editor Caroline Jordan). Report of the Visual Arts Industry Guidelines Research Project, 1998-2001, of which I was joint Chief Investigator with Tamara Winikoff (2nd ed. 2004, general editor Penny Craswell).
What is Contemporary Art? Contemporary Art, Contemporaneity and Art to Come, Sydney, Artspace Critical Issues Series, 2001 (pamphlet)
Editor, Impossible Presence: Surface and Screen in the Photogenic Era, Sydney, Power Publications, Chicago, University of Chicago Press, 2001 (Introduction; essays by Marshall Berman, Tom Gunning, Peter Hutchings, Jean Baudrillard, Hugh Silverman, Jeremy Gilbert-Rolfe, Elizabeth Grosz, Javier Sanjines, Fred R Myers, Anthony Vidler)
Editor, First People, Second Chance; The Humanities and Aboriginal Australia, Canberra, Australian Academy of the Humanities, 1999 (Introduction; essays by Marcia Langton, Henry Reynolds, Paul Patton, Margaret Clunies Ross and Ian McLean.)
Editor (with Jennifer Allison, Katherine Gregouras, George Symons), From Vision to Sesquicentenary, The University of Sydney through its Art Collection, Sydney, Standing Committee of Convocation of the University of Sydney, 1999 (Introduction; essays by various authors.)
Editor, In Visible Touch: Modernism and Masculinity, Sydney, Power Publications, 1997, Chicago, University of Chicago Press, 1998 (Introduction; essays by T.J.Clark, Tamar Garb, Roger Benjamin, Virginia Spate, Richard Shiff, Bernard Smith, W.J.T. Mitchell, Mary Kelly.)
Editor, Ideas of the University, Sydney: Research Institute for the Humanities and Social Sciences and Power Publications, 1996 (Introduction, essay by Samuel Weber, discussion.)
Making the Modern: Industry, Art and Design in America, Chicago: University of Chicago Press, 1993, 532 pages
Editor, Constructing Australian Art: Eight Critiques, Sydney: Power Institute of Fine Arts Occasional Paper No 2, May 1986, 109 pages
(with Anthony Bradley) Editor, Australian Art and Architecture: Essays Presented to Bernard Smith, Oxford University Press, Melbourne 1980, 263 pages
Art & Language: Australia 1975, Art & Language Press, Banbury, New York, Sydney 1976, 231 pages
(with Ian Burn and Mel Ramsden) Draft for an Anti-Textbook, special issue, Art-Language, Vol.3, No 1, Sept 1974, 110 pages
(with Ian Burn, Mel Ramsden, et al.) Handbook, Art & Language Press, New York, and the Mezzanine, Nova Scotia College of Art, Halifax, N.S. 1973, 92 pages