This publication is devoted to the phenomenon of the artist novel, and whether it can be considered to be a medium in its own right within the visual arts. Thanks to the contributions of a selected group of artists, writers, curators, and scholars this publication strives to demonstrate that literature, when treated by visual artists, can take place well beyond the space of the book.

Artist Erik Niedling would like to be buried in Pyramid Mountain, the largest tomb of all time, an artwork conceived by writer Ingo Niermann. To make this goal a reality, Niedling lives one year as though it were his last. The Future of Art: A Diary recounts the joys and horrors of that year.

This publication focuses on “Philippe Parreno,” an exhibition at the Center for Curatorial Studies at Bard College which consists of a selection of Parreno’s films and collaborative projects.

Terminal 5 was a group show curated by Rachel K. Ward at Eero Saarinen’s landmark 1962 TWA Terminal at JFK Airport. Originally scheduled to open September 2004, the Port Authority closed the exhibition after the “controversial” opening night party. Initiated as a form of “dedication to the building” the exhibition explored themes drawn from the history and nature of travel, and responded to the significance of the architecture itself.

If modernism was a return to the origin of art or of society, to their purification with the aim of rediscovering their essence, then our own century’s modernity will be invented, precisely, in opposition to all radicalism, dismissing both the bad solution of re-enrooting in identities as well as the standardization of imaginations decreed by economic globalization.