Plotting narratives that blur the line between fact and fiction, David Lamelas is a pioneering figure of conceptual art. "Life as Activity: David Lamelas" draws vivid connections within the artist's multifaceted practice and explores how his sculpture, film, video, and photography invite us to participate in fictional narratives while moving through space and time. Life as Activity: David Lamelas developed from a graduate seminar in Hunter College's Advanced Certificate in Curatorial Studies and is supported by the Institute for Studies on Latin American Art (ISLAA), which advances scholarship and public engagement with art from Latin America. ISLAA proudly sponsors Hunter College as its inaugural university partner in the ISLAA Artist Seminar Initiative, an education and curatorial program that fosters intimate exchanges between students and living Latin American and Latinx artists. David Lamelas's works experiment with conventional formats in ways that make us acutely aware of the constructed nature of narrative and identity. Featuring his investigations of different media - including sculpture, photography, and film - the book charts new ground through a body of work that spans from 1966 to 2020. Made in Argentina, Europe and the United States, the twelve projects that make up the focus of the book demonstrate the inventive ways Lamelas produces works in which he directs his critical eye toward diverse contexts to reveal the proximity of fantasy and truth.

Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another's work. The outcome of each of these convergences is an extensive and "unpredictable conversation" on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or nonaesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stephanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beata Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schurmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach.