"Wild Art" refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of "taste," one in which each expression is acknowledged as being different while deserving equal merit. Arguing that both the "art world" and "wild art" have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of "taste" in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of "wild art" in the present will radically transform our understanding of contemporary visual art in the future. Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of "kitsch" and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

"The Monumental Woods" is a career-spanning retrospective catalogue of wood sculptures from American artist Robert Indiana (born 1928). This publication showcases five decades of work from Indiana's beginnings in the mid-century New York artist community of Coenties Slip, which included Indiana's close friends Ellsworth Kelly and Agnes Martin, to his chosen remote island home off the coast of Maine, where he has spent the past four decades. The pieces presented in this book, many reproduced for the first time, offer a retrospective survey of Indiana's sculptural oeuvre. With its handsome copper-stamped cover, "The Monumental Woods" includes exhibition shots, archival photographs and detail shots of many sculptures, in addition to a suite of color photos of the artist's home in Maine. The book concludes with three interviews of Indiana, set decades apart, in which the artist discusses the inspiration and evolution of his sculptures.