Part of JRP]Ringer's innovative "Documents" series, published with Les Presses du Reel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice--itself defined by selection and arrangement--would come to be seen as an art that operates on the field of art itself?"

The paintings of Belgrade-born artist Djordje Ozbolt (born 1967) vary greatly in subject, spanning religion, human relationships, colonial exoticism (especially in Africa), to travel experiences and cultural stereotypes. This publication is the first monograph to celebrate Ozbolt's collagelike paintings.

No less versatile in his writing than in his installations, films, architecture, and sculpture, Liam Gillick unites his critical essays in this collection, most of which were originally printed in art magazines or exhibition catalogues. Lauded for his ingenious reinterpretation of Conceptual and Minimalist art, Liam Gillick has often used language, whether in type on a wall or on a page, as a site of artistic, theoretical, and political intervention. He reveals himself here as a witness of and major actor in the largely European 1990s art scene that included Philippe Parreno, Pierre Huyghe, Carsten H ller, Angela Bulloch, Douglas Gordon, and Rirkrit Tiravanija. A key publication of discussions, references, and artistic engagements of the 1990s, the book also allows an examination of the renewed importance at this time of Felix Gonzalez-Torres, John Baldessari, and Allen Ruppersberg.