"Revelatory and sublime...Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds." -The New York Times One of the most inventive artists of the twentieth century, Hilma af Klint was a pioneer of abstraction. Her first forays into her imaginative non-objective painting long preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of watercolors renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner New York in 2021 and David Zwirner London in 2022, this catalogue features a text by the art historian Susan Aberth examining af Klint's spiritual and anthroposophical influences. With a conversation between the curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and native theories about plant knowledge, the publication broadens the scope of philosophical interpretations of af Klint's timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint's work was not recognized in its time.

Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus's black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed "outsiders," Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as "sinister" and "appalling" as well as "revelatory," "sincere," and "compassionate." In the absence of Arbus's own voice, art criticism and cultural shifts have shaped the language attributed to her work. Organized in eleven sections that focus on major exhibitions and significant events in Arbus's life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays--an archive by all accounts--trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.

This recently declassified study from June 1965 outlines the role of Headquarters USAF in aiding the South Vietnamese effort to defeat the communist-led Viet Cong. The author begins by discussing general U.S. policy leading to increased military and economic assistance to South Vietnam. He then describes the principal USAF deployments and augmentations, Air Force efforts to obtain a larger military planning role, some facets of plans and operations, the Air Force-Army divergencies over the use and control of air power in combat training and in testing, defoliation activities, and USAF support for the Vietnamese Air Force. The study ends with an account of events leading to the overthrow of the Diem government in Saigon late in 1963.

First published in 1968, this study reviews the political background and top level discussions leading to the renewed bombing campaign in early 1966, the restrictions still imposed on air operations, and the positions taken on them by the military chiefs. It discusses the various studies and events which led to the president's decision to strike at North Vietnam's oil storage facilities and the results of those mid-year attacks. It also examines the increasing effectiveness of enemy air defenses and the continuing assessments of the air campaign under way at year's end.

This AFCHO monograph covers USAF participation in the national guided missile program that slowly evolved between the closing months of World War II and the beginning of the Korean War. The first generation of missile projects laid the groundwork for a later and much more successful range of weapons. Navaho and Rascal proved the technologies that were later used for the AGM-28 Hound Dog and AGM-69 SRAM missiles. These same technologies later gave birth to the current generation of cruise missiles. These can be seen as a successful implementation of the design concepts first developed in the late 1940s. Today, in the second decade of the 21st century, pilotless aircraft are a widely used and deadly part of the American airborne arsenal. Technology has caught up with the visions of those who had conceived the first generation of guided missiles in the 1940s.

This recently declassified 1965 monograph covers generally the so-called national guided missile program that slowly evolved between the closing months of World War II and the beginning of the Korean War. More particularly, the monograph treats the interplay among the numerous national security agencies as it concerned guided missiles. The guided missile was among the first weapon systems to be subjected to the disadvantages as well as the advantages of constant scrutiny and intervention at the interservice level. Moreover, this condition was aggravated no little by the interest, but not the forceful leadership, of a number of joint and other national security agencies a niche or more above the level of the services. In a sense, then, the guided missile became the "guinea pig" from which grew the paradoxical situation of both a centralization and proliferation of authority and responsibility over weapon development and use.