In 2007, Ai Weiwei (born 1957) presented a surprising new project titled "Fairytale" at Documenta 12 in Kassel, Germany. He invited 1001 Chinese citizens of different ages and from various backgrounds to travel to Germany, all expenses paid, to experience their own fairytale holiday for 28 days. The logistics for this project were complex and entailed a hefty budget, as the artist later recalled, enumerating the considerations: "to design the trip and activities for the tourists, to hope to get their passports, their visas, their insurance and air tickets, to organize the place where they can live in Kassel, to hire cooks, make products which are connected to the journey and would be needed for it..." Happily, "Fairytale" was a runaway success for the artist, the participants and for Documenta. It was judged by critics to be one of the most sensational artworks at Documenta that year, and led to an acclaimed documentary and global media coverage. This publication offers critical analyses of the project from Roger M. Buergel, Daniel Birnbaum, Christian Holler, Raphael Gygax and Ai Weiwei himself.

Igor Stravinsky's "The Rite of Spring" was premiered in 1913 by Sergei Diaghilev's Ballets Russes under the choreography of Vaslav Nijinsky, in the Theatre des Champs Elysees in Paris. To this day it is considered the biggest theater scandal of the twentieth century. With its revolutionary score and choreography, "The Rite of Spring" can be seen as one of modernism's great breakthrough events, and it is the most choreographed ballet in the world. Addressing the ballet's context and history, this anthology includes a selection of archival documentation alongside contributions by artists and performers Eleanor Antin, Marc Bauer, Dara Friedman, Millicent Hodson and Kenneth Archer, Karen Kilimnik, Sara Masuger, Vaslav Nijinksy, Silke Otto-Knapp, Yvonne Rainer and Babette Mangolte, Lucy Stein, Alexis Marguerite Teplin, Julie Verhoeven and Mary Wigman, among others.

The works of young American artists Cory Arcangel, Shana Moulton, Jessica Ciocci & Jacob Ciocci of Paper Rad, and Ryan Trecartin & Lizzie Fitch are all characterized by an overwhelming color-charged aesthetic, unhinged narratives and a deluge of content that pitches itself against the excesses of consumer culture. Brought together for this publication, their works define a new idiom of energetic critique.

The appearance of the Human Immunodeficiency Virus and the Acquired Immune Deficiency Syndrome (HIV/AIDS) in the early 1980s and its subsequent rapid spread around the world has left deep marks in society. The illness itself and its effects on society have also caused manifold responses by artists and activists in many countries. United by AIDS, published in conjunction with an extensive group show on the topic of loss, remembrance, activism and art in response to HIV/AIDS at Zurich's Migros Museum of Contemporary Art (Migros Museum fur Gegenwartskunst), sheds light on the multi-faceted and complex interrelation between art and HIV/AIDS from the 1980s to the present. It examines the blurred boundaries between art production and HIV/AIDS activism and showcases artists who played - and still play - leading roles in this discourse. Alongside images of artworks and brief texts on the represented artists, the book features voices from the past and present. Essays by Douglas Crimp, Alexander Garcia Duttmann, Raphael Gygax, Elsa Himmer, Ted Kerr, Elisabeth Lebovici ,and Nurja Ritter broaden the view of the international discourse on HIV/AIDS and society's confrontation with the disease.

"Apologies" is the first monograph on Berlin-based artist Stephen G. Rhodes (born 1977), looking at works from the last ten years. Rhodes' multimedia installations are often based on American cultural references such as the "Uncle Remus" stories that he politicizes through references to slavery.