Since founding the T.O.P. ("Turn On Planning") Office in the 1970s, Belgian architect and artist Luc Deleu (born 1944) has been working on a critical, sociological and ecological approach to urbanism that he has named "orbanism": an eco-centric global urbanism that has anticipated such contemporary concerns as environmental pollution, overpopulation, food production and the conflict between the individual and the community. "Orban Space" traces Deleu's work and practice through a conceptual topography defined by seven terms: architecture, syncretism, depiction, sculpture, scale, mobility and manifesto. This book presents a biographical portrait of Luc Deleu and T.O.P. Office and situates them within a broader historical and theoretical framework, where they emerge from the lineage defined by such idiosyncratic utopian visionaries as the Metabolists, Buckminster Fuller, Superstudio, Yona Friedman and Constant Nieuwenhuis.

This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew.

Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

Offering new insights into the role of museums, Wouter Davidts (author of "The Fall of the Studio") investigates the connection between architecture, the museum as an institution, the museum program and art. A museum's architecture may be deployed in a variety of ways: as an autonomous icon, as a flexible space, as a PR instrument, as a memory machine, as a stimulus to urban renewal, as a landscape theme, as a political trump card, as a storage depot for artifacts, and so on. Davidts explores these perspectives through several case studies--the Stedelijk Museum Amsterdam, Museum Boijmans Van Beuningen, the Centre Pompidou, Tate Modern and US institutions such as The Geffen Contemporary at MOCA Los Angeles and MoMA P.S.1 in New York.