
“Kusama’s Church of Self-Obliteration…” Grady Turner, interview with Yayoi Kusama in Bomb magazine, no. 66, Winter 1999, online.
“joint team of artists and sociologists…” This mode of working was inspired by conceptual art. The Rosario Group’s example of the radical research collective including academic specialists and artists who represent the work has proved an important model for artists and radicals alike. See Erika Biddle, Stevphen Shukaitis and David Graeber, eds., Constituent Imagination: Militant Investigations, Collective Theorization (2007).
“build ice barricades in the street to stop police…” Virginia Pérez-Ratton, “Performance and Action Work in Central America 1960-2000: A Political and Aesthetic Choice,” in Cullen, ed., op. cit.
“artists aligned themselves with the feminist movement…” A recent wave of historicization for feminist art has thrown up a major show. See Cornelia H. Butler and Lisa Gabrielle Mark, eds., WACK!: Art and the Feminist Revolution (2007). There is much online about this exhibition.
“nominated a pig for president…” The pig, a personable animal named Pigasus, was from the California Hog Farm Commune.
“radical Art Workers’ Coalition…” Two 1970 publications of the Art Workers' Coalition – Open Hearing and Documents 1 – can be downloaded at PrimaryInformation.org.
“conceptual art laid the baseline…” The classic (chronological) account of conceptual art is Lucy Lippard, ed., Six Years: The Dematerialization of Art (1973; republished 1997); Tony Godfrey’s survey text Conceptual Art (1998) is a good introduction. Marie Carmen Ramirez, ed., Global Conceptualism: Points of Origin 1950s to 1980s (1999) takes a look at the important ways, very often political, in which conceptual art was used around the world.
“This is the most important side of my work…” Achille Bonito Oliva, from an interview titled “A Score by Joseph Beuys: We Are the Revolution,” 1971; it is cited by Irving Sandler to Ronald Feldman Gallery handout, 1971 (in Sandler’s Art of the Post-Modern Era, 1996). Quoted by Glen Hanson, in “Beuys' Energy Plan” (2001), online.
“An Anti-Catalog…” This is online at Gregory Sholette’s darkmatterarchives.net.
“the injustice of unpaid housework…” This ideological connection is spelled out in Robert C. Morgan, “Touch Sanitation: Mierle Laderman Ukeles,” High Performance magazine, Fall 1982; online at
“what Robert Smithson called ‘cultural confinement’…” Smithson’s statement was written for the catalogue of the same Documenta at which Beuys had produced his Office for Direct Democracy: Documenta 5 (1972), section 17, p. 74. It was published as “Cultural Confinement,” Artforum, v. 11, no. 2 (October 1972),
“curator Nicolas Bourriaud’s idea of relational art...” Nicolas Bourriaud, Esthétique Relationnelle (1998), Relational Aesthetics (2002 in English). The French curator discussed a range of artists, including Liam Gillick, Rirkrit Tiravanija, Philippe Parreno, Carsten Höller and Christine Hill.
“Ted Purves has located the key to this kind of work…” T.P., ed., What We Want is Free: Generosity and Exchange in Recent Art (2005). Half this book is given over to an illuminating series of project histories. See also the catalogue Gianfranco Maraniello, et al. eds., The Gift/ Il Dono: Generous Offerings (2002).
“emphasizes dialogue over the closure of traditional modernist objecthood…” “A Very Short Critique of Relational Aesthetics,” by Radical Culture Research Collective (2007), online.
“Ben Shepard credits with crucially influencing…” B.S. and Ronald Hayduk, eds., From ACT-UP to the WTO:Urban Protest and Community Building in the Era of Globalization (2001).
“Doug Ashford said of this exhibition format…” Alan W. Moore, “Artists’ Collectives” in Gregory Sholette and Blake Stimson, eds., Collectivism After Modernism (2007).
“five platforms, five different continents…” See Okwui Enwezor, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj, Mark Nash, and Octavio Zaya, eds., Documenta 11_Platform 5 (2002).
“an important exhibition of 2004…” Thompson and Sholette, eds., The Interventionists: Us