 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: Users’ Manual for the Creative Disruption of Everyday Life (MASS MoCa, 2004)