Jen Delos Reyes’ History of Social Practice Class — Bibliography

Jen Delos Reyes teaches a fantastic course in the history of social practice. Anyone looking for texts that delve into process, collaboration, social engagement, and socially engaged art at large will find great ideas here.


Alberro, A. (1999). Reconsidering Conceptual Art, 1966-1977. In A. Alberro & B. Stimson (Eds.), Conceptual Art: A critical anthology (p. xvi-xxxvii). Cambridge, MA and London, England: The MIT Press. Retrieved from,+1966-1977#0

Bishop, Claire. (2006). The social turn: collaboration and its discontents. Artforum. Retrieved from

Bishop, Claire. (2006). Participation (Documents of Contemporary Art). Cambridge, MA: Whitechapel and the MIT Press. Retrieved from

Bishop, Claire. (2004). Antagonisnl and Relational Aesthetics The Palais de Tokyo. October, (Fall 2004), 51-79.

Bourriaud, N. (2004). Relational Form. Relational Aesthetics (pp. 11-24). France: l’Imprimerie Darantiere a Dijon-Quetigny.

Cartiere, C. (2008). Coming in from the Cold: A public art history. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (pp. 7-32). New York: Routeledge.

Eccles, T., Finkelpearl, T., & Pasternak, A. (2007). Thinking about the public in public art. In A. Pasternak, M. Brenson, & R. A. Peltason (Eds.), Creative Time: The Book:33 Years of Public Art in New York City (pp. 82-90). New York: Princeton Architectural Press.

Enwezor, O. (2007). The Production of Social Space as Artwork: Protocols of Community in the Work of Le Groupe Amos and Huit Facettes. In B. Stimson & G. Sholette (Eds.), Collectivism After Modernism (pp. 223-51). Minneapolis, Minnesota: University of Minnesota.

Frieling, R. (2008). Toward Participation in Art. In R. et al Frieling (Ed.), The Art of Participation: 1950 to now (pp. 32-49). San Francisco and New York: The San Francisco Museum of Modern Art in association with Thames & Hudson.

Gablik, S. (1992). Connective Aesthetics. American Art6(2), 2. doi:10.1086/424147

Gillick, L. (2006). Contingent Factors: A Response to Claire Bishop’s “Antagonism and Relational Aesthetics.” October, (Winter 2006), 95-107.

Groys, B. (2010). The Produciton of Sincerity. Going Public (pp. 38-49). New York: Sternberg Press.

Hugnet, G., & Scolari, M. (1936). Dada. The Bulletin of the Museum of Modern Art4(2/3), 3-18. The Museum of Modern Art. Retrieved from

Jackson, S. (2011). Quality Time: Social Practice Debates in Contemporary Art. Social Works: Performing Art, Supporting Publics (pp. 43-74). New York: Routeledge.

Kester, G. H. (2004). Dialogical Aesthetics. Conversation Pieces: Community and Communication in Modern Art (pp. 82-123). Berkeley: University of California.

Kinmont, B. (2005). A Given. In T. Purves (Ed.), What we want is free: generosity and exchange in recent art (p. 61-?). Albany: State University of New York Press.

Kwon, M. (2003). Exchange Rate: On Obligation and Reciprocity in Some Art of the 1960s and After. In H. Molesworth (Ed.), Work Ethic, Baltimore: Baltimore Museum of Art (pp. 82–97). University Park, PA: Pennsylvania State University Press.

Kwon, M. (2004). The (Un)Sitings of Community. One Place After Another: Site-Specific Art and Locational Identity (pp. 138-155). Cambridge, MA: MIT Press. Retrieved from

Lacy, S. (1995). Debated territory: Toward a critical language for public art. Mapping the Terrain: New Genre Public Art (pp. 171–185). Bay Press. Retrieved from

Lind, M. (2007). The Collaborative Turn. In J. Billing, M. Lind, & L. Nilsson (Eds.), Taking the matter into common hands: on contemporary art and collaborative practices (pp. 15-31). London, UK: Black Dog.

Lind, M. (2010). Actualization of Space: The Case of Oda Projesi. In B. K. Wood (Ed.), Selected Maria Lind Writing (pp. 119-133). Berlin, Germany: Sternberg Press.

Mesch, C. (2007). Institutionalizing Social Sculpture: Beuys’ Office for Direct Democracy through Referendum Installation (1972)*. In C. Mesch & V. Michely (Eds.), Joseph Beuys: The Reader (pp. 198-217). MIT Press.

Negri, A. (2011). Metamorphoses: Art and Immaterial Labour. Art and Multitude (pp. 101-123). Malden, MA: Polity Press. Retrieved from Art and Immaterial Labour&f=false

Sholette, G. (2011). Introduction: The Missing Mass. Dark Matter: Art and Politics in the Age of Enterprise Culture (pp. 1-22). New York and London: Pluto Press.

Smith, O. F. (1993). Fluxus: A brief history (and other fictions). In J. Jenkins (Ed.), In the Spirit of Fluxus. Minneapolis, Minnesota: Walker Art Center.

Stiles, K. (n.d.). Performance Art. In K. Stiles & P. Selz (Eds.), Contemporary Art: A sourcebook of artists’ writings (p. 1996). Berkeley and Los Angeles: The University of California Press.

Stimson, B. (2009). What Was Institutional Critique? In A. Alberro & B. Stimson (Eds.), Institutional Critique: An anthology of artists’ writings (pp. 20-42). Cambridge, MA: MIT Press.

Verwoert, J. (n.d.). Gathering people like thoughts: on hosting as an unorthodox form of authorship dedicated to the practice of Anton Vidokle (pp. 11-19).



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