Alexander Alberro and Sabeth Buchmann (eds.) for the Generali Foundation, Vienna 2006.
Preface by Dietrich Karner, Series Editor's Note by Sabine Breitwieser, Introduction by Alexander Alberro, texts by Edit András, Ricardo Basbaum, Benjamin H.D. Buchloh, Thomas Crow, Helmut Draxler, Elisabeth Ferrell, Isabelle Graw, Helen Molesworth, Luzia Nadar, Henrik Olesen und Gregor Stemmrich.

English edition, 240 pages, 73 black-and-white illustrations, softcover
Engl. Edition, The MIT Press, Cambridge/Mass. London/England

The thematic foci of the "Generali Foundation Collection Series", in which the volume at hand is the first, correspond to the Foundation’s general artistic orientation, as it is evident in the collection and—at least as importantly—in the exhibition and publication program. They include conceptual and performative aspects of art, crossovers to architecture and design, and artistic approaches that analyze and critically interrogate social parameters and the role of the media. This new publication series, for which we have created a special design, will be developed in close cooperation with scholars in art history and art criticism with the aim of academic investigation and broadly conceived contextualization of these topics. It explores those discourses that have been crucial for the formation of art practices central to the Generali Foundation Collection. Furthermore, it makes visible their social, historical, and theoretical contexts, and the relevant shifts and disruptions within them. Newly commissioned texts on individual thematic fields permit seeing aspects that have in the past gone underrepresented, and are brought together with important previously published essays.

"Art After Conceptual Art" tracks the various legacies of conceptualist practice over the past three decades. The anthology introduces and develops the idea that Conceptual art generated several different, and even contradictory, forms of art practice. The bulk of the volume features newly written and highly innovative essays challenging standard historicizations of the legacy of Conceptualism, as well as the critical impact of these art practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between Conceptualism and institutional critique, neo-expressionist painting and conceptualist paradigms, Conceptual art’s often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of Conceptual art, and Conceptualism’s North/South and East/West dynamics.