7.5 × 10.75 inches, 104 pages, softcover
ISBN 978-1-941753-97-2

Published by Inventory Press & The Huntington 
Design by IN-FO.CO

 
British artist and writer Edmund de Waal (b. 1964) is known for the his installations of exquisite porcelain vessels in historic spaces and his engagement with the potential of ceramics. At The Huntington, de Waal’s interventions and artworks explore the movement of ideas, people, and objects—what Chinese poet Bei Dao calls the “eight directions of the wind.” Three interactive and contemplative spaces in the Chinese and Japanese Gardens—on porcelain and on shadow—and the Art Gallery—on sanctuary—encourage visitors to consider the implications of migration and exile, the material history of porcelain, and the power of sanctuary, resulting in fresh perspectives and new experiences of The Huntington’s collections.

Fully illustrated, the catalogue also includes an in-depth conversation between de Waal and cultural historian Josh Kun about the project’s connection to Los Angeles’s mix of cultures and the transmission of ideas. A selection of poems on exile that speaks to global histories of migration completes this thought-provoking tour through The Huntington’s iconic spaces.

8.5 × 10 inches, 144 pages, hardcover
ISBN 978-1-970449-06-8

Published by Inventory Press & Minneapolis Institute of Art & San José Museum of Art  
Design by IN-FO.CO

 
María Berrío: Songlines traces the arc of the last ten years of the artist's practice with attention to her work’s material structure and conceptual underpinnings. Working at a large scale, in a process she describes as “painting with paper,” Berrío builds scenes out of cut and torn papers that blend myth and folklore with the contemporary world. Berrío embraces multiple storylines, inspired by personal and shared mythologies drawn from across time and geography, ranging from the Colombian countryside of the artist’s birth, to ancient Greek mythology, from contemporary migration crises, to a changing climate. These many references coalesce into vibrant compositions opening onto new worlds.

Published on the occasion of a nationally touring exhibition, Songlines includes texts by Berrío, Katherine Brodbeck, co-curators Lauren Schell Dickens and Leslie Ureña, and an interview with the artist by Valéria Piccoli, alongside copious illustrations and details of Berrio's spellbinding work.

11.75 × 8.125 inches, 304 pages, hardcover

ISBN 978-1-970449-04-4

Design by Omnivore

9.75 × 11.75 inches, 288 pages, hardcover

ISBN 978-1-970449-00-6

Design by Content Object
Published by Inventory Press & Blaffer Art Museum

Available for Pre-order
Shipping November 2026

Surveying photographic, video, and audio works, participatory and multi-media installations, early graphic pieces, and textual interventions, this catalogue—published to accompany Susan Silton's first major survey exhibition—highlights a vital figure in West Coast conceptual, feminist, and queer genealogies of art and design. The catalogue takes its title from Adrienne Rich's 1973 poem Diving into the Wreck. Rich (1929–2012) was a poet and essayist central to feminist and lesbian literary movements. Diving into the Wreck reveals Silton's layered practice, testing the possibilities and limits of text, vision, perception, and participation in social and political becoming.

Edited by Andy Campbell, the catalogue features newly commissioned art historical essays and new and reprinted literary texts by contributors including Adrienne Rich, Ramón García, Amelia Jones, Natilee Harren, Dana Johnson, Susanna Phillips Newbury, Dodie Bellamy, David Evans Frantz, Mady Schutzman, and Karen Moss. Together, these texts form a critical counterpart to the artist's corpus, asking readers to examine the "wreck" of their own internal and external worlds in the hopes that better paths might be imagined for a collective future.

Silton's work illustrates that the message is never settled; rather, it twists and mutates.

8.5 × 10 inches, 112 pages, softcover

ISBN 978-1-941753-96-5

Design by IN-FO.CO 

Published by Inventory Press & Mississippi Museum of Art

This catalogue accompanies the first museum survey of work by emerging Mississippi-based artist Coulter Fussell. Fussell’s “quilt-works” are multidimensional landscapes of the US South. Often referencing specific regional geographies, her assemblages are materially grounded in rural networks of exchange and reuse: they are constructed entirely from textiles and printed matter donated by neighbors in Fussell’s hometown of Columbus, Georgia, and Mississippi’s Yalobusha County, where the artist now lives. The Proving Ground traces how the “ground” mutates across media in Fussell’s works—from the abstract, negative space of flat decorative patterns to photographic plays on perspective. Using the compositional elements of landscape to create parallels between environmental and interpersonal terrains, Fussell’s art questions the perceptual, psychological, and cultural “grounds” that frame our experience, determine our sense of place, and shape what we believe.

6.75 × 9.5 inches, 608 pages
ISBN 978-1-941753-51-4

Design by Laura Coombs

“This invaluable research tool will hugely expand, update, and perhaps even revolutionize the feminist discourse. It might even be considered a work of conceptual art in itself."
—Lucy R. Lippard, author of Six Years: The Dematerialization of the Art Object from 1966 to 1972

“This book served as my doorway to cyberfeminism and I now see what an energetic continent awaits me. Anywhere I stepped it burned my hair off, it’s that brilliantly intense."
—Kevin Kelly, founding editor Wired magazine

In Cyberfeminism Index, hackers, scholars, artists, and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology. When learning about internet history, we are taught to focus on engineering, the military-industrial complex, and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers, and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it, and pushes it into plain sight. Edited by designer, professor, and researcher Mindy Seu, it includes more than 700 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, and bio-hacktivism; and depictions of feminist net art and new media art.

Both a vital introduction for laypeople and a robust resource guide for educators, Cyberfeminism Index—an anti-canon, of sorts—celebrates the multiplicity of practices that fall under this imperfect categorization and makes visible cyberfeminism’s long-ignored origins and its expansive legacy.

“You can use it as a reference, follow a thread, or just access it at random and it delivers wit and wisdom from over three decades of one of the most politically and intellectually challenging movements of our era. What happens between sexed flesh and gendered tech? More than ever we all need to know."
—McKenzie Wark, author of A Hacker Manifesto

“This is an archive perfectly suited to its material: at ease with impermanence, richly appreciative of contradiction, and expansive in scope. Mindy Seu and her cohort of collaborators celebrate the polyrhythmic chorus of voices that have made cyberfeminist thought so delightfully difficult to define—and invite new, kaleidoscopic reinterpretations of our last three decades of life online."
—Claire L. Evans, author of Broad Band: The Untold Story of the Women Who Made the Internet

“The Cyberfeminism Index celebrates, troubles, and critiques the histories and futures of struggle against networked patriarchy—from its first libidinous eruptions to tenacious tactical disruptions and mutations. For theorists and hegemony hackers alike the Index offers an inspirational and educational resource for the urgent work of glitching and decolonizing intersectional internets now."
—Ruth Catlow, founder of Furtherfield