7.5 × 9 inches, 144 pages, hardcover
ISBN 978-1-941753-93-4

Design by Ben Denzer

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In the early 1990s, when personal computing was young and artificial intelligence was not yet in the popular imagination, artist Janet Zweig created something extraordinary and prescient: sculptures that married early computers, simple algorithms, and dot-matrix printers with mechanical parts to auto-generate streams of poetic text that moved objects.

Essays by Thyrza Nichols Goodeve, Jena Osman, and Johanna Drucker reveal how Zweig's witty contraptions were an early premonition of our current technological reality: an atmosphere of disinformation, fake news, and digital hallucinations. As Osman writes: “AI robs us of our imaginative faculty. Zweig’s sculptures, by contrast, gave us what we still very much need: opportunities for explorative play, the recognition of our own thought processes…and the potential to see the world as a site for creative collaboration.”

Richly illustrated, Recursive Apologies: Janet Zweig’s Text Generating Sculpture presents these works alongside the sources that inspired them. With a recursive design by Ben Denzer that mirrors the very concepts it explores, the book offers both a visual archive and a reflection on our ongoing relationship with thinking machines.

7.75 × 9.5 inches, 160 pages, hard cover
ISBN 978-1-941753-83-5

Design by IN-FO.CO
Published by Inventory Press, San José Museum of Art & Kohler Arts Center

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Featuring selections from six major series to date as well as new work made in Laos, The Imaginative Landscape traces Pao Houa Her's ever-deepening exploration into concepts of home and belonging. In the exhibition and catalogue, she brings together formal and vernacular photographic languages, working in black-and-white and color photography that takes the form of lightboxes, wheat-pasted images, and video, in addition to traditionally framed images. Rooted in the experience of her Hmong community, an ethnic group indigenous to Laos, and shaped by family lore passed down by her elders, Her investigates the potential of photography to create nonlinear narratives, exploring construction in both physical form and metaphor.

Accompanied by essays on the work by co-curator Lauren Schell Dickens and Alexander Supartono, and an interview with the artist by co-curator ​​Jodi Throckmorton, this catalogue explores Her’s work in genres of portraiture, landscape, still life and vernacular, as she photographs herself and those people and places around her through the tinted lens of diasporic longing, where Minnesota and California become stand-ins for Laos, plastic florals replace living tropics, ersatz and real meld together.

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

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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.

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

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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.

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

7.75 × 11.75 inches, 208 pages, hardcover
ISBN 978-1-941753-06-4
Design by Project Projects
Co-produced by Westfälischer Kunstverein, Münster; Chisenhale Gallery, London; Kunsthal Charlottenborg, Copenhagen; Bétonsalon–Centre d’art et de recherche, Paris
Co-published by Inventory Press and Koenig Books
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Elephant Child is a natural extension of the artistic practice of New York-based French artist Camille Henrot. Originated during an Artist Research Fellowship at the Smithsonian Institution, which laid the groundwork for her 2013 video Grosse Fatigue and the subsequent installation The Pale Fox (2014–15), Elephant Child represents the culmination of a long-term inquiry into the human effort to make the universe comprehensible. The book contains an original text by Henrot written with Clara Meister and Michael Connor, documentation, sketches, and research materials. An interview between Henrot and social anthropologist Monique Jeudy-Ballini offers insight into Henrot’s characteristic approach of knowledge production and organization. Ultimately, the book is an object of high universalist ambition—devoid of authority, creating instead a vivid prismatic image of the realm of thought.

6.75 × 9 inches, 96 pages, softcover
ISBN 978-1-941753-54-5

Edited and Designed by Martin Beck

Rare / Last Available Copies

American artists James Benning (b. 1942) and Sharon Lockhart (b. 1964) often cite each other’s films as an influence on their own work. Benning and Lockhart have each made careers of investigating the structure of film itself and rethinking the use of duration and sound. Both artists’ work illustrates the importance of close observation and the evolving urban landscape.

Over Time pairs works from both Benning and Lockhart with a collaborative, almost stream-of-consciousness text. The result is a profound conversation between two accomplished artists that highlights how slow, studied examination and reflection can deepen and enrich often overlooked, everyday experience.

10 × 13 inches, 320 pages, softcover
ISBN 978-1-941753-03-3

Design by Project Projects

Catalogue suggests an artist’s exhibition catalogue, but is rather a chronological compilation of auction catalogues presenting the sales of the mid-century furniture designed by Le Corbusier and Pierre Jeanneret for Chandigarh, India, featured in Amie Siegel’s multi-element film installation Provenance (2013). An aside, an addendum, an index, the publication ends with the Christie's London catalogue page from the 2013 auction of Provenance itself in the Post-War and Contemporary Art Sale, which completes the economic circuit of the project.

American artist Amie Siegel’s work has been exhibited in solo and group exhibitions at the Metropolitan Museum of Art, New York MoMA/PS1, NY; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart; Kunst-Werke, Berlin, Cannes Film Festival and Berlin Film festival among many others. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award.