22.75 × 35 inches, folded
Offset printed on newsprint
Edition of 2000

Design by IN-FO.CO

Price includes USA shipping

This is the first edition of An Incomplete* Listing of Los Angeles Libraries, Reading Rooms, and Archives, a growing directory of freely accessible reading spaces in LA County. Beyond the collections and knowledge they house, these spaces provide essential services to LA County’s 10+ million residents.

The Institute of Museum and Library Services (IMLS) —the primary federal agency supporting libraries and museums across the country—is under active threat of elimination. This map is offered as a tool to stay engaged and continue advocating for libraries as one of the last truly accessible public spaces, and a vital part of our shared civic life.

Published by Inventory Press for Printed Matter's 2026 LA Art Book Fair in collaboration with the Vera List Center for Art and Politics (VLC).

*This by-no-means comprehensive listing of Los Angeles County spaces is unfinished and awaits updates, additions, and corrections.

7.5 × 10 inches, 304 pages, softcover
ISBN 978-1-941753-88-0

Design by IN-FO.CO
Published by Inventory Press

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"Rafael Lozano-Hemmer expands the very notion of what public art is and can be. His works are an invitation to consider how art can rewire our shared spaces and, ultimately, our shared future."
—Hans Ulrich Obrist, Curator

"Rafael Lozano-Hemmer is not just an artist. He is a visionary who combines heritage and technology. The final result is a profound message about our humanity."
—Marina Abramović, Artist


Border Tuner | Sintonizador Fronterizo documents Rafael Lozano-Hemmer’s participatory art installation composed of powerful search-lights forming bridges of light that opened live channels for direct communication across the U.S.-Mexico border. At a time of intense anti-immigrant rhetoric, militarized surveillance, and nationalist violence, the artwork connected the sister cities of El Paso, Texas, and Ciudad Juárez, Chihuahua, creating a platform for people to converge along the border to speak to one another and listen across the divide.

This volume features extensive documentation of the artwork and its activation by tens of thousands of people who gathered to honor the interdependence of life in the borderlands. The book’s ten essays, presented in both English and Spanish, critically examine the legacy of Lozano-Hemmer’s project within the wider frame of artistic production along the U.S.-Mexico border.

Edited by Michael Nardone and Edgar Picazo Merino, with contributions by Kerry Doyle, Tatiana Flores, Juan Luis Longoria Granados, Robin Greeley, Andrea Blancas Beltrán and Léon de la Rosa Carillo, Sergio Raúl Arroyo, Willivaldo Delgadillo, Lucía Sanromán, and Cuauhtémoc Medina. 

8.75 × 11.75 inches, 152 pages, hardcover
ISBN 978-1-941753-94-1

Design by Valentijn Goethals
Co-Published by Inventory Press, Kunsthal Gent, and Roma Publications

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In 2023, American artist Ben Thorp Brown opened Cura’s Garden, a long-term, immersive exhibition set in the medieval garden of Kunsthal Gent, a former Carmelite monastery. Expanding on the Roman myth of Cura, the project brings together a theatrical assortment of trees and other flora, fog, sculpture, and sound—elements that cohere into a dense, indeterminate sensorial experience. This richly illustrated volume, organized around the seasons, features vivid documentation across two years of the garden’s young life alongside linocut botanical prints by the artist’s mother, Cary Thorp Brown.

New essays by Laura McLean-Ferris, Laurie Cluitmans, Robert Wiesenberger explore the conceptual, formal, art historical, and affective valences of Cura’s Garden, and a roundtable conversation between Brown and Laura Herman, Jan Minne, and Valentijn Goethals considers the history and development of the project, from the artist’s 2019 film Cura, a precursor to the garden, through present concerns around the maintenance and unfolding nature of this site-specific work.

7.5 × 9 inches, 484 pages, softcover
ISBN 978-1-941753-81-1

Design by IN-FO.CO
Published by Inventory Press & Institute for Contemporary Art at Virginia Commonwealth University

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How can alternative organizations and traditional institutions learn from one another? How have exhibition platforms created space for artists to generate learning environments? How have these practices changed assumptions about art institutions and artistic production? How can we think about the economic, ecological, and institutional sustainability of all of these practices?

Living to Learn, edited by Noah Simblist of Virginia Commonwealth University, presents the work of over seventy artists, curators, collectives, and scholars who address contemporary art as a site of learning in the twenty-first century. Building on earlier histories of education as civic service for the common good, it focuses on the last twenty-five years while exploring the future of art education as a practice unfolding both in and beyond school. The book’s case studies reveal how innovations in education have a dynamic relationship with artistic practice, alternative arts organizations, universities, museums, and biennials.

7.75 × 9.5 inches, 124 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 × 9.45 inches, 580 pages, hardcover
ISBN 978-1-941753-89-7

Design by Nick Massarelli & Mark Owens
Published by Inventory Press & Vleeshal Center for Contemporary Art

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Grand Gestures is a visual overview of a decade of Amanda Ross-Ho’s career. Presented chronologically, it documents the artist’s techniques of scaling and replication, and the use of found objects, illustrating how she uses these methods to transform everyday items into works that explore themes such as loss, time, and preservation. Ross-Ho’s interest in manipulating perceptions of time and space, often through theatrical installations, reveals the relationship between art, labor, and systems of production. An essay by critic Catherine Taft examines Ross-Ho’s conceptual approach to archives, materiality, and time. By acknowledging the incompleteness of archives, including in her own, Ross-Ho integrates the inevitability of absence into her work, raising questions about how we document and preserve history.

A conversation between the artist and book editor Roos Gortzak offers additional insight into her work, labor, systems of production, and the making of this publication.

4.75 × 7.75 inches, 400 pages, softcover
ISBN 978-1-941753-53-8

Design by IN-FO.CO and Kevin McCaughey

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For anyone who wants to think graphically about the image's role today, this exploding book of ideas is essential reading. —Rick Poyner

Seeing <—> Making: Room for Thought both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage, the book reveals a wide field of view and a space to engage new critical connection between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics, and aesthetics, fusing criticism with visual play and linking collective imagination and social action.

Building upon the methods and ways of seeing put forth by visual thinkers like Walter Benjamin and John Berger, designer Kevin McCaughey (Boot Boyz Biz), designer, editor, and publisher Adam Michaels (IN-FO.CO/Inventory Press), and renowned theorist Buck-Morss collectively assemble colliding material into new relation. What results is a (typo-) graphic articulation that thinks seriously about the stakes of ideation and reorients the space of the book in the service of a theory and philosophy that speaks the language of our image-based information age.

5.375 × 8.25 inches, 400 pages, softcover
ISBN 978-1-941753-71-2

Design by IN-FO.CO

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“Visual communication encompasses drawing, photography, three-dimensional modeling, and film; abstract and realistic forms, static and moving images, simple and complex ones as well. It extends to questions of visual perception such as the relationship between figure and ground, camouflage, moiré patterns, optical illusions, illusory motion, mirages, the persistence of vision, and afterimages. It includes every aspect of graphics, from the design of typographical fonts to newspaper page layouts, from exploration of the limits of word legibility to the techniques that facilitate the reading of texts. All these facets of visual communication share something in common: objectivity.”
—Bruno Munari

Design and Visual Communication—the first-ever English translation of Bruno Munari’s extraordinary Design e Comunicazione Visiva (1968)—remains an important guide to bridging design education and everyday life. Published after Munari served as visiting professor at Harvard’s Carpenter Center, Design and Visual Communication takes over fifty lessons, class materials, and even letters home in which he describes life in America, and transforms them into a book about the future of art, architecture, and design. Conceived as a living volume, the book was written as inspiration to current and future designers to push beyond the past, however recent, and develop new tools to see and understand tomorrow’s world.

The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.

6 × 9 inches, 176 pages, hardcover with 12.5 × 18 inch poster
ISBN 978-1-941753-69-9

Design by Omnivore
Co-published by Inventory Press & ONE Archives at the USC Libraries

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“Wrapped in luxe maroon cloth and stamped golden cover art, Sci-fi, Magick, Queer LA as an object is as sumptuous and sensual as its contents.” —Jasmine Weber, Hyperallergic

“Much of the show’s visual matter—mystical paintings, ritual costumes, sexology journals, sci-fi fanzines—has been off practically everyone’s radar for decades. Altogether it makes for a trippy package.” —Holland Cotter, the New York Times

Alien worlds, alter-egos, and Pleasure Domes–Sci-fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation explores the overlooked importance of science-fiction fandom and the occult to U.S. queer history.

Science fiction and occult communities helped pave the way for the LGBTQ+ movement by providing a place for individuals to meet, imagine, and create a life less restricted by societal norms. Focusing on Los Angeles from the late 1930s through the 1950s, this reader follows the lives of artists, writers, publishers, early sci-fi enthusiasts, and progressive communities, from Kenneth Anger, Lisa Ben, and Jack Parsons to the L.A. Science Fantasy Society (LASFS) and Ordo Templi Orientis at the Agape Lodge (O.T.O.).

Spanning sci-fi fandom, aerospace, queer history, and the occult, Sci-fi, Magick, Queer L.A. reveals how visionary artists, filmmakers, scientists, science-fiction writers and fans worked together to build a world of their own making. Featuring copious illustrations of salacious pulps, ritual paintings, and archival materials, authors Joseph Hawkins, Joan Lubin, Alexis Bard Johnson, Ben Miller, Judith Noble, Kelly Filreis, and Susan Aberth tell the interconnected stories behind the underground communities of early Los Angeles. This publication is made possible with support from Getty through its PST ART: Art & Science Collide initiative.

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