6 × 8.75 inches, 288 pages, softcover
ISBN 978-1-941753-80-4

Design by Anežka Minaříková and Marek Nedelka

Now shipping!

Clara Istlerová: A Life Among Letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). A trailblazer in her field, Istlerová was one of the few women in the male-dominated field of Czech typography. This publication introduces readers to Istlerová’s renowned book designs, particularly highlighting the analog processes she utilized to create one of the most influential books on Czech architecture, Švácha, Rostislav. From Modernity to Functionalism (Odeon, 1985).

The publication features an intimate interview with Istlerová conducted by editor Anežka Minaříková, accompanied by work from Istlerová’s personal archive alongside discussions detailing her creative process. Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, the publication unveils the Czech design narrative of the twentieth century to English-speaking readers, highlighting Istlerová’s lasting impact and central role.

6 × 9 inches, 256 pages, softcover
ISBN 978-1-941753-72-9

Design by IN-FO.CO

Now shipping!

“Over the years, David has shown me that design isn’t just about aesthetics or function—it’s about collaboration, experimentation, and constantly questioning what design can be. A *Co-* Program for Graphic Design is a fundamental exploration into the history of design, how it has shaped our society and reveals the often overlooked power that design holds in shaping our future.”
—Martine Syms, Artist and filmmaker

“'All together now,' as The Beatles sang in 1967. Those three simple words seem to be at the core of David Reinfurt’s argument, as he convincingly shows that graphic design, as a living practice, exists exactly in the intersection of multiplicity (‘All’), collectivity (‘Together’), and modernity (‘Now’).”
—Experimental Jetset, Graphic design studio

From ancient Rome to outer space, A *Co-* Program for Graphic Design features contributions by Danielle Aubert, Tauba Auerbach, Barbara Glauber, Shannon Harvey, Adam Michaels, Philip Ording, and Adam Pendleton. This collectively driven text expands David Reinfurt’s pragmatic and experimental approach to pedagogy into a collaborative project that weaves together a multiplicity of voices to present a polyphonic approach to design history and teaching.

This book extends Reinfurt’s highly acclaimed A *New* Program for Graphic Design to include material from three new Princeton University courses (Circulation, Multiplicity, and Research) expressly designed for online teaching.

These courses present a *co-*llaborative and *co-*operative way of telling and teaching design history, taking on subjects from the Detroit Printing Co-op, Corita Kent, and Charles and Ray Eames, to Marshall McLuhan, Sylvia Harris, and Virgil Abloh. Through a series of in-depth historical case studies and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding the history—and shaping the future—of our designed world.

6 × 9 inches, 256 pages, softcover
ISBN 978-1-941753-21-7

Foreword by Adam Michaels
Introduction by Ellen Lupton

Design by IN-FO.CO
Co-published by
Distributed Art Publishers / D.A.P

ePub edition also available via O-R-G
and Apple Books and Kindle

Free teaching guide available here

“At a moment of tremendous technological and cultural change, David Reinfurt makes the case that graphic design is not merely a craft, but a fundamental way to understand and engage with the world. Discursive, expansive, and inspiring, this book redefines its subject and provides an indispensable guide to how it might be practiced.”
—Michael Bierut (Partner, Pentagram New York)

“David Reinfurt's new book provides … in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice. This book is a reminder of Walt Whitman’s call for "a force infusion of intellect" to confront the future.”
—Sheila Levrant de Bretteville (Director, Yale University Graduate Program in Graphic Design)

A *New* Program for Graphic Design is the first Communication Design text book expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, A *New* Program for Graphic Design builds upon mid- to late-20th-century pedagogical models to convey advanced principles in an understandable form for students of all levels.

David Reinfurt, a graphic designer, writer, and educator, has developed a design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for students coming from a range of other disciplines. These courses—Typography, Gestalt, and Interface—are the foundation of this book.

Through a series of in-depth historical case studies and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding and shaping the increasingly networked world of information and design.


David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

A free PDF teaching guide is available as a resource for using the book in an introductory graphic design class, geared for students with no previous background in the subject.

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

Design by IN-FO.CO

Available for Pre-order
Shipping October 2025

“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, 120 pages, softcover
ISBN 978-1-941753-79-8

Design by IN-FO.CO
Co-published by Inventory Press & Library Stack

Available for Pre-order
Shipping September 2025

"This book skillfully and lovingly re-conceives of typography as a prime vessel for smuggling, as an instrument for remembering and imagining, and as both a type keeper and time traveler."

—Tauba Auerbach



"Yes, yes and more yes! This is the book everyone's mothers brothers cousins uncle and then some have been waiting for. It's all that and a bag of percolated barbecue truffle potato chips. If thats not enough, and you may think it isn't, one gets as a bonus the glorious G. B. Jones being interviewed in poetic depth-sublime."

—Vaginal Davis



"The word "erasure" makes me think of erasers. This book is a pencil.
Write with it."

—Ellen Lupton



A Queer Year of Love Letters: Alphabets Against Erasure is a toolkit for writing and remembering queer and trans histories. Expanding on Nat Pyper’s series of fonts whose letterforms derive from the life stories and printed traces of countercultural queers of the last several decades, this new book showcases overlooked biographies alongside previously unseen archival materials, as well as Pyper’s unique approach to designing fonts as containers for memory.



The book debuts a new essay by Pyper, and includes contributions from Paul Soulellis, Claire Star Finch, Silas Munro, Lukaza Branfman-Verissimo, Rosen Eveleigh, and G. B. Jones that offer vital perspectives on queer archival practices, language lineages, design as protest, and love as the basis for research. Part reader, part type specimen, part love letter, these fonts foreground the politics of queer memory while opening up new avenues for writers, designers, and curious readers.

4.5 × 7 inches, 240 pages, softcover
ISBN 978-1-941753-70-5

Design by IN-FO.CO

“But isn’t imagination also fantasy? And can’t fantastic images also assume the form of sounds? Musicians speak of sonic images, sound objects. How does one invent a fish tale, an air-cooled engine, a new plastic?… fantasy, invention, creativity think; imagination sees.”
—Bruno Munari

Never-before translated into English, Bruno Munari’s Fantasy (Fantasia, 1977), invites the reader to explore their own imagination, creativity, and fantasy through a journey in Munari’s mind and work experience. His theory of creativity, developed in conversation with the Reggio Emilia approach and the work of Jean Piaget, foregrounds the book’s journey through Munari’s own design processes, and his work for clients and with children.

By turning life and work into a classroom, Munari unlocks a path through imagination in order to access his, and in turn our, deepest sense of play. 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

LOW STOCK / Exempt from promotions

“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.

8.5 × 10 inches, 112 pages, hardcover
ISBN 978-1-941753-82-8

Design by IN-FO.CO
Published by Inventory Press

Available for Pre-order
Shipping October 2025

In this monograph of recent Roger White paintings the artist returns to California for his subject matter.



"I grew up in Salinas and learned to paint by doing landscapes en plein air, so the body of work feels like an ambivalent return. Affection, distance, nostalgia, concern.
Some of the scenes are personal: there’s my father, a family gathering, and friends in an apartment. Others, less so: a crowd at the beach, a scale model of a Spanish Mission, and the beaching of a whale. The backyard of the house seen from above, the one with the blue car, was my neighbors'. I took pictures when they were moving out. Dry grass, real estate, recycling bins, Honda Civic.”


–Roger White



Accompanying the images are two splendid essays by Helen Molesworth and Ross Simonini that illuminate connections and correlations that lay just beneath the surface of White’s deceptively straightforward canvases.

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

Design by IN-FO.CO and Kevin McCaughey

Rare / Almost Sold out! Discounts do not apply

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.

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

Design by IN-FO.CO
Programming by O-R-G

A *New* Program for Graphic Design is a do-it-yourself textbook published by Inventory Press (Los Angeles) with DAP (New York) and designed by IN-FO.CO. The book synthesizes the pragmatic with the experimental and builds on mid-to late- 20th-century pedagogical models to convey advanced principles of contemporary design. Rooted in three courses (Typography, Gestalt, and Interface) originally developed for liberal arts students, David Reinfurt provides a broad and comprehensive introduction to graphic design and visual literacy for readers from any discipline.

The book was produced over three days in Los Angeles, based on eight years of teaching at Princeton University. One semester-long course was compressed and presented each day as six 45-minute lectures. These were recorded, transcribed, and edited with additional post-production.

The book has been distilled further into a simple screensaver software — A *New* Program for Graphic Design is now A New *Program* for Graphic Design.

*Upon purchase, you will receive an e-mail, containing a unique download code to redeem your software, as well as a physical artifact via mail.*

ePub
ISBN 978-1-941753-42-2

Available via O-R-G

A *Pre-* Program for Graphic Design is a video-based companion to A *New* Program for Graphic Design, a DIY textbook that synthesizes the pragmatic with the experimental to convey advanced graphic design principles in an understandable form for students of all levels as well as general readers.



Based on courses originally developed for liberal arts students at Princeton University, the book was derived from a three-day lecture series held in Los Angeles, delivered to a live studio audience and video recorded. The result is a broad introduction to graphic design and visual literacy, covering a wide range of topics, from Benjamin Franklin to Bruno Munari, Moholy-Nagy to Muriel Cooper and the Macintosh computer.



This ePub contains 18 instructional videos, 6 for each of the book’s three sections: T-Y-P-O-G-R-A-P-H-Y, G-E-S-T-A-L-T, and I-N-T-E-R-F-A-C-E.



A *Pre-* Program for Graphic Design can serve as a teaching tool, and can be used either in combination with A *New* Program for Graphic Design, or on its own.

12.5 x 8.75 inches, 96 pages, hardcover
ISBN 978-1-941753-64-4

Design by IN-FO.CO
Co-published by Inventory Press and Galerie Max Hetzler

Entanglements: Louise Bonnet and Adam Silverman at Hollyhock House weaves together documentation of new works by Louise Bonnet and Adam Silverman with conversations by artists, architects, chefs, and friends whose work and lives are entangled in Los Angeles. Made in response to and installed at Frank Lloyd Wright’s Hollyhock House, Bonnet’s paintings and drawing and Silverman’s ceramics engage the house’s hundred-year history as a platform for artists and experimentation. The centerpiece of an arts park, Hollyhock House was only partially realized by Wright and completed by others, and has served as a home, an arts center, a social club, and a house museum. The exhibition foregrounds the many entanglements of place, broadening perspectives on this California house and its layered history. By placing conversations and reflections in dialogue with photo documentation by Joshua White, the book is a meditation on being intertwined.

Photographs by Joshua White and essay by Abbey Chamberlain Brach. With contributions by Isabelle Albuquerque & Jon Ray; Vinny Dotolo & Jon Shook; Shannon Harvey & Adam Michaels; Michael Maltzan & Amy Murphy; Hardy Ophuls & Sarah Watson; Rob Reynolds & Mary Wigmore; Joe Sola & Erin Wright; and Ricky Swallow & Lesley Vance.

7.75 × 11.25 inches, 128 pages
ISBN 978-1-941753-47-7

Design by Apogee Graphics
Co-published by Inventory Press and Visual Arts Center at the University of Texas at Austin

Lisa Lapinski: Miss Swiss is artist Lisa Lapinski’s most comprehensive monograph to date. Lisa Lapinski is an artist living and working in Houston, Texas. She received her BA from University of California, San Diego, an MFA from Art Center College of Design and is currently an Associate Professor of Art at Rice University. She was the recipient of a Guggenheim Fellowship in 2004.

Published on the occasion of Drunk Hawking, her 2020 mid-career survey at Visual Arts Center (VAC) at the University of Texas at Austin, the book will include never before published images of Lapinski’s exhibitions and artworks from 2000 to the present. Miss Swiss features contributions by Bruce Hainley, Graham Bader, Kyle Dancewicz, Sabrina Tarasoff, and MacKenzie Stevens, as well as a conversation between the artist and linguist Viola Schmitt. Designed by artists Laura Owens and Asha Schechter of Apogee Graphics, the book is an inventive collaboration between Owens, Schechter, and Lapinski, providing new insights into Lapinski’s influential and idiosyncratic practice.

Edited by Nick Axel, Nikolaus Hirsch, Ann Lui, and Mimi Zeiger

4 1/4 × 7 inches, 256 pages, softcover
ISBN 978-1-941753-19-4

Design by IN-FO.CO

Seven unique covers available!

Globalization, technology, and politics have altered the definition and expectations of citizenship and the right to place. Dimensions of Citizenship documents contributions from the seven firms selected to represent the United States in the 2018 Venice Architecture Biennale. This paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale.

Drawing inspiration from the Eames’ Power of Ten, Dimensions of Citizenship will provide a view of belonging across seven stages starting with the individual (Citizen), then the collective (Civic, Region, Nation), and expanding to include all phases of contemporary society, real and projected (Globe, Network, Cosmos). Additional essays—by Ingrid Burrington, Ana María León, and Nicholas de Monchaux, among others—will offer essential and enquiring responses to these themes.

From “social to speculative; technical to theoretical,” the participating teams lead intellectual and architectural practices that not only situate the US as a leading center of critical research at the heart of the debate on citizenship, social conscience, and a just society, but also as a place at the intersection of political action, public policy, and changing notions of nationality.

Participants in the US Pavilion at the 2018 Venice Architecture Biennale are: Amanda Williams & Andres L. Hernandez with Shani Crowe (Chicago, IL); Design Earth (Cambridge, MA); Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research (New York, NY); Estudio Teddy Cruz + Fonna Forman (San Diego, CA); Keller Easterling (New Haven, CT); SCAPE (New York, NY); and Studio Gang (Chicago, IL). The exhibition is curated by Niall Atkinson, Ann Lui, and Mimi Zeiger; and commissioned by the School of the Art Institute Chicago and University of Chicago.

9 x 12 inches, 128 pages, softcover
ISBN 978-1-941753-35-4

Introduction by Chip Lord
Design by IN-FO.CO
Co-published by Inventory Press
and RITE Editions

Ant Farm, the conceptual architectural practice turned art collaborative, is known for such distinctive works as House of the Century (1971–73), Cadillac Ranch (1974), and The Eternal Frame (1975).

Of equal notoriety is Media Burn, Ant Farm’s legendary 1975 performance, in which a radically customized Cadillac was driven through a wall of burning television sets. Media Burn: Ant Farm and the Making of an Image is a vibrant assessment of the complex set of cultural references and art-making strategies informing this collision of twentieth-century icons.

Author Steve Seid (Berkeley Art Museum and Pacific Film Archive) probes the little-known critical backstory of this bold performance (and resulting video work) and its irreverent effort to mount a subversive critique of media hegemony while reimagining the core meaning of performance itself.

Media Burn: Ant Farm and the Making of an Image examines car culture, image proliferation, and radical architectural practice, and offers a close read of Media Burn’s numerous texts, speeches, ephemera, and artifacts.

7 ¾ × 10 inches, 176 pages
ISBN 978-1-941753-40-8

Design by Joel Evey and David Wise
Co-published by Inventory Press & Ulises

Publishing as Practice: Hardworking Goodlooking, Martine Syms/Dominica, Bidoun centers on the work of three contemporary artists/book publishers who have developed fresh ways of broaching the political in publishing.

This book documents a residency program at Ulises—a curatorial platform based in Philadelphia—that explores publishing as an incubator for new forms of editorial, curatorial and artistic practice. Over the course of two years, three participants (Hardworking Goodlooking, Martine Syms/Dominica, and Bidoun) activated Ulises as an exhibition space and public programming hub, engaging the public through workshops, discussions, and projects.

Hardworking Goodlooking is a design and publishing imprint working primarily out of the Philippines. Dominica is an imprint run by artist Martine Syms dedicated to exploring Blackness as a topic, reference, marker, and audience in visual culture. Bidoun, a non-profit organization and magazine, focuses on art and culture from the Middle East and its diasporas. Each organization approached their residency at Ulises in a unique way, bringing a new understanding of what it means to practice publishing.

Edited by Kayla Romberger, Gee Wesley, Nerissa Cooney, Lauren Downing, and Ricky Yanas, Publishing as Practice features a preface by David Senior, Head of Library and Archives at the San Francisco Museum of Modern Art, and Ulises Carrión’s 1975 publishing manifesto “The New Art of Making Books.” Publishing as Practice also includes writing from Clara Balaguer, Hardworking Goodlooking, Martine Syms/Dominica, Bidoun, Lauren Downing, Kayla Romberger, and Gee Wesley alongside interviews, excerpts, and documentation from each residency.

6 1/2 × 9 1/2, 240 pages, softcover
ISBN 978-1-941753-25-5

Design by Danielle Aubert

The introduction is freely downloadable here

"Danielle Aubert’s history of the Detroit Printing Co-op offers a refreshing example of graphic design as it was practiced in the most alternative of ways—not only outside of the mainstream design profession, but also against the prevailing capitalist economy premised on private ownership. For enthusiasts of graphic design, Fredy Perlman’s unexpected visually inventive designs for politically salient works offer a much needed example of how self-publishing and DIY printing, so in vogue today, can be used to not just make something, but to also say something." —Andrew Blauvelt, Director, Cranbrook Museum of Art

In 1969, shortly after moving to Detroit, Lorraine and Fredy Perlman and a group of kindred spirits purchased a printing press from a defunct militant printer and the Detroit Printing Co-op was born. The Co-op would print the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, formed by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, “Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.”

Fredy Perlman was not a printer or a designer by training, but was deeply engaged in ideas, issues, processes, and the materiality of printing. His exploration of overprinting, collage techniques, varied paper stocks, and other experiments underscores the pride of craft behind these calls to action and class consciousness.

Building on in-depth research conducted by Danielle Aubert, a Detroit-based designer, educator, and the author of Thank you for the view, Mr. Mies, this book explores the history, output and legacy of the Perlmans and the Co-op in a highly illustrated testament to the power of printing, publishing, design, and distribution.

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

Available for Pre-order
Shipping February 2026

This book presents the work of 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 will address a recent history of the last 25 years, as well as the question of the future of art education — as a practice that unfolds both in and beyond school. This is in the context of cutbacks in humanities and arts programs and an emphasis on STEM as an emphasis in teaching, as well as the classroom as a site for social and political debates. The book takes a global perspective and, while it isn’t intended to be a comprehensive survey, constructs an impressionistic constellation of case studies to see how innovations in education have had a dynamic relationship with artistic practice, alternative arts organizations, universities, and museums.

Some questions that the book addresses include: 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 practice? Finally, how can we think about the economic, ecological, and institutional sustainability of all of these practices?

7 7/8 × 10 5/8 inch slipcase containing
two 7 5/8 × 10 1/8 inch softcover books
and three 45 × 37 1/4 inch posters
ISBN 978-1-941753-09-5

Design by Marshall Henrichs (original materials)
and Project Projects (new materials)

"Perhaps one of the most extraordinary books ever issued by an American commercial publisher.” —Richard Kostelanetz

Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published in 1970 and integrated into the design of the Critical Studies curriculum at CalArts, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the avant-gardes to postmodernism—with Marcuse and McLuhan serving as points of anchorage.

Accompanying this new facsimile edition of the book, posters, and slipcase is a 80-page book featuring a conversation with the original Blueprint authors Maurice Stein, Larry Miller, and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin, and notes on the design by Adam Michaels of Project Projects.

9 1/4 × 9 1/4 inches, 160 pages, hardcover
ISBN 978-1-941753-05-7

Design by Project Projects
Expanded third edition

“49 Cities has been a point of reference for me... and it has had a significant impact on my thinking. It presents the city as a properly architectural problem.”—Stan Allen, architect

Throughout history architects and planners have dreamed of “better” and different cities—more controllable, more defensible, more efficient, more monumental, more organic, taller, denser, sparser or greener. With every plan, radical visions were proposed, ones that embodied not only the desires but also, and more often, the fears and anxieties of their time. Today, with the failure of the suburban experiment and the looming end-of-the world predictions—from global warming and waste to post-peak oil energy crises and uncontrolled world urbanization—architects and urbanists find themselves once more at a crossroad, fertile for visionary thinking. 

49 Cities is a call to re-engage cities as the site of radical thinking and experimentation, moving beyond “green building” toward an embrace of ideas, scale, vision and common sense combined with delirious imagination in the pursuit of empowering questioning and re-invention.

In addition to enhanced, high-quality reproductions and illustrations, this cloth-bound third edition includes an interview between Amale Andraos, Dan Wood, Joseph Grima, and Archigram’s Michael Webb, an essay on The Death and Life of Urban Planning by Sam Jacob (founder of FAT Architecture) and new interviews with culture-defining architects Chip Lord (Ant Farm) and Yona Friedman.

Edited by Elizabeth Thomas

6 3/4 × 9 inches, 208 pages, softcover
ISBN 978-1-941753-02-6

Design by Project Projects

Established in 2007 by Marc Fischer, and featured in the 2014 Whitney Biennial, Public Collectors encourages collectors of material culture—the kind that most museums won’t exhibit—to ‘open’ their collections to the public. Extending the popular website of the same name, this book presents a wide array of collections—some featured on the website, most newly assembled for publication—interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

Marc Fischer is a Chicago-based artist and a member of Temporary Services, a group that has produced over 100 publications and organized and participated in dozens of exhibitions, projects, and events. Fischer and Brett Bloom of Temporary Services also run the publishing imprint Half Letter Press.

8 1/4 × 5 1/2 inches, 50 pages, wirebound
ISBN 978-1-941753-08-8
Edition of 100 numbered copies

Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.

Shannon Harvey is a designer and colorist. Adam Michaels is the cofounder of design studio Project Projects, and founder of Inventory Press. Levi Murphy is a designer and founder of Communal Objects.

Introduction by Steven Heller
Afterword by Andrew Blauvelt

4 1/4 x 7 inches, 240 pages, softcover
ISBN 978-1-61689-034-6

Design by Project Projects

Inventory Books paperback series IB03, copublished by Princeton Architectural Press

Free poster included

The Electric Information Age Book explores a time span in mass-market publishing in the sixties and seventies when former backstage players—designers, graphic artists, editors, "coordinators," and "producers"—stepped into the spotlight to create a set of exceptional paperback books.

The period begins in 1966 when Jerome Agel and Quentin Fiore, in collaboration with Marshall McLuhan, first developed The Medium Is the Massage into “an inventory of effects,” and continues to 1975, the publication year of Other Worlds, Agel’s collaboration with the exobiologist Carl Sagan. Graphic designers such as Fiore employed a variety of radical techniques—verbal visual collages and other typographic pyrotechnics—that were as important to the content as the text.

Aimed squarely at the young media-savvy consumers of the “Electric Information Age,” these small, inexpensive paperbacks brought the ideas of contemporary thinkers to the masses and established a distinctive new graphics-rich, montage-based genre of bookmaking that still resonates loudly today.