The first volume in this series focuses on aspects of Realism, Impressionism and Post-Impressionism in Paris between 1848 and 1900. The book demonstrates how some historians view this art as representative of the social, historical and economic circumstances in which it was produced.

Primarily a painter of still-life and landscape, Vija Celmins (b. 1938, Latvia; moved to the US in 1949) is a major international figure associated with 1960s Pop art.

Intends to span Orozcos' career, working variously in sculpture, drawing, photography, installation, collage, painting and video. With many illustrations, this book includes his significant works from the late 1980s to date.

Throughout her career, Eva Hesse (1936-1970) produced a significant number of small, experimental works alongside her large-scale sculpture. This book contains a comprehensive catalogue of the studiowork. It argues that these works force us to ask fundamental questions, not just what an artwork is, but about the work that art does in our culture.

Dan Flavin (1933-1996) established himself as one of the most innovative and significant artists of the minimalist movement. This book includes essays that respond to the exhibition Dan Flavin: A Retrospective and to the renewed interest in Flavin's work and its place in 20th-century art.

In artworks that combined minimalist, conceptual, and performative practices, Matta-Clark gave primary importance to the individual and considerations of everyday life. This book incorporates information from the his archive, dealing with the beauty and radical nature of Matta-Clark's punnings, plans, performances, and interventions.

This landmark book offers a radical reinterpretation of the innovative art of the late 1950s and 1960s. Examining the work of major artists of the period - including Mark Rothko, Piero Manzoni, Agnes Martin, Dan Flavin, Eva Hesse, Blinky Palermo and Louise Bourgeois - Briony Fer focuses on the overriding tendency towards repetition and seriality that occurred at the moment of modernism's decline,

An exploration of ways to think about abstract art and the problems of interpretation it raises. The author speculates on the language required to describe the effects of key abstract paintings and sculptures and on ways to discuss critical issues when a work of art is without subject matter .