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AcknowledgmentsA substantial roster of groups and individuals made this decade-long studypossible. Foremost among them are Carol Duncan and Andrew Hemingway,whose support and insights over many years cannot be overestimated. I am alsoindebted to Janet Koenig, and Ariana Sholette, as well as a remarkable groupof teachers including Hans Haacke, Jean-Pierre Gorin, Steve Fagin, BenjaminBuchloh, Charlotte Schatz, and Jeanne Burford. My gratitude extends to myfriends David Stern, Sue Giffard, and Rachel Stern who provided me with a placeto work in a time of need; Olga Kopenkina for her guidance and encouragement;Jeffrey Skoller for his enduring intellectual engagement and friendship; LuciaSommer who expertly helped with the project survey as well as designers NoelDouglas, Emily and Scott Santoro; Lize Kirwin who generously provided accessto The <strong>Archives</strong> of American Art, and the staff of the Museum of Modern ArtArchive for their able assistance with research in the PAD/D Archive. This bookwould also not have been possible without the adept editing of Esther Leslie,David Castle, and Tim Clark from Pluto Press, as well as a host of artists, friends,and scholars who have contributed in countless ways to my knowledge of thissubject for several decades, including: Dennis Adams, Alexander Alberro, MelodyAleen, Jerri Allyn, Aryeen Anastas, Rasheed Araeen, Doug Ashford, Todd Ayoung,Scott Berzofsky, Brett Bloom, Mary Ann Calo, Jessica Cannon, Ron Clark, KeithChristensen, Salem Colo-Julin, Maureen Connor, Jim Costanzo, Ivet Curlin,Edward DeCarbo, Ana Devic, John Duda, Dan Eisenberg, Andrea De Felice,Ed Eisenberg, Marcelo Expósito, Nina Felshin, Marc Fischer, Kirsten Forkert,Emily Foreman, Rene Gabri, Aaron Gatch, Benj Gerdes, Philip Glahn, LeonGolub, Dara Greenwald, Libertad Guerra, Brian Hand, Marc Herbst, RobbertHerbst, Brian Holmes, Nataša Ilić, Paul Jaskot, Fred Lonidier, Tom Klem, LisaMaya Knauer, Carin Kuoni, Steve Kurtz, Dejan Kršić, Nicolas Lampert, ErnieLarson, Pedro Lasch, Marc Leger, Martin Lucas, Rikke Luther, Jerry Kearns,Mary Kelly, Martin Krens, Moukhtar Kocache, Ed Marszewski, Lydia Matthews,Micki McGee, Josh McPhee, Karen van Meenen, André Mesquita, Sherry Milner,Nicholas Mirzoeff, Naeem Mohaiemen, Alan Moore, Barbara Moore, BeverlyNaidus, Catherine Queloz, Trevor Paglen, Herb Perr, Jenny Polak, Tatjana vonPrittwitz, Yasmin Ramirez, Gene Ray, Gerald Raunig, Oliber Ressler, Scott Rigby,Tim Rollins, Martha Rosler, Ellen Rothenberg, Julia Rothenberg, Orla Ryan,Sabina Sabolovic, Rasha Salti, Dread Scott, Jacque Servin, Stephanie Smith, ÅsaSonjasdotter, Christoph Spehr, Nancy Spero, Blake Stimson, Eva Sturm, Bill Talen,xi
xiidark matterNato Thompson, Daniel Tucker, Igor Vamos, Vanni Brusadin, Wolfgang Zinggl,Vera Zolberg, Dan Wang, O. K. Werckmeister, Nicholas Wisniewski, Chin-tao Wu.I am also grateful to the publications Afterimage, Artforum, Circa, The Journalof Aesthetics and Protest, Proximity, and Third Text for their support (and whoin a different form first published some of this book’s ideas and material), and toProfessional Staff Congress union ADT Local #2334 and Queens College City,University of New York for making possible the release time from teaching tocomplete the manuscript.
Page 2 and 3: Dark Matter
Page 4 and 5: Dark MatterArt and Politics in the
Page 6: This book is dedicated to Lucy R. L
Page 10 and 11: Series PrefaceMarxists frequently p
Page 14 and 15: Exordium: An Accidental RemainderMa
Page 16: exordium: an accidental remainderxv
Page 19 and 20: 2 Dark matterThe first newsletter o
Page 21 and 22: 4 Dark matteressays that make up th
Page 23 and 24: 6 Dark matterto separate art from n
Page 25 and 26: 8 Dark mattera recall to the opport
Page 27 and 28: 10 Dark matterNew York Newsday, Jun
Page 29 and 30: 12 Dark matterincludes media pranks
Page 31 and 32: 14 Dark mattercultural and ethnic i
Page 33 and 34: 16 Dark matterCleaver, Mariarosa Da
Page 35 and 36: 18 Dark matterGraphic designer and
Page 37 and 38: 20 Dark matterof enterprise culture
Page 39 and 40: 22 Dark matterof Vimercate, agreein
Page 41 and 42: 24 Dark matterPicasso’s monumenta
Page 43 and 44: 26 Dark matterthe early 1980s permi
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Page 47 and 48: 30 Dark matterthough intentional no
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Page 53 and 54: 36 Dark matternarratives form “on
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2The Grin of the ArchiveHaunting im
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48 Dark matterlands and commons in
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50 Dark matterTwo of the sketches m
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52 Dark matterHowever, it was the s
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54 Dark matterMadame Binh Graphics
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56 Dark matterfirst time. In an imp
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58 Dark matterMaterial in the PAD/D
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60 Dark mattermodeled on the popula
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62 Dark matterthe early to mid 1980
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64 Dark matterpublic resources away
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66 Dark matterA photocopied collage
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70 Dark matteralluding to a far lar
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72 Dark matter1994 REPOhistory stre
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76 Dark matterestate deals, conditi
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78 Dark matter“Oasis” where hig
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80 Dark matterof real estate develo
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82 Dark matterAppropriating museum
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84 Dark mattersubversive intent of
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86 Dark matternomadic artist ethnog
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90 Dark matteroffering the text of
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92 Dark matterHomosexuals, he write
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4Temporary ServicesBecause you can
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96 Dark matterTwitter, Flickr, Word
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98 Dark matter“Roots” is one of
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100 Dark matterpractice such dark m
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106 Dark matterquestionnaires that
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108 Dark matteradvertisements, popu
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110 Dark matterthe border or across
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112 Dark mattervisit to the webpage
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114 Dark matterBlack molasses is sp
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5Glut, Overproduction, Redundancy!W
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118 Dark matterOverproductionThat t
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120 Dark matteris to say that even
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122 Dark matterin the institutional
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124 Dark matterdesire is enhanced t
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126 Dark matterhours of work), and
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128 Dark matterAWC v. APTOne exampl
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130 Dark matterAs just noted, one o
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132 Dark matterStill from the video
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134 Dark matterWithout losing site
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138 Dark mattermonopoly on future a
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140 Dark matterStills from Evidence
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142 Dark matterto US intervention i
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144 Dark matterMembers of the inter
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146 Dark matterexplain why, despite
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148 Dark matterlonger attaches itse
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150 Dark matterrevenge of the exclu
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7MockstitutionsThe Cartographers Gu
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154 Dark matterby highways, onramps
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156 Dark matterof wonders veracity
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160 Dark matterpair of cheeky, subu
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162 Dark matterappears in the index
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164 Dark matter• META-COMMERCIALS
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166 Dark matterrole of service pers
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168 Dark mattergroups to commandeer
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170 Dark matterWhat has been born o
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172 Dark matterThis relationship is
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174 Dark matterKlutsis, and Malevic
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176 Dark matterCampbaltimore. Their
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178 Dark mattergroup to full-blown
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180 Dark matterLearning Site’s
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182 Dark matterseminars. Once enoug
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184 Dark matteris to use the cultur
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8Conclusions: Nights of AmateursIn
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188 Dark matterkicks, an artist who
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NotesIntroduction1. Walter Benjamin
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notes 19116 Beaver Street, Lize Mog
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notes 19316. Allegedly, the popular
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notes 195Julie Ault, ed., Alternati
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notes 19724. An index to the PAD/D
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notes 199Art set within a broader c
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notes 20122. See Katharyne Mitchell
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notes 203Chapter 41. Yomango, “10
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notes 205Czechoslovak Revolution Co
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notes 20711. Marcelo Expósito, “
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notes 20947. Barbara Adam and Joost
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notes 21121. Lovink and Garcia, “
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notes 21311. See the Central Office
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notes 21543. Incarceration rates fo
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notes 217of educational seminars at
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ibliography 219Dan Peterman: 7 Dead
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ibliography 221Rosler, Martha and B
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appendix 223• Do you have a desig
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index 225Artists Meeting for Cultur
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index 227Center for Land Use Interp
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index 229Duncan, Carol, 6, 11, 56,
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index 231Haacke, Hans, 17, 42, 53,
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index 233flexible labor, productivi
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index 235new economy (Clinton), 38,
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index 237Puerto Rican activism and
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index 239army of unemployed or semi
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