This book is for Donna Mansoor, whose countless hours of support form its
matrix, in gratitude for crossing the distance and too many geopolitical bor-
ders; it is also for Rosalind Krauss, who gave it its title.
This project has incurred a debt of gratitude to many friends and col-
leagues: Rosalia Pasqualino di Marineo at the Archivio Opera Piero Manzoni
in Milan; to Julia Bryan-Wilson, Jeanine Oleson, Elizabeth McIntosh, Jeff
Derksen, Maud Lavin, Sabine Bitter, and Kerstin Stakemeier for inviting me
to share aspects of the project in various places and time zones, and for shar-
ing in generous criticism; to Benjamin Buchloh, Catherine de Zegher, Judith
Rodenbeck, Hannah Feldman, Rachel Haidu, Adam Lehner and coeditors
of Communities of Sense, you will find your imprint throughout; and to Ken
Wissoker for his capacious support. I’m grateful to Louis Georges-Schwartz
who plodded through an early draft of the manuscript, and to Jen Scappettone
and Gopal Balakrishnan. Many thanks to Cali Buckley, Jade Brooks, and Sara
Leone at Duke University Press, and to Andrew Ascherl and Andrea Tuele.
Since 2011, I’ve had the pleasure and fortune to work with Scott Watson, Char-
lotte Townsend-Gault, Manuel Piña, and the department of Art, Art History,
and Critical Curatorial Studies at the University of British Columbia. I’m espe-
cially lucky to have had the challenging engagement of Vanessa Parent, Robin
Simpson, Jessica Law, Ali Ahadi, and April Thompson in seminars I’ve taught
at UBC.
I owe a lot to T’ai Smith, fellow traveler across this project’s numerous lives,
to Mitch Inclàn for Objects Food Rooms, and to Minu Mansoor-McKee, espe-
cially for your patience and your celestial humor.
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