ACKnowledgmenTS
It is a commonplace that any book is the product of collaboration rather
than singular authorship, but in this case it has the virtue of being true.
The One and the Many was only made possible by the generosity of a great
number of colleagues and friends. I’d like to give special thanks to Nav-
jot Altaf, Shantibai, Gessuram, and Rajkumar of Dialogue; Silvina Babich,
Alejandro Metin, and Rafael Santos of Ala Plastica (Rafael has since left
the group); Christoph Schäfer and Margit Czenki of Park Fiction; Rick
Lowe of Project Row Houses; Amadou Kane- Si and Muhsana Ali of Huit
Facettes Interaction; and Jay Koh and Chu Yuan of NICA. Thanks also to
Annie Mendoza, Navjot Altaf, and Rajkumar for help with translations in
San Diego and Bastar, and to Patrick Deegan and Noel Hefele for conduct-
ing interviews in conjunction with the Groundworks exhibition in Pitts-
burgh. The travel necessary to research this book would not have been
possible without the generous support of the Creative Capital/Warhol
Foundation Arts Writers Grant Program, one of the only programs of its
kind available to art historians and critics writing on contemporary art.
Research for this book was also supported by the Getty Research Institute
(during a 2004 fellowship), and the Division of the Arts and Humanities
and the Center for the Humanities at the University of California, San
Diego. I would also like to thank Anne Douglas and Carole Gray at Gray’s
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