Liam Gillick is an artist based in New York. His work has been featured in numerous exhibitions, including documenta and the Venice and Berlin Biennales, and he has been nominated for a Turner Prize and Vincent Award. He serves on the graduate committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College and was a mentor at the Columbia University School of the Arts from 1997 to 2013.

• Acknowledgments Introduction: Creative Disruption in the Age of Soft Revolutions 1. Contemporary Art Does Not Account for That Which Is Taking Place 2. Projection and Parallelism 3. Art as a Pile: Split and Fragmented Simultaneously 4. 1820: Erasmus and Upheaval 5. ASAP Futures, Not Infinite Future 6. 1948: B. F. Skinner and Counter-Revolution 7. Abstract 8. 1963: Herman Kahn and Projection 9. The Complete Curator 10. Maybe It Would Be Better If We Worked in Groups of Three? 11. The Return of the Border 12. 1974: Volvo and the Mise-en-Scene 13. The Experimental Factory 14. Nostalgia for the Group 15. Why Work? Notes Index

In prose at once forthright and oblique, Liam Gillick attempts to extricate himself-and us, his readers-from the enveloping protoplasm known as 'contemporary art.' At the core of this book is a compelling alternative genealogy for our current condition, traced across four soft revolutions from 1820 to 1974. What that genealogy cumulatively reveals is a provocative diagnosis of the present as interminable: an entropic horizon against which artists and curators deploy their 'evasive markers.' With Industry and Intelligence, Gillick proves himself the most lucid inheritor of conceptualism's artist-writers, truly a latter-day Robert Smithson or Dan Graham. -- Tom McDonough, Binghamton University, author of The Situationists and the City: A Reader Read Gillick's book to find the packed sediment of conceptual art discourse undergoing metamorphic transformation-with the marketized artworld's slow heat, dull pressure, and surface torque leaving inevitable traces on an intelligent maker's mind. -- Caroline A. Jones Critical Inquiry Forceful, persuasive and provocative, while Industry and Intelligence will no doubt find purchase as a set text in universities for those studying art history or curatorial studies, it would seem its most urgent readership should be artists themselves, whose struggle has been, and continues to be, one of finding a way to avoid being subsumed completely by the logic of the market: to escape the trap, as Gillick has it, of the 'capitalisation of the mind'. -- Adam Pugh Art Monthly

Liam Gillick is an artist based in New York. His work has been featured in numerous exhibitions, including documenta and the Venice and Berlin Biennales, and he has been nominated for a Turner Prize and Vincent Award. He serves on the graduate committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College and was a mentor at the Columbia University School of the Arts from 1997 to 2013.

• Acknowledgments Introduction: Creative Disruption in the Age of Soft Revolutions 1. Contemporary Art Does Not Account for That Which Is Taking Place 2. Projection and Parallelism 3. Art as a Pile: Split and Fragmented Simultaneously 4. 1820: Erasmus and Upheaval 5. ASAP Futures, Not Infinite Future 6. 1948: B. F. Skinner and Counter-Revolution 7. Abstract 8. 1963: Herman Kahn and Projection 9. The Complete Curator 10. Maybe It Would Be Better If We Worked in Groups of Three? 11. The Return of the Border 12. 1974: Volvo and the Mise-en-Scene 13. The Experimental Factory 14. Nostalgia for the Group 15. Why Work? Notes Index

In prose at once forthright and oblique, Liam Gillick attempts to extricate himself-and us, his readers-from the enveloping protoplasm known as 'contemporary art.' At the core of this book is a compelling alternative genealogy for our current condition, traced across four soft revolutions from 1820 to 1974. What that genealogy cumulatively reveals is a provocative diagnosis of the present as interminable: an entropic horizon against which artists and curators deploy their 'evasive markers.' With Industry and Intelligence, Gillick proves himself the most lucid inheritor of conceptualism's artist-writers, truly a latter-day Robert Smithson or Dan Graham. -- Tom McDonough, Binghamton University, author of The Situationists and the City: A Reader Read Gillick's book to find the packed sediment of conceptual art discourse undergoing metamorphic transformation-with the marketized artworld's slow heat, dull pressure, and surface torque leaving inevitable traces on an intelligent maker's mind. -- Caroline A. Jones Critical Inquiry Forceful, persuasive and provocative, while Industry and Intelligence will no doubt find purchase as a set text in universities for those studying art history or curatorial studies, it would seem its most urgent readership should be artists themselves, whose struggle has been, and continues to be, one of finding a way to avoid being subsumed completely by the logic of the market: to escape the trap, as Gillick has it, of the 'capitalisation of the mind'. -- Adam Pugh Art Monthly

Liam Gillick is an artist based in New York. His work has been featured in numerous exhibitions, including documenta and the Venice and Berlin Biennales, and he has been nominated for a Turner Prize and Vincent Award. He serves on the graduate committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College and was a mentor at the Columbia University School of the Arts from 1997 to 2013.

• Acknowledgments Introduction: Creative Disruption in the Age of Soft Revolutions 1. Contemporary Art Does Not Account for That Which Is Taking Place 2. Projection and Parallelism 3. Art as a Pile: Split and Fragmented Simultaneously 4. 1820: Erasmus and Upheaval 5. ASAP Futures, Not Infinite Future 6. 1948: B. F. Skinner and Counter-Revolution 7. Abstract 8. 1963: Herman Kahn and Projection 9. The Complete Curator 10. Maybe It Would Be Better If We Worked in Groups of Three? 11. The Return of the Border 12. 1974: Volvo and the Mise-en-Scene 13. The Experimental Factory 14. Nostalgia for the Group 15. Why Work? Notes Index

In prose at once forthright and oblique, Liam Gillick attempts to extricate himself-and us, his readers-from the enveloping protoplasm known as 'contemporary art.' At the core of this book is a compelling alternative genealogy for our current condition, traced across four soft revolutions from 1820 to 1974. What that genealogy cumulatively reveals is a provocative diagnosis of the present as interminable: an entropic horizon against which artists and curators deploy their 'evasive markers.' With Industry and Intelligence, Gillick proves himself the most lucid inheritor of conceptualism's artist-writers, truly a latter-day Robert Smithson or Dan Graham. -- Tom McDonough, Binghamton University, author of The Situationists and the City: A Reader Read Gillick's book to find the packed sediment of conceptual art discourse undergoing metamorphic transformation-with the marketized artworld's slow heat, dull pressure, and surface torque leaving inevitable traces on an intelligent maker's mind. -- Caroline A. Jones Critical Inquiry Forceful, persuasive and provocative, while Industry and Intelligence will no doubt find purchase as a set text in universities for those studying art history or curatorial studies, it would seem its most urgent readership should be artists themselves, whose struggle has been, and continues to be, one of finding a way to avoid being subsumed completely by the logic of the market: to escape the trap, as Gillick has it, of the 'capitalisation of the mind'. -- Adam Pugh Art Monthly