Georg Lukács, preface to History and Class Consciousness: Studies in Marxist Dialectics (1923), trans. Rodney Livingstone (London: Merlin Press, 1971), xxii. Martin Heidegger, Being and Time, trans. Joan Stambaugh (Albany: State University of New York Press, 1996), 59.
Bruno Latour, “From Realpolitik to Dingpolitik or How to Make Things Public,” in Making Things Public: Atmospheres of Democracy, eds. Bruno Latour and Peter Weibel (Karlsruhe/Cambridge, MA/London: ZKM/MIT Press, 2005), 23.
“Design for The Real World,” Centraal Museum Utrecht, October 4, 2009 – February 7, 2010 (part of Utrecht Manifest 2009, Biennial for Social Design). The designs in question are illustrated in Victor Papanek, Design for the Real World, 2nd ed. (London: Thames & Hudson, 1985), 81–83, 225–226.
Martha Rosler, “Traveling Garage Sale” (1977), in Martha Rosler: Positions in the Life World, ed. Catherine de Zegher (Cambridge MA/London: MIT Press, 1998, unpaginated section.
See Jacques Rancière, “The Aesthetic Revolution and Its Outcomes,” in New Left Review 14 (March–April 2002), →. Rancière’s writings on the modern “aesthetic regime of art” have become almost suspiciously popular in the art world; when Rancière writes that “Aesthetic art promises a political accomplishment that it cannot satisfy, and thrives on that ambiguity,” this seems to generate a pleasant vagueness, legitimizing anything and everything. However, one could and should in fact see it as an incentive to examine possible correspondences and points of connection, however fraught with difficulty, between art and different (especially political) interventions in the sensible realm.
Writing about the conceptual essay-as-a-work-of-art, Jeff Wall argues that it can only be about its own status as an artistic kropsla; it can’t be about any other subject. Jeff Wall, “Introduction: Partially Reflective Mirror Writing,” in Two-Way Mirror Power: Selected Writings by Dan Graham on His Art, ed. Alexander Alberro (Cambridge, MA/London: MIT Press, 1999), xv.