Preface  ix

1. Introduction  

The Art of Social Cooperation: An American Framework  1

2. Cooperation Goes Public  

Consequences of a Gesture and 100 Victoria/10,000 Tears  51

Interview: Daniel Joseph Martinez, artist, and Gregg M. Horowitz, philosophy professor  

Chicago Urban Ecology Action Group  76

Follow-Up Interview: Naomi Beckwith, participant  

3. Museum, Education, Cooperation  

Memory of Surfaces  90

Interview: Ernesto Pujol, artist, and David Henry, museum educator  

4. Overview  

Temporary Coaltions, Mobilized Communities, and Dialogue as Art  114

Interview: Grant Kester, art historian  

5. Social Vision and a Cooperative Community  

Project Row Houses  132

Interview: Rick Lowe, artist, and Mark Stern, professor of social history and urban studies  

6. Participation, Planning, and a Cooperative Film  

Blot Out the Sun  152

Interview: Harrell Fletcher, artist, and Ethan Seltzer, professor of urban studies and planning  

Ride Out the Sun  174

Follow-up Interview: Jay Dykeman, collaborator  

7. Education Art  

Catedra Arte del Conducta  179

Interview: Tania Bruguera, artist  

Catedra de Conducta  

Follow-up Interview: Claire Bishop, art historian  

8. A Political Alphabet  219

Interview: Wendy Ewald, artist, and Sondra Farganis, political scientist  

9. Crossing Borders  

Transnational Community-Based Production, Cooperative Art, and Informal Trade Networks  240

Interview: Pedro Lasch, artist, and Teddy Cruz, architect  

10. Spirituality and Cooperation  

Unburning Freedom Hall and The Packer School Project  269

Interview: Brett Cook, artist, and Mierle Laderman Ukeles, artist  

The Seer Project  301

Interview: Lee Mingwei, artist  

11. Interactive Internet Communication  

White Glove Tracking  313

Interview: Evan Roth, artist  

White Glove Tracking  335

Follow-up Interview: Jonah Peretti, contagious media pioneer  

Conclusion: Pragmatism and Social Cooperation  343

Notes  363

Bibliography  373

Index  381

“These conversations by key practitioners and thinkers are a snapshot of thinking around the emergence of social and collaborative art, which seeks to improve society and address social issues. Finkelpearl ably situates collaborative and participatory art within the chronology of American art history.”—Toro Castaño, Library Journal

“Recommended.”—J. Decker, Choice

“This book gracefully dives headfirst into a seriously murky topic, using accessible language that, thankfully, doesn’t read like a textbook.”—Kirstin Wiegmann, What We Made

“These conversations by key practitioners and thinkers are a snapshot of thinking around the emergence of social and collaborative art, which seeks to improve society and address social issues. Finkelpearl ably situates collaborative and participatory art within the chronology of American art history.”—Toro Castaño, Library Journal

“Recommended.”—J. Decker, Choice

“This book gracefully dives headfirst into a seriously murky topic, using accessible language that, thankfully, doesn’t read like a textbook.”—Kirstin Wiegmann, What We Made

"In between histories, current art practices, and theories lies the conundrum: how to describe relational and public art and the many intentions of those involved. Tom Finkelpearl gives us perspectives from artists' on-the-ground experiences and a welcome revisiting of Dewey, contextualized by a sweeping introduction that alone is worth the price of the book."—Suzanne Lacy, author of Leaving Art: Writings on Performance, Politics, and Publics, 1974–2007

"What We Made is a dialogical thick description of cooperative art practices from the point of view of practitioners and many insightful interlocutors. It will be an extremely valuable resource for artists, art historians, and museum professionals."—Rebecca Zorach, author of The Passionate Triangle

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