Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. Just as artists have simulated “architectural” means like plans and models, built structures and pavilions, or intervened in urban and public spaces, architects have employed “artistic” strategies in art institutions, exhibitions, and more. Likewise, art galleries and museums have combined both activities, playing with the conditional differences between inside and outside the institutions.

This book focuses on specific case studies of these two-way, interdisciplinary transactions. Included are texts and visual essays by Mark Dorrian, Rosemary Willink, Sarah Oppenheimer, and many others.

Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. Just as artists have simulated “architectural” means like plans and models, built structures and pavilions, or intervened in urban and public spaces, architects have employed “artistic” strategies in art institutions, exhibitions, and more. Likewise, art galleries and museums have combined both activities, playing with the conditional differences between inside and outside the institutions.

This book focuses on specific case studies of these two-way, interdisciplinary transactions. Included are texts and visual essays by Mark Dorrian, Rosemary Willink, Sarah Oppenheimer, and many others.