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Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

Art --- outdoor sculpture --- earthworks [sculpture] --- art [discipline] --- public art --- art theory --- site-specific works --- identity --- public spaces --- interactive art --- Andre, Carl --- LeWitt, Sol --- Buren, Daniel --- Lacy, Suzanne --- Holt, Nancy --- Haacke, Hans --- Morris, Robert --- Smithson, Robert --- Weiner, Lawrence --- Manglano-Ovalle, Iñigo --- Martinez, Daniel Joseph --- Müller, Christian Philipp --- Sperandio, Christopher --- Torres, Rigoberto --- Ukeles, Mierle Laderman --- Noguchi, Isamu --- Serra, Richard --- Moore, Henry --- Acconci, Vito --- Judd, Donald --- Dion, Mark --- Orozco, Gabriel --- Wodiczko, Krysztof --- Calder, Alexander --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- anno 2000-2009

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Art --- Sculpture --- installations [visual works] --- art [discipline] --- sculpting --- Stockholder, Jessica --- United States of America

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kunst --- dans --- choreografie --- fotografie --- installaties --- performances --- video --- videokunst --- eenentwintigste eeuw --- Kelly Ryan --- Gerard Brennan --- 7.071 GERARD & KELLY --- Gerard, Brennan, --- Kelly, Ryan, --- Art --- histories [literary works] --- sculpture [visual works] --- dance [performing arts genre] --- video art --- performance art --- works on paper --- site-specific works --- races [events] --- architecture [object genre] --- narrative art --- Gerard & Kelly

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Museology --- Art --- Architecture --- sculpture [visual works] --- architecture [discipline] --- museology --- Nature --- museumarchitectuur --- Fernández, Teresita --- Suda, Yoshihiro --- Long, Richard --- Cai Guo Qiang --- Monet, Claude --- Graham, Dan --- Turrell, James --- Kounellis, Jannis --- Nauman, Bruce --- Maria, de, Walter --- Lee, Ufan --- Chichu Art Museum [Naoshima] --- Lee Ufan Museum [Naoshima] --- Benesse Art Site [Naoshima] --- Benesse House Museum [Naoshima]

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Art [Conceptual] --- Art conceptuel --- Art povera --- Art video --- Arte povera --- Concept art --- Conceptual art --- Conceptuele kunst --- Installaties (Kunst) --- Installations (Art) --- Language art (Fine arts) --- Possible art --- Post-object art --- Video art --- Videokunst --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- Verenigde Staten --- Kruger Barbara --- conceptuele kunst --- concept art --- woord en beeld --- fotografie --- kunst en politiek --- feminisme --- gender studies --- 7.071 KRUGER --- Art vidéo --- Art électronique --- Electronic art --- Experimental television --- Vidéo expérimentale --- Vidéo formelle --- Vidéo-art --- Kruger, Barbara --- Catalogs --- Criticism and interpretation