The Museum of Capitalism--a traveling exhibition that has been hosted in Oakland and Boston and will arrive in New York City in fall 2019--treats capitalism as a historical phenomenon. This speculative institution views the present and recent past from the implied perspective of a future society in which our economic and political system has ended, and is now memorialized and subjected to the museological gaze. The goal of the museum, and its publication, is to "educate this generation and future generations about the ideology, history and legacy of capitalism." To this end, Museum of Capitalism features sketches and renderings of exhibits and artifacts, combined with relevant quotations from historical sources, interspersed with speculative essays on the intersections of ecology, race, museology, historiography, economics and politics. Included are representations of artworks and museum exhibits created by artists Oliver Ressler, Sayler/Morris, Dread Scott, Temporary Services, Superflex and others, original Isotype graphics drawn from the museum's lexicon of "capitalisms" and texts from Lucy Lippard, Lester K. Spence, T.J. Demos, Chantal Mouffe, McKenzie Wark and Kim Stanley Robinson, among others. For this new, expanded second edition of Museum of Capitalism (the first was published in 2017), Jodi Dean, Ben Davis, Madeline Lane-McKinley, Nina Power, Abigail Satinsky, Simon Sheikh and FICTILIS have contributed new texts.

A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.

A renowned Harvard professor debunks prevailing orthodoxy with a new intellectual foundation and a practical pathway forward for a system that has lost its moral and ethical foundation. Free market capitalism is one of humanity's greatest inventions and the greatest source of prosperity the world has ever seen. But this success has been costly. Capitalism is on the verge of destroying the planet and destabilizing society as wealth rushes to the top. The time for action is running short. Rebecca Henderson's rigorous research in economics, psychology, and organizational behavior, as well as her many years of work with companies around the world, give us a path forward. She debunks the worldview that the only purpose of business is to make money and maximize shareholder value. She shows that we have failed to reimagine capitalism so that it is not only an engine of prosperity but also a system that is in harmony with environmental realities, the striving for social justice, and the demands of truly democratic institutions. Henderson's deep understanding of how change takes place, combined with fascinating in-depth stories of companies that have made the first steps towards reimagining capitalism, provide inspiring insight into what capitalism can be. Together with rich discussions of important role of government and how the worlds of finance, governance, and leadership must also evolve, Henderson provides the pragmatic foundation for navigating a world faced with unprecedented challenge, but also with extraordinary opportunity for those who can get it right.

A brilliant, kaleidoscopic narrative of Oklahoma City—a great American story of civics, basketball, and destiny, from award-winning journalist Sam Anderson NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • NPR • Chicago Tribune • San Francisco Chronicle • The Economist • Deadspin Oklahoma City was born from chaos. It was founded in a bizarre but momentous “Land Run” in 1889, when thousands of people lined up along the borders of Oklahoma Territory and rushed in at noon to stake their claims. Since then, it has been a city torn between the wild energy that drives its outsized ambitions, and the forces of order that seek sustainable progress. Nowhere was this dynamic better realized than in the drama of the Oklahoma City Thunder basketball team’s 2012-13 season, when the Thunder’s brilliant general manager, Sam Presti, ignited a firestorm by trading future superstar James Harden just days before the first game. Presti’s all-in gamble on “the Process”—the patient, methodical management style that dictated the trade as the team’s best hope for long-term greatness—kicked off a pivotal year in the city’s history, one that would include pitched battles over urban planning, a series of cataclysmic tornadoes, and the frenzied hope that an NBA championship might finally deliver the glory of which the city had always dreamed. Boom Town announces the arrival of an exciting literary voice. Sam Anderson, former book critic for New York magazine and now a staff writer at the New York Times magazine, unfolds an idiosyncratic mix of American history, sports reporting, urban studies, gonzo memoir, and much more to tell the strange but compelling story of an American city whose unique mix of geography and history make it a fascinating microcosm of the democratic experiment. Filled with characters ranging from NBA superstars Kevin Durant and Russell Westbrook; to Flaming Lips oddball frontman Wayne Coyne; to legendary Great Plains meteorologist Gary England; to Stanley Draper, Oklahoma City's would-be Robert Moses; to civil rights activist Clara Luper; to the citizens and public servants who survived the notorious 1995 bombing of the Alfred P. Murrah federal building, Boom Town offers a remarkable look at the urban tapestry woven from control and chaos, sports and civics.

What is wrong with capitalism, and how can we change it? Capitalism has transformed the world and increased our productivity, but at the cost of enormous human suffering. Our shared values—equality and fairness, democracy and freedom, community and solidarity—can provide both the basis for a critique of capitalism and help to guide us toward a socialist and democratic society. Erik Olin Wright has distilled decades of work into this concise and tightly argued manifesto: analyzing the varieties of anticapitalism, assessing different strategic approaches, and laying the foundations for a society dedicated to human flourishing. How to Be an Anticapitalist in the Twenty-First Century is an urgent and powerful argument for socialism, and an unparalleled guide to help us get there. Another world is possible. Included is an afterword by the author’s close friend and collaborator Michael Burawoy.

In a bold new look at the Modern Art era, Brettell explores the works of such artists as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, national and internationalism, and the rise of the museum. 140 illustrations, 75 in color.

How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. The designed things, experiences, and symbols that we use to perceive, understand, and perform our everyday lives are much more than just props. They directly shape how we live. In Design after Capitalism, Matthew Wizinsky argues that the world of industrial capitalism that gave birth to modern design has been dramatically transformed. Design today needs to reorient itself toward deliberate transitions of everyday politics, social relations, and economies. Looking at design through the lens of political economy, Wizinsky calls for the field to transcend the logics, structures, and subjectivities of capitalism—to combine design entrepreneurship with social empowerment in order to facilitate new ways of producing those things, symbols, and experiences that make up everyday life. After analyzing the parallel histories of capitalism and design, Wizinsky offers some historical examples of anticapitalist, noncapitalist, and postcapitalist models of design practice. These range from the British Arts and Crafts movement of the nineteenth century to contemporary practices of growing furniture or biotextiles and automated forms of production. Drawing on insights from sociology, philosophy, economics, political science, history, environmental and sustainability studies, and critical theory—fields not usually seen as central to design—he lays out core principles for postcapitalist design; offers strategies for applying these principles to the three layers of project, practice, and discipline; and provides a set of practical guidelines for designers to use as a starting point. The work of postcapitalist design can start today, Wizinsky says—with the next project.