Published on the occasion of the major exhibition of the same title, this catalogue is the first to place the practices of artists Mike Kelley (1954-2012) and Jim Shaw (b. 1952) alongside each other in historical context, approaching their work as parallel visual meditations on Midwestern culture in particular and on American culture more broadly. The catalogue begins with their meeting at the University of Michigan in Ann Arbor and early collaborations, branching out to present major bodies of work from each artist with a specific interest in tracing the lines of influence as rooted in the vernacular visual cultures of Michigan and the Midwest. Illustrations of the artists' source material, their individual works, and installation views from the exhibition feature prominently throughout the publication, and essays by exhibition co-curators Marc-Olivier Wahler, Carla Acevedo-Yates, and Steven L. Bridges also unpack the many narratives layered in the exhibition, including an interview with Jim Shaw.

Printmaker/anthropologist Laura B. DeLind and poet Anita Skeen never set out to produce a book at all when they began exchanging prints and poems, but as they began to appreciate at a deeper level the skill involved in each other's work, they began to find meaning in small things--a pattern, a memory, a carefully chosen word. The twenty-two fantastic and formerly undiscovered avian delights in this book illuminate the human world of love and loss, grief and joy, politics and play.

"In this new expanded edition, Susan J. Bandes adds descriptions of additional buildings and discusses projects by ten additional architects"--

A foreword by museum director and exhibition curator Marc-Olivier Wahler discusses the contemporary art exhibition The Transported Man within the framework of a teleportation magic trick described in Christopher Priest's 1995 novel The Prestige. Included is an interview between Wahler and France-based curator Christophe Kihm addressing how the brain reacts when interpreting an artwork, the language with which to approach art, and how these impact the future of museums and art exhibitions. Pairing the exhibition objectives with methods of illusion, an original essay by Christopher Priest, and a text by Francis Ponge, the book provides insight into the importance of belief and the nature of visual perception.