Contains cuttings from newspapers and journals on art, art history in education, and politics. Also contains photograph of the opening of the Transvaal Observatory, 1905; Baker's letters to the press; obituaries written by Baker; Baker's annotated typescripts.

Contains cuttings from newspapers and journals on the Ninth Church of Christ Scientist, the Royal Empire Society, South Africa House, Glyn Mills Bank, Church House, and others. There is a part list of the projects that the cuttings cover at the front of the volume.

Contains cuttings from newspapers and journals on Barclay's Bank headquarters, Owletts, the Sir Herbert Baker Scholarship and other projects, and some obituaries.

Contains cuttings from newspapers and journals on bridges, Westminster Abbey, and other projects, and some obituaries of Sir Herbert Baker.

Contains cuttings from newspapers and journals on London House, Rhodesia House, Haileybury Church, Winchester Assize Courts, Mary Ward Settlement, Lord's cricket ground, Royal Empire Society, the Commercial Bank of Scotland, and others. There is a part list of the projects that the cuttings cover at the front of the volume.

Contains cuttings from newspapers and journals on Baker's work at Port Lymne, India House, Martin's Bank, Rhodes House, Oxford, Winchester College war memorial, Delville Wood war memorial, Harrow School war memorial, and others. There is a part list of the projects that the cuttings cover at the front of the volume.

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.