1.
Institute for Architecture and Urban Studies. ‘The Present Conditions of Art Criticism’. October. New York: Institute for Architecture and Urban Studies; 2002;
2.
Avi Pitchon. Op-Hop Detonation: Introducing the Hyper-modern in Contemporary music.
3.
F. T. Marinetti. The Futurist Manifesto.
4.
Tzara, Tristan. Dada Manifesto.
5.
Malevich, Kasimir. Suprematist manifesto.
6.
Abigail Solomon-Godeau. ‘Living with Contadictions: Critical Practices in the Age of Supply-Side Aesthetics Date’. ‘Living with Contadictions: Critical Practices in the Age of Supply-Side Aesthetics Date’.
7.
Bishop, Claire. Participation. 2006.
8.
Bourriaud, Nicolas. Relational aesthetics. [Dijon]: Les presses du réel; 2002.
9.
Caws, Mary-Anne. Manifesto: A Century of Isms. 2000.
10.
Foster, Hal. The return of the real: the avant-garde at the end of the century. Cambridge, MA: MIT Press; 1996.
11.
Fraser, Andrea. ‘From the critique of institutions to an institution of critique (institutional critique  as artistic phenomena)’. Artforum international. New York; 2005;
12.
Harrison, Charles, Wood, Paul. Art in theory, 1900-2000: an anthology of changing ideas. New ed. Oxford: Blackwell Publishers; 2003.
13.
Hickey, Dave. Air guitar: essays on art & democracy. 1st ed. Los Angeles: Art issues. Press; 1997.
14.
Kwon, Miwon. One place after another: site-specific art and locational identity. Cambridge, Mass: MIT Press; 2002.
15.
Rancière, Jacques. The politics of aesthetics: the distribution of the sensible. London: Continuum; 2004.
16.
O’Doherty, Brian. Inside the white cube: the ideology of the gallery space. Expanded ed. Berkeley, Ca: University of California Press; 1999.
17.
Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. 2005.