Stephen Holl and Vito Acconci's collaboration on the façade of New York's Storefront for Art and Architecture set an important precedent for agendas of hybrid practice and collaboration, in line with Storefront's own programme as a gallery.

Swiss artist Pipilotti Rist first burst onto the British art scene with her video installation, Sip My Ocean, shown at the Chisenhale Gallery in London in 1996. She is interviewed by Art Monthly editor Patricia Bickers.

Los Angeles-based artist Jennifer West will create a new film live in the gallery by uniting an unlikely mix of ink, film strips and skate-boarding.

Luigi Ontani came to prominence in Italy and internationally during the late 1960s and 70s with a series of performances and exhibitions. His dandy persona was deployed to re-enact 'tableaux vivants' from folklore, fairy tales, mythology, art and history.

One of the earliest cosmic odysseys and science fiction superproductions, the film begins and ends with off-screen commentary by Żuławski on the failure of the film's twelve-year-long production, left unfinished due to bureaucratic intervention.

Audio recording of one of a series of 2009-10 events at Tate Britain entitled Conversation Pieces: Nada Prlja on Return of the Red Bourgeoisie

How can artists find inspiration from modernist history and the more recent past? In what ways is contemporary painting negotiating the boundaries of its discipline? What is contemporary painting's attitude to theory?

Van Dyck's portraits of nobility appear to represent their sitters as superior beings, 'naturally' entitled to the pre-eminence which they enjoyed. This entitlement, through lineage or genetic inheritance, was vigorously questioned during the 16th century

Nicolas Bourriaud describes a 'new type of form…a wandering, rather than a fixed space-time', mirrored by the current emphasis on online content for museums and galleries. Miltos Manetas discusses the possibility and place for non-static, non-spatial art

This discussion will be deconstructing artistic value forty years since Lord Clark’s Civilisation. Clark assumes a connoisseur model of valuing art which contrasts with the subjective altermodern approach to appreciating art.