The first major history of the glamorous art biennial. Biennials have proliferated across the globe since the end of the Cold War and have now stabilized at about 200 a year. While this quintessentially contemporary form has significant roots in the world expositions of the 19th century, Jones argues that the biennial is also the platform for an important new aesthetic shift. Moving away from a focus on visual looking in the mid 20th century, the art world today embraces experience: art fairs give the feel of closeness and spaciousness, crowds, and they engage all our senses, even taste. Jones argues that the dominance of installation art and the simultaneous rise of biennialsor recurring art fairsneed to be examined as joint phenomenamutually reinforcing and linked to specific geo-political and aesthetic conditions. From the rise of tourism to the flows of art commerce, Jones hatches a new way to track the development of international art fairs in nearly every corner of the globe: from the early world fairs of London, Paris, Chicago, and New York to art fairs proper in Venice, Sao Paulo, Havana, Berlin, Lyon, and Beijing, as well as Kassel s Documenta, Whitney Biennial, and moreall explained through a rapidly evolving aesthetics of experience that has never, until now, been addressed in such a substantial way."

The catalogs include lists of books and articles on artists represented in the exhibitions, to be found in the Carnegie Library of Pittsburgh.

Jones's Icones contains finely delineated paintings of more than 760 species of Lepidoptera, many of which it described for the first time, marking a critical moment in the study of natural history. With Iconotypes Jones's seminal work is published for the first time, accompanied by expert commentary and contextual essays, and featuring annotated maps showing the location of each species. Jones painted the species between the early 1780s and 1800, drawing from his own collection and the collections of Joseph Banks, Dru Drury, Sir James Edward Smith, John Francillon, the British Museum and the Linnean Society. For every specimen painting he provided a species name, the collection from which it was taken and the geographical location in which it was found. In 1787, during a visit to London, the Danish scientist Johann Christian Fabricius studied Jones's paintings and based 231 species of butterfly and moths on them. In this enhanced facsimile, Jones's references to historic references are clarified and modern taxonomic names are provided, together with notes on which paintings serve as iconotypes. Contextual commentary by specialist entomologist Richard I. Vane-Wright gives an account of Jones's life and his motivation for collecting butterflies and creating the Icones, and evaluates the significance of his work. Interspersed at intervals between the pages of Jones's paintings are modern maps showing the location of each species painted, and expert essays on the development of lepidoptery and taxonomy after Linneaus, and the roles of collectors and natural history artists from the late 1700s to mid-1800s. With 1600 illustrations in colour In partnership with Oxford University Museum of Natural History

The most influential work of architectural criticism and history of the twentieth century, now available in a handsomely designed new edition.