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The Drawing Center is the only fine arts institution in the U.S. that focuses solely on the exhibition of historical and contemporary drawings. It was established in 1977 in New York to provide opportunities for emerging and under-recognized artists; to demonstrate the significance and diversity of drawings throughout history; and to stimulate public dialogue on issues of art and culture.  The Drawing Center's acclaimed exhibitions encompass a wide range of artistic traditions and take a uniquely interdisciplinary approach. Historical Exhibitions focus on both acknowledged and under-recognized masters while Contemporary Exhibitions illuminate unexplored aspects of works by major present-day artists, including innovative work of emerging artists who are contributing to new interpretations of drawing in terms of experimental, cross-disciplinary work and site-specific installations. Publications in the Drawing Papers series accompanies each exhibition at The Drawing Center.

Texts by artists creating intellectual, political, and cultural possibilities that would not otherwise exist. The books in this series remind us that art's manifestations and meanings are rendered more complex when artists' voices are heard, and when artists engage in direct debate and dialogue with each other, the public, and scholars.

In recent years, the field of art history has witnessed a wave of interest in new approaches to the subject, and many distinguished studies that employ innovative methods and techniques have appeared. This new art history is inquiring and self-critical, without abandoning its base in careful research, and it uses the highly developed methods of other disciplines (such as anthropology and literary theory) to illuminate the complex relationship between a culture and its artifacts. Cambridge New Art History and Criticism will be a series of diverse studies that exemplify these new approaches. The series provides a forum for work on a range of individual artists, genres, periods, themes, styles and movements.  A collateral series, Cambridge New Art History and Criticism, is superseded by Cambridge Studies in New Art History and Criticism. Links to both series titles are provided below.

Offers a systematic, comprehensive and up-to-date treatment of major artists and art movements of Western culture. The artists are studied within the broader cultural, social, political and intellectual contexts in which they practiced. Illustrated and including a selected bibliography, these volumes are suitable for undergraduate and graduate students and form an ideal textbook resource.

One Work is a unique series of books, each of which presents a single work of art considered in detail by a single author. The focus of the Afterall book series is contemporary art and its aim is to provoke debate about significant moments in art’s recent development.

Concise introductory monographs on a wide range of topics, including the arts and humanities.

Also known as Whitechapel: Documents of Contemporary Art, volumes in the series are a definitive anthology on a particular theme, practice, or concern that is of central significance to contemporary visual culture. The artists and writers included in these books, like the guest editors who conceive them, represent the diversity of perspectives, generations, and voices defining art today.

Compact monographs on individual artists as well as periods and topics in art history.

Envisioned as a catalyst for enterprise, research, and creative and scholarly experimentation, the Leonardo book series enables diverse intellectual communities to explore common grounds of expertise. The series publishes texts by artists, scientists, researchers, and scholars that present innovative discourse on the convergence of art, science, and technology. It provides a context for the discussion of contemporary practice, ideas, and frameworks in the rapidly-evolving arena where art and science connect.

Examines non-canonical works of the art world from archaic and classical Greek art to twentieth-century design and photography, from the artistry of African-American and Native North Americans to the masterpieces of Europe, Polynesia, and Micronesia. Treatment includes social and cultural context, using new research and new methodologies.

These short Taschen series on genres, movements, and individual artists feature an introductory overview, photographs, timelines, and a selection of the most important works of a given period or artist.

Emphasizing visual culture and media, Taschen publishes books on art, photography, architecture, design, cinema, and popular culture as well as facsimile editions.

Develops and promotes the study of visual culture from a variety of critical and methodological perspectives. The impetus for the series derives from the increasing importance of visual signs in everyday life, and from the rapid expansion of what are termed “new media.”

Presents canonical and critical works in art history. Each volume in the series, compiled by its own editor, will present a set of previously published classic and contemporary works in a particular sub-discipline in the discipline, conforming to, and patterning itself on, the upper-division undergraduate art history curriculum in the English-speaking world. Volumes include substantive introductory essays by specialists, discussions of central paradigms, and each title provides background material on themes and topics.

The entire history of visual culture is brought to you in this constantly growing series. Books cover themes, artists, and movements that span the centuries and the globe. The authors include some of the world's leading writers on art, architecture, design, fashion, and archaeology, and cuts across many disciplines.

From MIT Press, a series of books at the intersection of art, cultural politics, media, psychoanalysis, aesthetic theory, cinema, etc.

The ambition of the Stanford series is to move beyond a narrow disciplinarity based on conventional historical premises and to refocus contemporary cultural studies in the direction of close reading. Its themes include boundary-crossing projects and interrogations of canon and institutions in philosophy, religion, anthropology, literature, media studies, and visual analysis.

The series seeks to foster approaches that combine innovative theoretical perspective, close attention to the detail of the cultural object, and an effort of interpretation geared to the meaning of the object for a present that is not amnesiac.

These reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English-speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Represents current scholarship and points to future trends in art discourse and related disciplines.

Compact, liberally illustrated monographs, primarily on topics in the arts and humanities. Striking visual design is accompanied by useful contextual information, chronologies, and selected bibliographical resources.