Holly Crawford, (Ph.D.), is an artist and art historian. She is the Director of AC Institute, a nonprofit organization for research in contemporary art.

Holly Crawford brings together a series of interviews, essays, conversations, and remarks on collaboration. International visual artists, critics, writers, and musicians explore a range of histories, discourses and theories relating to communal, collective practices including FLUXUS, Zero, GRAV and SPUR in mid-20th century, women artists in the GDR and the Critical Art Ensemble in the Eighties and the experimental New Social Art School set up in Aberdeen in 2004. The resulting anthology, a considerable collaborative project in its own right, challenges orthodoxies and engages in the vital and current debate within the global artistic community about participative cooperative approaches.

• Chapter 1 1. The Decoration of the Paris Panthéon by Paul Chenavard—A Particular BrotherhoodChapter 2 2. The Calling of Two Creatures: Depression-era Collaboration and a Theory of Camera and PenChapter 3 3. Creative Occupation: Collaborative Artistic Practices in Europe 1937-1943Chapter 4 4. Collaborative Practices in Environmental ArtChapter 5 5. Concepts of Collaborative Art in the Divided Germany of the 1960sChapter 6 6. "Avant-femme" or Futuristic Frauen: Collaborative Art by Women in the German Democratic RepublicChapter 7 7. The Second SelfChapter 8 8. "Encompassing Unboundness": Desire and Collaborative Authorship in Carla Harryman and Lyn Hejinian's "The Wide Road"Chapter 9 9. An Easy Alliance: A Dialogue on MethodologyChapter 10 10. Learning from Robert Venturi and Denise Scott BrownChapter 11 11. Languages of InnovationChapter 12 12. Working TogetherChapter 13 13. Ken Friedman: A Life in FluxusChapter 14 14. Temporary Bedfellows: Claes Oldenburg, Maurice Tuchman and DisneyChapter 15 15. The Ivory Towers Were Always Connected: Interdisciplinary Dia(b)logues as Challenge and ChoiceChapter 16 16. Socially Engaged Art, Critics, and Discontents: Interview with Claire BishopChapter 17 17. "Detrimental to the Interests of the United States": Cuban Artists (Not) in ResidenceChapter 18 18. Suzanne Lacy: Oakland ProjectsChapter 19 19. Simonides in the Machine: The Art of Virtual Memory in a Pentagon-funded InitiativeChapter 20 20. Locating a Temporary Common Space: Cultural Exchanges in WeedpatchChapter 21 21. "Sometimes I'm Harvey Weinstein; Sometimes I'm Wes Craven. The Same Goes For My Brother." The Neistat BrothersChapter 22 22. Having Their Cake and Eating it Too: The Case of Christo's (and Jeanne-Claude's) Im(permanence) and ExclusivityChapter 23 23. The Wu-wei of the 21st Century Art of CollaborationChapter 24 24. What is Conversational Music or "Convers"?Chapter 25 25. Some Thoughts on CollaborationChapter 26 26. The Electron Buddy SystemChapter 27 27. I Always Appreciated Teamwork and CollaborationsChapter 28 28. The Dream of a Common Language: Thoughts on Collaboration and ProtestChapter 29 29. Observations on Collective Cultural ActionChapter 30 30. New Social Art SchoolChapter 31 31. ComplicityChapter 32 32. TransromantikChapter 33 33. On CollaborationChapter 34 34. "This Way Up": Concept and ProgressChapter 35 35. Online Collaboration in Genomic ArtChapter 36 36. A Robot and Its DoubleChapter 37 37. Art.es and Collaborative ProjectsChapter 38 38. My Collaborative ArtChapter 39 39. Collaboration between Tracey Snelling and Salvador Diaz, Chicago, March 2005Chapter 40 40. "i Woz" and GinaChapter 41 41. "It seems simple, but it is not."