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  • Art & Spatial Politics
  • Reproduction in Sculpture: Dilution or Increase?
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  • Gabo's Stones
  • William Tucker: The Language of a Sculptor
  • Public Art Commissions, Exemplified by Auke de Vries
  • Brazil: A Site and Subject for Sculpture?
  • Minimalism and Neoconcretism
  • John Addington Symonds and the Misrecognition of Antinous
  • Looking for Antinous in Marguerite Yourcenar's 'Memoirs of Hadrian'
  • Beuys: ‘To be a teacher is my greatest work of art!’
  • Russian Berlin in the 1920s
  • The ‘Laocoon’: An Ancient Combination of Sculptural Forms and Myth
  • Thomas Schütte: Something is missing (1980)
  • Programmatic Portrait: On Imi Knoebel's 'Raum 19'
  • Nature and Mythology, two galleries and their furnishings contrasted: Temple Newsam and Hagley
  • Sugar Sculpture, Porcelain and Table Layout 1530-1830
  • Chromophobia: Ancient and Modern, and a Few Notable Exceptions
  • Earth
  • Encapsulating Public Art: The PADT archive at the Henry Moore Institute
  • Sexuality, space and the architectural project: a provisional history
  • Neither use nor ornament: tracing the development of sculpture as a discrete discipline in British art education from the mid-nineteenth century
  • On the Connoisseurship of Rocks
  • Walter Crane and Hermann Obrist: craft, sculpture and transnationality at the fin de siècle
  • George Frampton: New Sculpture and Art Nouveau
  • Anatomy of a Monument
  • From 'Arte Povera più azioni povere' to 'When Attitudes Become Form': Mario Merz’s work in group shows and his first international connections
  • Fertile Objects: Penetralia, Sarah Lucas and English Modernism
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