New Sculpture in Britain (No. 79)

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Katrina Palmer (No. 78)

The Time-Travelling Circus: The Dossier concerning Pablo Fanque and the Electrolier

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Benedict Read's life in sculpture: His father never told him about things like this (No. 77)

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City Sculpture Projects 1972 (No. 76)

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The Virtues of Things (No. 75)

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Christine Kozlov: Information (No. 74)

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Active Archives (No. 73)

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A Study of Modern Japanese Sculpture (No. 72)

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Sculptors' Papers from the Henry Moore Institute Archive (No. 71)

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D'Arcy Thompson's On Growth and Form (No. 70)

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Artists' Lives (No. 69)

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My Life by Anton Lesseman (No. 68)

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Books and Sculpture (No. 67)

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1913: The Shape of Time (No. 66)

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Bad Copies: the drawings of Phyllida Barlow (No. 65)

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Helen Chadwick's 'Ego Geometrica Sum': a biography (No. 64)

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Mario Merz: What Is to Be Done? (No. 63)

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A Rough Equivalent (No. 62)

Sculpture and Pottery in the Post-War Period

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Box, Body, Burial: The Sculptural Imagination of Keith Arnatt (No. 61)

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The Sculpture in the Home Exhibitions (No. 60)

Reconstructing the Home and Family in Post-War Britain

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Prospects and Interiors (No. 59)

Sculptors' Drawings of Inner Space

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By Leafy Ways (No. 58)

Early Works by Ivor Abrahams

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A Kick in the Teeth (No.57)

The Equestrian Monument to 'Field Marshall Earl Haig, Commander-in-Chief of the British Armies in France 1915-1918' by Alfred Hardiman

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Indoors and Out (No.56)

The Sculpture and Design of Bernard Schottlander

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Drawing on Sculpture (No. 55)

Graphic Interventions on the Photographic Surface

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Russian Berlin in the 1920's (No. 54)

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The 'Open Secret' of Alfred Gilbert's Male Nudes (No. 53)

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Ian Breakwell's UNWORD, 1969-70: early performance art in Britain (No. 52)

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Sensing Sculpture at the time of the French Revolution (No.51)

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The Sculpture of Stephen Gilbert and Jocelyn Chewett in Post-War Paris (No.50)

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Thomas Woolner: Seeing Sculpture Through Photography (No.49)

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Shallow Space: Modernism's Civilising Norm (No. 48)

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Passing By: Architectural Sculpture in Inter-War London (No. 47)

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Medieval and Modern: Direct Carving In the Work of Gill and Barlach (No. 46)

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The Break-Up of New British Sculpture (No. 45)

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First Things: Sculpture and Maternity (No. 44)

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Nicholas Pope: the Sacred and the Profane (No. 43)

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Making History: Edinburgh 1845 (No. 42)

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Refashioning the Figure: The sketchbooks of Archipenko c.1920 (No. 41)

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A Context of Commitment: The Sculpture of Betty Rea (No. 40)

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A Fine Tomorrow: Sculpture and Socialism in mid-century Britain (No. 39)

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Gaston Lachaise and 'Elevation' 1912-27 (No. 38)

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Model Forms: Sculpture/Architecture in 50s and 60s' Britain (No. 37)

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Shine: Sculpture and Surface in the 1920s and 1930s (No. 36)

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'The Conquest of Space': On the Prevalence of Maps in Contemporary Art (No. 35)

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Enchanted Monuments: Inside and Outside Jean Dubuffet (No. 34)

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Things to Come: Eric Kennington's War God (No. 33)

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Le Corbusier-Savina (No. 32)

Ineffable Monsters: Sculpture with and against 'Architecture'

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The Cult of the Statuette In Late Victorian Britain (No. 31)

From the collections of Leeds Museums & Galleries

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Ornament as Sculpture (No. 30)

The Sam Wilson Chimneypiece in Leeds City Art Gallery

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Attending to the Barely Made (No. 29)

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Sculpture in Literature (No. 28)

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Etienne-Martin (No. 27)

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The Encounter & The Struggle: Lipchitz Maquettes 1928 - 1942 (No. 26)

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Frederick Thrupp (1812-1895): Survivals from a Sculptor's Studio (No. 25)

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Sampled: The use of fabric in sculpture (No. 24)

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Gilbert Bayes (1872-1953): From Arts and Crafts to the Light Monumental (No. 23)

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The Space of the Page: Sequence, Continuity & Material (No. 22)

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Work and the Image: The image of the worker in the work of the sculptor (No. 21)

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Peter Shelton: Soul Soundings (No. 20)

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Rodin: Rhythm and Ritual (No. 19)

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Eric Gill in Yorkshire (No. 18)

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'More and Less': The Early Work of Richard Long (No. 17)

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Michael Kidner: Making Maps, Looking for Landmarks (No. 16)

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Chromaphobia (No. 15)

Ancient and Modern, and a Few Notable Exceptions

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Peter Scheemakers: 'The Famous Statuary' 1691-1781 (No. 14)

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Sleep in Sculpture: Babies from the Bowes (No. 13)

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Duel (No. 12)

Tracy Mackenna and Karla Sachse in a Henry Moore Institute Fellowship project curated by Kerstin Mey

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On Artistic Knowledge: Notes for a Minor Platonic Exercise (No. 11)

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Quatremère de Quincy's Role in the Revival of Polychromy in Sculpture (No. 10)

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