Sources and Further Reading

In most instances, the sources from which these manifestos have been reproduced are the first port of call for readers wishing to find out more. On those occasions where that is not the case, then alternative suggestions for further reading have been specified where they exist.

For permission to use the manifestos collected here, we are most grateful to the following:

  M1. ‘Art and Swadeshi’ (1909), by Ananda K. Coomaraswamy. First published in the Central Hindu College Magazine, vol. 9 (1909). Text taken from Ananda K. Coomaraswamy, Art and Swadeshi (Madras: Ganesh & Co., 1912).

  M2. ‘Manifest Zenitizma’ (1921), by Ljubomir Micić. First published in Zenit (Zenith), no. 1 (February 1921). English text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Translation by Branka Nikolić Arrivé. Reprinted here by kind permission of the National Museum in Belgrade.

  M3. Manifesto of the Art Movement Society (1929), by Lin Fengmian. First published in Yapole (Apollo), no. 8 (1929). English text taken from Shanghai Modern, 1919–1945, ed. Jo-Anne Birnie Danzker, Ken Lum, Zheng Shengtian (Ostfildern: Hatje Cantz, 2004). Translation by Michael Fei.

  M4. Légitime Défense Manifesto (1932). First published in Légitime défense (Legitimate Defence), no. 1 (June 1932). English text taken from Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, ed. Franklin Rosemont and Robin D. G. Kelley (Austin, TX: University of Texas Press, 2009). Translation by Alex Wilder. Reprinted here by kind permission of Robin D. G. Kelley and Surrealist Editions, Chicago.

  M5. Manifesto of the Storm Society (1932). First published in Yishu xunkan (Art Journal), vol. 1, no. 5 (October 1932). English text taken from Shanghai Modern, 1919–1945, ed. Jo-Anne Birnie Danzker, Ken Lum, Zheng Shengtian (Ostfildern: Hatje Cantz, 2004). Translation by Michael Fei. Copyright © The Storm Society, 1932.

  M6. ‘D Group Manifesto’ (1933), by Peyami Safa. First published in the exhibition catalogue d Grubunu Takdim (Introducing the d Group) (Istanbul, 1933). English text taken from d Grubu = d Group, 1933–1951, ed. Nihal Elvan (Istanbul: Yapı Kredi Yayınları, 2004). Translation by Mary Işin. Copyright © Peyami Safa, 1933.

  M7. ‘Nègreries: Black Youth and Assimilation’ (1935), by Aimé Césaire. First published in L’Étudiant noir (The Black Student), no. 1 (March 1935). English text taken from Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, ed. Franklin Rosemont and Robin D. G. Kelley (Austin, TX: University of Texas Press, 2009). Translation by Dale Tomich. Reprinted here by kind permission of Robin D. G. Kelley and Surrealist Editions, Chicago. Copyright © Aimé Césaire Estate, 1935.

  M8. Manifesto of the European School (1945). First published in Az Európai Iskola füzetei (Brochures of the European School) (Budapest: Misztótfalusi, Budapest, 1946). English text taken from Éva Forgács, Hungarian Art: Confrontation and Revival in the Modern Movement (Los Angeles: DoppelHouse Press, 2016). Translation © Éva Forgács, 2016.

  M9. ‘Manifesto’ (1945), by Georges Henein. First published in the pamphlet L’Enfance de la chose (The Childhood of the Thing) (Cairo, 1945). English text taken from Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, ed. Franklin Rosemont and Robin D. G. Kelley (Austin, TX: University of Texas Press. 2009). Translation by P. Wood. Reprinted here by kind permission of Robin D. G. Kelley and Surrealist Editions, Chicago. Copyright © Georges Henein, 1945.

 M10. ‘Madí Manifesto’ (1947), by Gyula Košice. First published in Arte Madí’s journal in 1947. English text taken from Dawn Ades, Art in Latin America: The Modern Era, 1820–1980 (New Haven, CT: Yale University Press, 1989). Copyright © Gyula Košice, 1947.

 M11. ‘Explosionalism Manifesto No. 2’ (1949), by Vladimír Boudník. First published in Tvář (Face), no. 9 (March 1949). Text taken from M. Nešlehová et al., Český informel: Průkopníci abstrakce z let 1957–1964 (Czech Informel: Pioneers of Abstraction, 1957–1964) (Prague: Galerie hlavního města Prahy, 1991). New translation by Dan and Pavlína Morgan. Copyright © Vladimír Boudník, 1949.

 M12. ‘Manifesto of the Baghdad Modern Art Group’ (1951), by Shakir Hassan al-Said. First published in Al-Adib, vol. 10, no. 7 (July 1951). English text taken from Modern Art in the Arab World: Primary Documents, ed. Anneka Lenssen, Sarah A. Rogers and Nada Shabout (New York: Museum of Modern Art, forthcoming). Translation by Dina El Husseiny. Translation copyright © MoMA, 2017/18. See further, Al-Bayanat al-Fanniyya fi al-Iraq (Art Manifestos in Iraq), ed. Shakir Hassan al-Said (Baghdad: Wizarat al-Ilam, Mudiriyyat al-Thaqafa al-Amma, 1973).

 M13. ‘The Nightingale’s Butcher Manifesto’ (1951), by the Fighting Cock Art Group. First published in Khorous-e jangi (Fighting Cock) (June 1951). English text taken from ARTMargins, vol. 3, no. 2 (June 2014). Translation by Bavand Behpoor. Courtesy of Bavand Behpoor and the Library, Museum and Document Centre of the Parliament of Iran. Translation copyright © ARTMargins and the Massachusetts Institute of Technology, 2014.

 M14. Manifesto of Exat 51 Group. First self-published by Exat 51 in December 1951. English text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Translation by Branka Nikolić Arrivé. Translation copyright © MIT Press, 2003. Reprinted by kind permission of the Institute for the Research of the Avant-Garde, the Marinko Sudac Collection.

 M15. ‘ruptura Manifesto’ (1952), by Waldemar Cordeiro. First published in the newspaper Correio Paulistano, 11 January 1953. English text taken from Mari Carmen Ramírez and Héctor Olea, Inverted Utopias: Avant-Garde Art in Latin America (New Haven, CT: Yale University Press in association with the Museum of Fine Arts, Houston, 2004). Translation by Laura Pérez. Reprinted here by kind permission of Waldemar Cordeiro Estate, and Luis Sacilotto Estate, with thanks to Analivia Cordeiro and Valter Sacilotto. Copyright © Grupo ruptura, 1952.

 M16. ‘Manifesto of the Calcutta Group’ (1953) (extract). First self-published in a Calcutta Group handbook in 1953. Text taken from Sanjoy Malik, ‘The Calcutta Group (1943–1953)’, in Art & Deal, vol. 3, no. 2 (October–December 2004). Copy of the text kindly provided by Asia Art Archive. See further, Pran Nath Mago, Contemporary Art in India: A Perspective (New Delhi: National Book Trust, India, 2001).

 M17. ‘Interplanetary Art’ (1959), by Enrico Baj. First published in Il gesto (The Gesture), no. 4 (September 1959). English text taken from The Catalogue Raisonné for Baj’s Complete Works, ed. Enrico Crispolti, Roberta Cerini Baj, Henry Martin, Herbert Lust (Turin: Giulio Bolaffi, 1973). Translation by Henry Martin. Reprinted here by kind permission of Roberta Cerini Baj. Copyright © Estate of Enrico Baj, 1959.

 M18. ‘Natural Synthesis’ (1960), by Uche Okeke. First published in Art Society, Zaria (October, 1960). Text taken from Seven Stories about Modern Art in Africa, ed. Clémentine Deliss and Jane Havell (London: Whitechapel Art Gallery, 1995). Reprinted here by kind permission of Ijoema Okeke. Copyright © Uche Okeke, 1960.

 M19. ‘For the Restitution of Magma’ (1961), by El Techo de la Ballena. First published in Rayado sobre el Techo de la Ballena (Stripes on the Roof of the Whale), no. 1 (March 1961). English text taken from Alfredo Boulton and His Contemporaries: Critical Dialogues in Venezuelan Art, 1912–1974, ed. Ariel Jiménez (New York: Museum of Modern Art, 2008). Translation by Laura Pérez. Translation copyright © MoMA, 2008.

 M20. ‘Untitled (Gorgona Manifesto)’ (1961), by Josip Vaništa. First published in Gorgona, no. 1 (Easter 1961). English text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Translation copyright © MIT Press, 2003. Translation by Branka Nikolić Arrivé. Reprinted here by kind permission of the Institute for the Research of the Avant-Garde, the Marinko Sudac Collection. Copyright © Josip Vaništa, 1961.

 M21. ‘A Statement of Principles’ (1961), by Maya Deren. First published in Film Culture, nos. 22–3 (Summer 1961). Text taken from Film as Film: Formal Experiment in Film, 1910–1975 (London: Arts Council of Great Britain, 1979). With thanks to Anthology Film Archives. See further, VèVè A. Clark, Millicent Hodson and Catrina Neiman, The Legend of Maya Deren: A Documentary Biography and Collected Works, 2 vols (New York: Anthology Film Archives/Film Culture, 1984–8). Copyright © Maya Deren, 1961.

 M22. ‘Manifesto of the Jikan-Ha Group’ (1962), by Nakazawa Ushio. First self-published by Jikan-Ha as a flyer in 1962. English text taken from From Postwar to Postmodern: Art in Japan 1945–1989. Primary Documents, ed. Doryun Chong, Michio Hayashi, Kenji Kajiya and Fumihiko Sumitomo (New York: Museum of Modern Art, 2012). Translation by Christopher Stephens. Reprinted here by kind permission of Nakazawa Hideko. Copyright © Nakazawa Ushio, 1962.

 M23. ‘Group 1890 Manifesto’ (1963), by Jagdish Swaminathan. First published in the exhibition catalogue Group 1890 (New Delhi, 1963). Copy of the text kindly provided by Asia Art Archive. Copyright © Jagdish Swaminathan, 1963. See further, Pran Nath Mago, Contemporary Art in India: A Perspective (New Delhi: National Book Trust, India, 2001).

 M24. ‘Manifesto Vivo-Dito’ (1963), by Alberto Greco. Original unpublished manuscript can be seen on the website Documents of 20th-Century Latin American and Latino Art (International Center for the Arts of the Americas at the Museum of Fine Arts, Houston) at www.icaadocs.mfah.org. English text taken from Listen Here Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Inés Katzenstein (New York: Museum of Modern Art, 2004). Translation by Marguerite Feitlowitz. Copyright © Alberto Greco, 1963.

 M25. ‘The Emballage Manifesto’ (1964), by Tadeusz Kantor. First published in Opus, no. 6 (September 1968). English text taken from Tadeusz Kantor, A Journey through Other Spaces: Essays and Manifestos, 1944–1990, ed. and trans. by Michal Kobialka (Berkeley, CA: University of California Press, 1993). Reprinted here by kind permission of Maria Kantor and Dorota Krakowska. Copyright © Maria Kantor, Dorota Krakowska, 1993.

 M26. ‘Manifesto of Aktual Art’ (1964), by Milan Knížák, Jan Mach, Vit Mach, Soňa Švecová and Jan Trtílek. First published in Aktualní umêní (Contemporary Art), no. 1 (October 1964). English translation of the text kindly provided by Milan Knížák. Reprinted here by kind permission of the artists. Copyright © Milan Knížák, Jan Mach, Vit Mach, Soňa Švecová, Jan Trtílek, 1963–5. See further, Marian Mazzone, ‘Drawing Conceptual Lessons from 1968’, Third Text: Critical Perspective on Contemporary Art and Culture, vol. 23, no. 1 (January 2009).

 M27. ‘Material Action Manifesto’ (1965), by Otto Mühl. First published in Le Marais (July 1965). English text taken from Brus, Muehl, Nitsch, Schwarzkogler: Writings of the Vienna Actionists, ed. and trans. Malcolm Green (London: Atlas Press, 1999). Translation © Malcolm Green, 1999. Copyright © Otto Mühl Archive, 1965.

 M28. ‘HAPPSOC Manifesto’ (1965), by Stano Filko, Alex Mlynárčik and Zita Kostrová. First published in Stano Filko – 1965/69 (Bratislava: A-Press 1970). English text taken from Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, ed. Laura Hoptman and Tomáš Pospiszyl (New York: Museum of Modern Art, 2002). Translation by Eric Dluhosch. Reprinted here by kind permission of the Institute for the Research of the Avant-Garde, the Marinko Sudac Collection. Copyright © HAPPSOC, 1965.

 M29. ‘MMMMMMM … Manifesto (a fragment)’ (1965), by David Medalla. First published in Signals Newsbulletin, no. 8 (June 1965). Copy of the text kindly provided by David Medalla. Reprinted here by kind permission of David Medalla. Copyright © David Medalla, 1965. See further, Guy Brett, Exploding Galaxies: The Art of David Medalla (London: Kala, 1995).

 M30. ‘Anti-Happening (Subjective Objectivity System)’ (1965), by Július Koller. Translation courtesy of the Július Koller Society. Reprinted here by kind permission of the Institute for the Research of the Avant-Garde, the Marinko Sudac Collection. Copyright © Július Koller, 1965. See further, http://www.tate.org.uk/art/artists/julius-koller-10345.

 M31. ‘A Mass-Mediatic Art’ (1966), by Eduardo Costa, Raúl Escari and Roberto Jacoby. First published in Happenings, ed. Oscar Masotta (Buenos Aires: Editorial Jorge Álvarez, 1967). English text taken from Mari Carmen Ramírez and Héctor Olea, Inverted Utopias: Avant-Garde Art in Latin America (New Haven, CT: Yale University Press in association with the Museum of Fine Arts, Houston, 2004). Translation by Héctor Olea. Reprinted here by kind permission of the artists. Copyright © Eduardo Costa, Raúl Escari, Roberto Jacoby, 1966.

 M32. ‘OHO’ (1966), by I. G. Plamen and Marko Pogačnik. First published in Tribuna, no. 6 (November 1966). English text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Translation by Branka Nikolić Arrivé. Reprinted here by kind permission of the artists. Copyright © I. G. Plamen and Marko Pogačnik, 1966.

 M33. ‘A Kinetic Manifesto’ (1966), by Lev Nussberg. Originally distributed privately in manuscript in 1966. English text taken from Igor Golomshtok and Alexander Glezer, Unofficial Art from the Soviet Union, ed. Michael Scammell (London: Secker & Warburg, 1977). Reprinted here by kind permission of Index on Censorship. Copyright © Lev Nussberg, 1966.

 M34. ‘The Aouchem Manifesto’ (1967), by the Aouchem Group. First self-published by the Aouchem Group in 1967. English text taken from Critical Interventions: Journal of African Art History and Visual Culture, vol. 3, no. 1 (2009). Translation by Susan Greenspan and Cynthia Becker. Reprinted here by kind permission of Denis Martinez. Copyright © Aouchem Group, 1967.

 M35. ‘Tucumán Arde Manifesto’ (1968), by the Vanguard Artists’ Group. First self-published by the Vanguard Artists’ Group in 1968. English text taken from Mari Carmen Ramírez and Héctor Olea, Inverted Utopias: Avant-Garde Art in Latin America (New Haven, CT: Yale University Press in association with the Museum of Fine Arts, Houston, 2004). Translation by Julieta Fombona. Copyright © Vanguard Artists’ Group, 1968.

 M36. ‘Useful Art Manifesto’ (1969), by Eduardo Costa. First published as part the Street Works event (New York, 1969). Reprinted here by kind permission of Eduardo Costa. Copyright © Eduardo Costa, 1969. See further, Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Inés Katzenstein (New York: Museum of Modern Art, 2004).

 M37. Manifesto of the Casablanca School (1969). First published in Lamalif, no. 30 (May–June 1969). Copy of the text kindly provided by Katarzyna Pieprzak. New translation by Hervé Sanchez. Copyright © Casablanca School, 1969. See further, Katarzyna Pieprzak, ‘Moroccan Art Museums and Memories of Modernity’, in A Companion to Modern African Art, ed. Gitti Salami and Monica Blackmun Visonà (Malden, MA: Wiley-Blackwell, 2013).

 M38. ‘Why Are We “Artists”?’ (1969), by Hori Kōsai. First published in Hikosaka Naoyoshi, Hanpuku: Shinkō geijutsu no isō (Recurrence: Phases of New Art) (Shoten: Tokyo, 1974). English text taken from From Postwar to Postmodern: Art in Japan 1945–1989. Primary Documents, ed. Doryun Chong, Michio Hayashi, Kenji Kajiya and Fumihiko Sumitomo (New York: Museum of Modern Art, 2012). Translation by Ken Yoshida. Reprinted here by kind permission of Hori Kōsai. Copyright © Hori Kōsai, 1969.

 M39. ‘Pan-African Cultural Manifesto’ (1969), by the Organization of African Unity (extract). First published in Présence Africaine, no. 71 (1969). English text taken from Africa Today, vol. 17, no. 1 (January–February 1970). Africa Today © 1970 Indiana University Press.

 M40. ‘A Manifesto’ (1969), by Agnes Denes. Text taken from Feminist Art Manifestos: An Anthology, ed. Katy Deepwell (London: KT Press, 2014). Copyright © Agnes Denes, 1969. See further, Agnes Denes: Work, 1969–2013, ed. Florence Derieux (Milan: Mousse Publishing, 2016).

 M41. ‘Towards a New Vision’ (1969), by Dia al-Azzawi, Rafa al-Nasiri, Muhammad Mahr al-Din, Ismail Fattah, Hashem Samarji and Saleh al-Jumaie. First published in Al-Bayanat al-Fanniyya fi al-Iraq (Art Manifestos in Iraq), ed. Shakir Hassan al-Said (Baghdad: Wizarat al-Ilam, Mudiriyyat al-Thaqafa al-Amma, 1973). English text taken from Modern Art in the Arab World: Primary Documents, ed. Anneka Lenssen, Sarah A. Rogers and Nada Shabout (New York: Museum of Modern Art, forthcoming). Translation by the editors. Translation copyright © MoMA, 2017/18. See further, the Modern Art Iraq Archive website at https://artiraq.org/maia/.

 M42. ‘The Vértebra Manifesto’ (1970), by Grupo Vértebra. First published in Alero (March 1970). Copy kindly provided by Rodrigo Fernández. New translation by Ángel Gurría-Quintana. Reprinted here by kind permission of Rodrigo Fernández. Copyright © Grupo Vértebra, 1970.

 M43. ‘MUD/MEAT SEWER’ (1970), by Artur Barrio. First published in Artur Barrio: Barrio-Beuys (Ghent: Stedelijk Museum voor Actuele Kunst, 2005). With thanks to Jeffry Dean Archer at the University of Chicago Library. Reprinted here by kind permission of Artur Barrio. Copyright © Artur Barrio, 1970.

 M44. ‘The First Pseudo Manifesto’ (1970), by Gyula Pauer. First self-published by Gyula Pauer as a flyer in 1970. English text taken from Subversive Practices: Art under Conditions of Political Repression, 60s–80s South America and Europe, ed. Hans D. Christ and Iris Dressler (Ostfildern: Hatje Cantz, 2010). Reprinted here by kind permission of Gellért Pauer and Emánuel Pauer. Copyright © Estate of Gyula Pauer, 1970. Translation © Hatje Cantz.

 M45. ‘On Woman’s Absence from Celebratory Manifestations of Male Creativity’ (1971), by Rivolta Femminile. First published in Carla Lonzi, Sputiamo su Hegel: La donna clitoridea e la donna vaginale e altri scritti (Let’s Spit on Hegel: The Clitoral Woman and the Vaginal Woman, and Other Writings) (Milan: Scritti di Rivolta Femminile, 1974). New translation by Carla Zipoli. Published courtesy of Battista Lena. Copyright © Carla Lonzi Estate, 1974.

 M46. ‘Proposition for a Black Power Manifesto’ (1971), by Ted Joans. First published in Arsenal: Surrealist Subversion, No. 2 (1973). Text taken from Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, ed. Franklin Rosemont and Robin D. G. Kelley (Austin, TX: University of Texas Press, 2009). Reprinted here by kind permission of Laura Corsiglia. Copyright © Ted Joans Estate, 1971.

 M47. ‘NET Manifesto’ (1972), by Jarosław Kozłowski and Andrzej Kostołowski. First published in Mail Art: Osteuropa im Internationalen Netzwerk (Eastern European Mail Art: International Network), (Schwerin: Staatliches Museum, Schwerin, 1996). Text taken from ‘NET, Jarosław Kozłowski in Conversation with Klara Kemp-Welch’, in ARTMargins, vol. 1, no. 2–3 (June–October 2012). Reprinted here by kind permission of the artists. Copyright © Jarosław Kozłowski and Andrzej Kostołowski, 1972.

 M48. ‘Women’s Art: A Manifesto’ (1972), by VALIE EXPORT. First published in Neues Forum, no. 228 (January 1973). English text taken from Feminist Art Manifestos: An Anthology, ed. Katy Deepwell (London: KT Press, 2014). Translation by Regina Haslinger. Reprinted here by kind permission of the artist. Copyright © VALIE EXPORT, 1972. See further, Sabeth Buchmann et al., VALIE EXPORT: Zeit und Gegenzeit / Time and Countertime (Cologne: Walther Konig, 2010).

 M49. ‘I don’t know what to think about anything (It don’t matter, nohow)’ (1972), by Mike Brown. First self-published by Mike Brown in 1972. Copy of the text kindly provided by Art Gallery NSW Research Library. Reprinted here by kind permission of Zen Lucas. Copyright © Estate of Mike Brown, 1972. See further, Richard Haese, Permanent Revolution: Mike Brown and the Australian Avant-Garde, 1953–1997 (Melbourne: Miegunyah Press, 2011).

 M50. ‘Sots-Art Manifesto’ (1972–3), by Vitaly Komar and Aleksandr Melamid. Originally distributed privately in manuscript in 1972–3. Copy of the English text translated and provided by Vitaly Komar. Copyright © Vitaly Komar and Aleksandr Melamid, 1972–3. See further, Komar/Melamid: Two Soviet Dissident Artists, ed. Melvyn B. Nathanson (Carbondale, IL: Southern Illinois University Press, 1979).

 M51. ‘Statement on Censorship’ (1973), by Anita Steckel. First published in the Village Voice weekly newspaper, 29 March 1973. Text taken from the copy in the Anita Steckel archives at the National Museum of Women in the Arts, Washington, DC. Reprinted here by kind permission of Rachel Middleman on behalf of the Estate of Anita Steckel, with thanks to the Betty Boyd Dettre Library and Research Center. Copyright © Anita Steckel, 1973. See further, Rachel Middleman, ‘Anita Steckel’s Feminist Montage: Merging Politics, Art, and Life’, Woman’s Art Journal, vol. 34, no. 1 (Spring–Summer, 2013).

 M52. ‘One Dimension’ (1973), by Shakir Hassan al-Said. First published in the One Dimension Group’s exhibition catalogue, 1973. New translation by Sue Copeland. See further, Nada M. Shabout, Modern Arab Art: Formation of Arab Aesthetics (Gainesville, FL: University Press of Florida, 2007).

 M53. ‘The History, Philosophy and Aesthetics of AFRI-COBRA’ (1973), by Barbara Jones-Hogu. First published in the exhibition catalogue AFRI-COBRA III (University of Massachusetts at Amherst, 1973). Text from a copy provided by the Brooklyn Museum Archives. Reprinted here by kind permission of the artist. Copyright © Barbara Jones-Hogu, 1973. See further, Rebecca Zorach, ‘ “Dig the Diversity in Unity”: AfriCOBRA’s Black Family’, in Afterall, no. 28 (Autumn–Winter 2101).

 M54. ‘Manifesto Generation Anak Alam’ (1974), by Generation Anak Alam. First published in Dewan Sastra (Arts Council) (June 1974). Copy of the text kindly provided by Ali Rahamad. Translation by Wong Hoy Cheong. Reprinted here by kind permission of Ali Rahamad. Copyright © Anak Alam, 1974. See further, Narratives in Malaysian Art, Volume 2: Reactions – New Critical Strategies, ed. Nur Hanim Khairuddin and Beverly Yong (Kuala Lumpur: RogueArt, 2013).

 M55. ‘Towards a Mystical Reality’ (1974), by Sulaiman Esa and Redza Piyadasa. First published in the exhibition catalogue Towards a Mystical Reality (Kuala Lumpur, 1974). Copy of the text kindly provided by the Australian National University Library and Sulaiman Esa. Reprinted here by kind permission of Sulaiman Esa. Copyright © Redza Piyadasa and Suleiman Esa, 1974. See further, Patrick D. Flores, ‘First Person Plural: Manifestos of the 1970s in Southeast Asia’, in Global Studies: Mapping Contemporary Art and Culture, ed. Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Ostfildern: Hatje Cantz, 2011).

 M56. ‘Metaphysical Synthetism Manifesto: Programme of the St Petersburg Group’ (1974), by Mikhail Chemiakin and Vladimir Ivanov (extract). Originally distributed privately in manuscript in 1974. English text taken from Igor Golomshtok and Alexander Glezer, Unofficial Art from the Soviet Union, ed. Michael Scammell (London: Secker & Warburg, 1977). Reprinted here by kind permission of Index on Censorship. Copyright © Mikhail Chemiakin and Vladimir Ivanov, 1974.

 M57. ‘Manifesto of the Artists’ Front of Thailand’ (1975). Originally distributed privately in manuscript in 1975. New translation by Dr Kritsana Canilao, 2011. Reprinted here by kind permission of the artists. Copyright © Artists’ Front of Thailand, 1975. See further, Patrick D. Flores, ‘First Person Plural: Manifestos of the 1970s in Southeast Asia’, in Global Studies: Mapping Contemporary Art and Culture, ed. Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Ostfildern: Hatje Cantz, 2011).

 M58. ‘Manifesto of the Indonesian New Arts Movement’ (1975). First published in Gerakan Seni Rupa Baru (New Arts Movement), ed. Jim Supangkat (Jakarta: Gramedia, 1979). Copy of the text kindly provided by F. X. Harsono. Reprinted here by kind permission of F. X. Harsono. Copyright © Indonesian New Art Movement, 1975. See further, Patrick D. Flores, ‘First Person Plural: Manifestos of the 1970s in Southeast Asia’, in Global Studies: Mapping Contemporary Art and Culture, ed. Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Ostfildern: Hatje Cantz, 2011).

 M59. ‘Preliminary Notes for a BLACK MANIFESTO’ (1975–6), by Rasheed Araeen. First published in Black Phoenix, no. 1 (January 1978). Reprinted here by kind permission of the artist. Copyright © Rasheed Araeen, 1975–6. See further, Rasheed Araeen, Making Myself Visible (London: Kala Press, 1984).

 M60. Manifesto of the Azad Group (1976). First published in the exhibition catalogue Gonj va Gostareh II (Volume and Environment II) (1976). English text taken from ARTMargins, vol. 3, no. 2 (June 2014). Translation by Bavand Behpoor. Translation copyright © ARTMargins and the Massachusetts Institute of Technology, 2014.

 M61. ‘Kaisahan Manifesto’ (1976). Originally distributed privately in manuscript in 1976. English text taken from Alice Guillermo, Protest/Revolutionary Art in the Philippines, 1970–1990 (Quezon City: University of the Philippines Press, 2001). Copy of the text kindly provided by the artists. Copyright © Kaisahan, 1976. See further, Patrick D. Flores, ‘First Person Plural: Manifestos of the 1970s in Southeast Asia’, in Global Studies: Mapping Contemporary Art and Culture, ed. Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Ostfildern: Hatje Cantz, 2011).

 M62. ‘Manifesto for a Radical Femininity for an Other Cinema’ (1977), by Maria Klonaris and Katerina Thomadaki. First published in CinémAction, no. 1 (May 1978). English text taken from Feminist Art Manifestos: An Anthology, ed. Katy Deepwell (London: KT Press, 2014). Translation by Cécile Chich and Katerina Thomadaki. Reprinted here by kind permission of Katerina Thomadaki. Copyright © KLONARIS/THOMADAKI, 1977. All rights reserved. See further, Maria Klonaris and Katerina Thomadaki, KLONARIS/THOMADAKI: Manifestes, 1976–2002 (Paris: Éditions Paris Expérimental, 2003).

 M63. ‘Art Hysterical Notions of Progress and Culture’ (1978), by Valerie Jaudon and Joyce Kozloff. First published in Heresies: A Feminist Publication on Art and Politics, vol. 1, no. 4 (Winter 1978). Reprinted here by kind permission of the artists. Copyright © Valerie Jaudon and Joyce Kozloff, 1978.

 M64. ‘Waste Not Want Not: An Inquiry into What Women Saved and Assembled – Femmage’ (1978), by Melissa Meyer and Miriam Schapiro. First published in Heresies: A Feminist Publication on Art and Politics, vol. 1, no. 4 (Winter 1978). Reprinted here by kind permission of Melissa Meyer. Copyright © Melissa Meyer and Miriam Schapiro, 1978.

 M65. Manifesto of Grupo Antillano (1978). Originally presented by Grupo Antillano as an exhibition poster in 1978. English text taken from Grupo Antillano: The Art of Afro-Cuba / El arte de Afro-Cuba, ed. Alejandro de la Fuente (Santiago de Cuba: Fundación Caguayo, 2013). Translation by Tom Holloway. Reprinted here by kind permission of Alejandro de la Fuente. Copyright © Grupo Antillano, 1978.

 M66. ‘The Crystalist Manifesto’ (1978), by the Crystalist Group. First published in the exhibition catalogue Tradition and Contempora(neity) (1978). English text taken from Seven Stories about Modern Art in Africa, ed. Clémentine Deliss and Jane Havell (London: Whitechapel Art Gallery, 1995). Translation by Salah M. Hassan. Reprinted here by kind permission of Salah M. Hassan. Copyright © Kamala Ibrahim Ishaq, Muhammad Hamid Shaddad and Nayla El Tayib, 1978.

 M67. ‘manifesto of manifesto’ (1978), by Mangelos. First published in Mangelos, manifesto of manifesto (Zagreb: Tošo Dabac Atelier, 1978). Text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Copyright © Mangelos, 1978.

 M68. ‘Preface to the First Stars Art Exhibition’ (1979), by Huang Rui. Originally presented by the Stars Group as an exhibition poster in 1979. English text taken from Contemporary Chinese Art: Primary Documents, ed. Wu Hung (New York: Museum of Modern Art, 2010). Translation by Philip Tinari. Copyright © Stars Group, 1979. See further, Huang Rui: The Stars’ Times, 1977–1984, ed. Huang Rui (Beijing: Thinking Hands and Guanyi Contemporary Art Archive, 2007).

 M69. ‘Animal Manifesto’ (1980), by Andrzej Partum. Originally presented by Andrzej Partum as a poster for the 18th International Meeting of Artists, Scientists and Art Theorists (Międzynarodowe Spotkania Artystów, Naukowców i Teoretyków Sztuki) in 1980. Courtesy Wanda Lacrampe. Copyright © Andrzej Partum, 1980. See further, Art Always Has Its Consequences (Zagreb: WHW, 2010).

 M70. ‘On Founding “Reality and Utterance” ’ (1980), by Reality and Utterance. First published in Reality and Utterance’s exhibition catalogue in 1980. English text taken from Haegue Yang, Condensation (Seoul: Arts Council Korea, 2009). Translation by Doryun Chong, with thanks to Asia Art Archive. Copyright © Reality and Utterance, 1980. See further, Sohl Lee, ‘Images of Reality / Ideals of Democracy: Contemporary Korean Art, 1980s–2000s’ (PhD thesis: University of Rochester, New York, 2014).

 M71. ‘Maghrebian Surrealism’ (1981), by Habib Tengour. First published in Peuples méditerranéens (Mediterranean People), no. 17 (October–December 1981). English text taken from Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, ed. Franklin Rosemont and Robin D. G. Kelley (Austin, TX: University of Texas Press, 2009). Translation by Myrna Bell Rochester. Reprinted here by kind permission of Robin D. G. Kelley and Surrealist Editions, Chicago. Copyright © Habib Tengour, 1981.

 M72. ‘Black Artists for Uhuru’ (1982), by Eddie Chambers. First published in Moz-Art: The Arts Magazine of the West Midlands, no. 5 (March–July 1982). Copy of the text kindly provided by the Blk Arts Archive. Copyright © Eddie Chambers, 1982. See further, Shades of Black: Assembling Black Arts in 1980s Britain, ed. David A. Bailey, Ian Baucom and Sonia Boyce (Durham, NC: Duke University Press, 2005).

 M73. ‘A Declaration by the CADA’ (1982), by Colectivo de Acciones de Arte. First published in Ruptura: Documento de arte (August 1982). Copy of the text kindly provided by Lotty Rosenfeld. New translation by Ángel Gurría-Quintana. Copyright © CADA, 1982.

 M74. ‘Black Independent Film-Making: A Statement by the Black Audio Film Collective’ (1983), by John Akomfrah. First published in Artrage: Inter-Cultural Arts Magazine, no. 3–4 (Summer 1983). Copyright © John Akomfrah, 1983. See further, The Ghosts of Songs: The Film Art of the Black Audio Film Collective, 1982–1998, ed. Kodwo Eshun and Anjalika Sagar (Liverpool: Liverpool University Press, 2007).

 M75. ‘Women Artists of Pakistan Manifesto’ (1983). First published in Salima Hashmi, Unveiling the Visible: Lives and Works of Women Artists of Pakistan (Lahore: Sang-e-Meel Publications, 2002). Text taken from Feminist Art Manifestos: An Anthology, ed. Katy Deepwell (London: KT Press, 2014).

 M76. ‘The San Francisco Manifesto’ (1984), by Bedri Baykam. First self-published by Bedri Baykam as a flyer in 1984. Copy of the text kindly provided by Bedri Baykam. Copyright © Bedri Baykam, 1984. See further, Bedri Baykam, Monkeys’ Right to Paint and the Post-Duchamp Crisis: The Fight of a Cultural Guerilla for the Rights of Non-Western Artists and the Empty World of the Neo-Ready-Mades (Istanbul: Literatür, 1994).

 M77. ‘The Vocovisual’ (1984), by Vladan Radovanović. First published in Vladan Radovanović, Vokovizuel (Belgrade: Galerija Doma Omladine, 1984). English text taken from Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991, ed. Dubravka Djurić and Miško Šuvaković (Cambridge, MA: MIT Press, 2003). Translation by Branka Nikolić Arrivé. Copyright © Vladan Radovanović, 1984.

 M78. ‘Memory of the Future?’ (1984), by Laboratoire AGIT’art. Originally distributed privately in manuscript in 1984. English text taken from Contemporary Art of Africa, ed. André Magnin and Jacques Soulillou (London: Thames & Hudson, 1996). Reprinted here by kind permission of the artists. Copyright © Laboratoire AGIT’art, 1984. See further, Clémentine Deliss, ‘Brothers in Arms: Laboratoire AGIT’art and Tenq in Dakar in the 1990s’, in Afterall, no. 36 (Summer 2014).

 M79. ‘Flyer for Plan for Sleep #1’ (1984), by Dumb Type. First self-published as a flyer by Dumb Type in 1984. Text taken from From Postwar to Postmodern: Art in Japan 1945–1989. Primary Documents, ed. Doryun Chong, Michio Hayashi, Kenji Kajiya and Fumihiko Sumitomo (New York: Museum of Modern Art, 2012). Reprinted here by kind permission of the artists. Copyright © Dumb Type, 1984.

 M80. ‘Manifesto Chinese United Overseas Artists’ (1985), by Chinese United Overseas Artists. Originally distributed privately in manuscript in 1985. Copy of the original manuscript can be seen on the Iconophilia website at www.iconophilia.net/ai-weiweis-1985-manifesto/. Reprinted here by kind permission of the artists. Copyright © Chinese United Overseas Artists, 1985.

 M81. ‘Internal Book of Laws’ (1985), by NSK. Originally distributed privately in manuscript in 1985. Copy of the text kindly provided by NSK (Neue Slowenische Kunst). With thanks to Michele Drascek. Reprinted here by kind permission of the artists. Copyright © NSK, 1985. See further, NSK: From Kapital to Capital, ed. Zdenka Badovinac, Eda Čufer and Anthony Gardner (Cambridge, MA: MIT Press, 2015).

 M82. ‘The Vohou-Vohou Revolution’ (1985), by Vohou-Vohou. Originally distributed privately in manuscript in 1985. English text taken from Contemporary Art of Africa, ed. André Magnin and Jacques Soulillou (London: Thames & Hudson, 1996). Reprinted here by kind permission of the artists. Copyright © Vohou-Vohou, 1985.

 M83. ‘Declaration of the Pond Association’ (1986). Originally distributed privately in manuscript in 1986. English text taken from Paul Gladston, Deconstructing Contemporary Chinese Art: Selected Critical Writings and Conversations, 2007–2014 (Heidelberg: Springer, 2015). Reprinted here by kind permission of the artists. Copyright © The Pond Association, 1986.

 M84. ‘We – Participants of the “’85 Art Movement” ’ (1986), by Wang Guangyi. First published in Zhongguo meishu bao (Fine Arts in China), no. 36 (September 1986). English text taken from Contemporary Chinese Art: Primary Documents, ed. Wu Hung (New York: Museum of Modern Art, 2010). Translation by Kristen Loring. Copyright © Wang Guangyi, 1986.

 M85. ‘There Have Always Been Great Blackwomen Artists’ (1986), by Chila Kumari Burman. First published in Women Artists Slide Library Journal, no. 15 (February 1987). Reprinted here by kind permission of the artist. Copyright © Chila Burman, 1986. See further, Visibly Female: Feminism and Art – An Anthology, ed. Hilary Robinson (London: Camden Press, 1987).

 M86. ‘Founding Manifesto’ (1986), by the School of the One. Originally distributed privately in manuscript in 1986. English text taken from Seven Stories about Modern Art in Africa, ed. Clémentine Deliss and Jane Havell (London: Whitechapel Art Gallery, 1995). Translation by Salah M. Hassan. Reprinted here by kind permission of Salah M. Hassan. Copyright © School of the One, 1986.

 M87. ‘Red Brigade Precept’ (1987), by Ding Fang. First published in Meishu sichao (The Trend of Art Thought), no. 1 (January–February 1987). English text taken from Contemporary Chinese Art: Primary Documents, ed. Wu Hung (New York: Museum of Modern Art, 2010). Translation by Phillip Bloom. Copyright © Ding Fang, 1987.

 M88. ‘Questions and Dialogue’ (1987), by Anita Dube. First published in the Kerala Radicals’ exhibition catalogue (Faculty of Fine Arts, Baroda, 1987). Copy of the text kindly provided by Asia Art Archive. Reprinted here by kind permission of Anita Dube. Copyright © Anita Dube, 1987. See further, Anita Dube, ‘Midnight Dreams: The Tragedy of a Lone Revolutionary’, and Shanay Jhaveri, ‘Mutable Bodies: K. P. Krishnakumar and the Radical Association’, both in Afterall, no. 36 (Summer 2014).

 M89. ‘The Eye Manifesto’ (1989), by the Eye Society. First published in The Eye Monograph (1989). Text taken from Seven Stories about Modern Art in Africa, ed. Clémentine Deliss and Jane Havell (London: Whitechapel Art Gallery, 1995). Reprinted here by kind permission of Jacob Jari. Copyright © The Eye Society, 1989.

 M90. ‘The Ear behind the Painting’ (1990), by Eda Čufer and IRWIN. First published in the exhibition catalogue Kapital (New York: PS1 Contemporary Art Center, 1991). Copy of the text kindly provided by the artists. With thanks to Michele Drascek. Reprinted here by kind permission of the artists. Copyright © Eda Čufer and IRWIN, 1990. See further, NSK: From Kapital to Capital, ed. Zdenka Badovinac, Eda Čufer and Anthony Gardner (Cambridge, MA: MIT Press, 2015).

 M91. ‘Cyberfeminist Manifesto for the 21st Century’ (1991), by VNS Matrix. First distributed online in 1991. Copy of the text kindly provided by the artists. Reprinted here by kind permission of the artists. Copyright © VNS Matrix, 1991. See further, the group’s website, VNS Matrix: Merchants of Slime, at vnsmatrix.net.

 M92. ‘Projekt Atol Manifesto: In Search for a New Condition’ (1993), by Marko Peljhan. First published in Theatre Topics, vol. 6, no. 2 (September 1996). Text taken from Johannes H. Birringer, Performance on the Edge: Transformations of Culture (London: The Athlone Press, 2000). Reprinted here by kind permission of the artist. Copyright © Marko Peljhan, 1993.

 M93. Manifesto of the Institute of People-Oriented Culture ‘Taring Padi’ (1998). Originally distributed privately in manuscript in 1998. Copy of the text kindly provided by the artists. Reprinted here by kind permission of the artists. Copyright © Taring Padi, 1998. See further, the group’s website at https://www.taringpadi.com/?lang=en.

 M94. ‘Manifesto of Frente 3 de Fevereiro’ (2004). Originally distributed privately in manuscript in 2004. Text taken from the group’s website at www.frente3defevereiro.com.br. New translation by Rory Campbell. Copyright © Frente 3 de Fevereiro, 2004. See further, Living as Form: Socially Engaged Art from 1991–2011, ed. Nato Thompson (New York: Creative Time Books, 2012).

 M95. ‘Against The “Black Code” edict of Louis XIV, 1685’ (2008), by Pélagie Gbaguidi. First published in Slavery in Art and Literature: Approaches to Trauma, Memory and Visuality, ed. Birgit Haehnel and Melanie Ulz (Berlin: Frank & Timme, 2010). Translation by Zoe Whitley. Copy of the text kindly provided by the artist. Copyright © Pélagie Gbaguidi, 2008.

 M96. ‘Black Dada’ (2008), by Adam Pendleton. First performed at Manifesta 7 in Italy in 2008. Copy of the text kindly provided by the artist. Copyright © Adam Pendleton, 2008. See further, Adam Pendleton: I’ll Be Your, ed. Suzanne Perling Hudson (London: Pace Gallery, 2012).

 M97. ‘Deep Lez’ (2009), by Allyson Mitchell. First published in GLQ: A Journal of Lesbian and Gay Studies, vol. 17, no. 4 (2011). Copy of the text kindly provided by the artist. Copyright © Allyson Mitchell, 2009. See further, Kaitlin Noss, ‘Queering Utopia: Deep Lez and the Future of Hope’, Women’s Studies Quarterly, vol. 40, no. 3–4 (October 2012).

 M98. ‘What is to be done?’ (2011), by Abounaddara. First distributed online in 2011 at https://www.facebook.com/notes/abounaddara-films//888403867886988. New translation by Stefan Tarnowski. Published here by kind permission of the artists. Copyright © Abounaddara, 2011.

 M99. ‘Migrant Manifesto’ (2011), by Tania Bruguera and Immigrant Movement International. First presented by Tania Bruguera at the United Nations Student Conference on Human Rights in New York in 2011. Text taken from Tania Bruguera’s website at www.taniabruguera.com/cms/682-0-International+Migrant+Manifesto.htm. Reprinted here by kind permission of the artist. Copyright © Tania Bruguera, 2011. See further, Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012).

M100. ‘Manifesto on Artists’ Rights’ (2012), by Tania Bruguera. First presented by Tania Bruguera at the Office of the United Nations High Commissioner for Human Rights at the Palais des Nations in Geneva in 2012. Text taken from Tania Bruguera’s website at http://www.taniabruguera.com/cms/680-0-ExpertMeetingonArtisticFreedomand+CulturalRights.htm. Reprinted here by kind permission of the artist. Copyright © Tania Bruguera, 2012. See further, Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012).

Every effort has been made to contact copyright holders. The authors and publisher would be glad to amend in future editions any errors or omissions brought to their attention.