“M/E/A/N/I/N/G collates 10 years of incisive criticism and observations on contemporary culture by artists who really had something to say and said it well. It was open, unaligned, and unmitigated, so that it never had one point of view but as many as it needed to get the job done. . . . [A] thick, full, and rich digest of a very significant artist publication. The only regret is that it no longer is being published.” — Umbrella
“A fascinating snapshot of a transitional era in American art, one whose terms and preoccupations are still being reworked and worked out.” — Publishers Weekly
“[A] valuable document whose arguments and messages still reverberate in urgent ways” — Edward M. Gomez, Duke Magazine
“[A] wonderful, enlightening, challenging collection of artists’ writing as well as commentaries and forums on contemporary visual art.” — Charles Bernstein, Seminary Co-Op
“[F]or readers who are curious about what it actually felt like to be a struggling American artist circa 1990, M/E/A/N/I/N/G is an invaluable resource.” — Raphael Rubinstein, Art in America
“[I]nvigorating . . .” — Charles Alexander, Rain Taxi
“[W]ith a lucid introduction by the artist and art historian Johanna Drucker, who was also a journal contributor. With dozens of shortish entries on a variety of topics, the book makes for solid, sometimes trenchant reading, with contents that have, on the whole, aged well and even have continuing pertinence. . . . [M/E/A/N/I/N/G] will surely give journals, editors, and artists of the future an alternative model to learn from, and a strong one: articulate, opinionated, against the grain in its thinking, and very often right.” — Holland Cotter, Art Journal
“The intellectual quality, especially of the Cottingham and Cronin/Kass pieces, is very satisfying. There is no doubt in my mind this is an improvement over previous anthologies.” — Tee A. Corinne, Queer Caucus for Art Newsletter
“This book should be required reading in MFA programs across the country . . . . It is a book that sustains artists, its ideas reaching to the core of how people become artists, why they keep going, and who they are. It is not about strategies for success, but it is about strategies for staying alive, open, and resourceful as an artist. To see one’s own thinking reflected in the thoughts of others, or to be provoked into new ways of seeing, is what we hope for when we read. This meaningful anthology brings us fresh ways of looking at the tough, persistent, perplexing problems inherent in artistic production and theory.” — Christina Schlesinger, Provincetown Arts
"[T]here is much to consider here, since critical questions about how the ‘meaning’ of avant-garde art is inflicted by its complicity with the market interests and its dependence upon institutions that are permeated by the sexism, racism, ethnocentricism, and ageism of popular American culture remain largely unresolved." — Marilynn Lincoln Board, Woman's Art Journal
“M/E/A/N/I/N/G reflects a time when artists were, in a sense, the critical theorists of the moment. Mira Schor and Susan Bee inspired many of them to write about the subjects that were closest to their hearts, minds, and art.” — Elizabeth Hess, art critic
“The beauty of this book is the brilliant amassing by Susan Bee and Mira Schor of so many voices, ideas, and approaches. This anthology is full of gems, separately and in their juxtapositions. Fascinating, rich fare.” — Moira Roth, coauthor of Difference/Indifference: Musings on Postmodernism, Marcel Duchamp, and John Cage