A passionate, compelling appeal for the protection and preservation of the natural environment pervades Grey Owls words and makes his literary debut still ring with great relevance in the 21st century.By the 1920s, Canadas outposts of adventure had been thrust farther and farther north to the remote margins of the country. Lumbermen, miners, and trappers invaded the primeval forests, seizing on natures wealth with soulless efficiency. Grey Owl himself fled before the assault as he witnessed his valleys polluted with sawmills, his hills dug up for hidden treasure, and wildlife, particularly his beloved beavers, exterminated for quick fortunes.

    Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco�s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.