Suited to novice researchers seeking a general introduction into how special collections are created and how they can be used, the book offers useful, clear guidance on using different types of archives, developing topics for research within the archives, assessing materials available, how to work with archivists and curators, documenting the research process, and writing up an archival study.

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns.

Archive Everything aims to further theoretical knowledge on archiving by juxtaposing the history of archiving to the emergent field of digital archiving. Methodologically, the book operates by looking at archives from a number of disciplinary perspectives or lenses, including information studies, architecture, archaeology, postcolonial studies, HCI and new media, autobiography, genomics, anthropology, performance and geography, shifting the attention between the archive as an object and a knowledge-generating process or lab.

Lost in the Archives explores the thesis that memory is productively read from its failures and absences, in the not-yet or impossible archives, in archive fevers and dementias, in all the places archives cannot or have not looked. Investigations on the limits of memory are instigated by over 70 artists and writers, including Jacques Derrida, Atom Egoyan, Gustave Flaubert, Boris Groys, Candida Höfer, Rem Koolhaas, Sol Lewitt, Bruce Mau, and Jeff Wall.

In Perspectives on Women's Archives, 18 essays written by noted archivists and historians illustrate the origins of a women-centered history, the urgent need to locate records that highlight the diverse experiences of women, and the effort to document women's experiences. The essays also expose the need for renewed collaboration between archivists and historians, the challenges related to the accessibility of women's collections, and the development of community archives.

The past is what happened. History is what we remember and write about that past, the narratives we craft to make sense and meaning out of our memories and their sources. But what does it mean to look at the past and see Nothing? This book redefines Nothing as a historical object and reorients historical consciousness in terms of an awareness of what has and has not been considered worth remembering.