ENG: The book was published to coincide with the 55th Venice Biennale. The project dislayed by photographer Antoni Muntadas (Barcelona, 1942), entitled “Protocolli Veneziani Venice I”. As the author points out the way he identifies as "protocol” -quoting Angela Vettese- " modi di fare pratici, sistemi per riparare, combinazioni tecniche ritualizzate" which result in traces, tracks, signals, a particular aesthetic, architecture, the photographer meditate through these jacks.

ENG: Cildo Meireles and Antoni Muntadas divided the space of the Kunsthalle Marcel Duchamp vertically with a transparent partition. On one side they built a pile of sugar, on the other a pile of salt. The effect is like two mountains touching each other but made of two different materials—both of them, obviously, white. It’s a wonderful collaboration referencing friendship, conversation, landscape, humor, walking, climbing, and much else besides. CAS: Cildo Meireles y Antoni Muntadas dividen el espacio de la Kunsthalle Marcel Duchamp verticalmente con un tabique transparente.

Jeu de Paume organizes a major exhibition by the internationally recognized artist Antoni Muntadas (Barcelona, 1942), one of the early practitioners of conceptual and media art.

ENG: This catalog offers an essential cartography of Antoni Muntadas work since 1971, contributing to the disposal of his work by taking positions and addressing the gaps from the discourses and power structures that permeate contemporary reality. Organized into nine thematic blocks, parallel to the exhibition that the Reina Sofia Museum dedicated to the 40 years of projects and ideas, undertakes the complex task of not presenting a retrospective but a journey through the different research fields that nurtures his works.

Situación 2011 es una reflexión audiovisual sobre los museos de arte contemporáneo y sus ampliaciones, un hecho consustancial a estos centros en los últimos años. Una reflexión que inició en 1988 con otra instalación que abundaba en la antigua función como hospital de edificio que hoy alberga la colección estable del Reina Sofía. En 2011, Antonio Muntadas realizó una intervención producida por y para el I Intervention Museo Nacional Centro de Arte Reina Sofía como  parte de la exposición Entre/Between, Madrid, 2011-2012.

ENG:The interviews that are included in this book were conducted between March 2009 and October 2010, mostly in Cambridge, MA –either at Harvard or at the MIT campus –and are an integral part of the project About Academia.The contents of this volume are not meant to be taken as an independent publication, but rather as a complimentary tool in order to provide a larger context to the viewer. Within this volume, the incomplete and fragmented nature of the edited text on the screen fins its necessary complement: video projection and this booklet form a unit within the gallery space.

ENG: The first of a two-volume publication of Muntadas’ retrospective, Muntadas: Entre / Between exhibition held at the Museo Nacional Centro de Arte Reina Sofía, Madrid, from November 22, 2011 to March 26, 2012. It uses the same organizing principle as the Muntadas exhibition that considers his oeuvre from the perspective of constellations of space, with titles such as Micro Spaces, Power Spheres, The Construction of Fear or Translation Spaces.

ENG: This publication is the transcript, translated into English, of the audio of the final edit (4 hours and 37 minutes) of Between the Frames, eight chapters about the art system based on 160 interviews conducted between 1983 and 1991. The transcriptions and translations follow as accurately as possible the original versions in English, Spanish, Italian, French, Catalan and Portuguese. The publication functions as a tool facilitating the understanding of Between the Frames, particularly the interviews in different languages.

ENG:Between the Frames: The Forum (1983-93) is the result of Muntadas's interest in understanding why the intermediaries between the artist, the artwork and the public gained so much power in the 1980s. The installation comprises eight sections, each corresponding to an intermediary — dealers, collectors, galleries, museums, docents, critics, media and artists — arranged in a circular structure that evokes the form of a Panopticon.