Publication practices in the field of art are diverse - whether it is through exhibiting and publishing art, writing about art, or in the form of results from artistic and curatorial research and practice. It is only through publishing that the results of artistic work become accessible to an audience or participants - a performative act and at the same time an entry into a marketplace of money, attention, or the symbolic. Reception is, in this context, an essential part of production. A debate cannot be limited to an art public; with the emergence of antagonisms, it also becomes a political public. Central to this is an understanding of publishing as an aesthetic-political practice, which is not primarily concerned with objectively secured knowledge, but with the necessity of public communication as an emancipatory practice that not only allows but also strives for uncertainties, questions, and complexities. Contributions by Dirk Baecker, Stephan Geene, Jens Kastner, Eva Kernbauer, Isabell Lorey, Tine Melzer, Maria Muhle, Shusha Niederberger, Uriel Orlow, Volker Pantenburg, Marion von Osten.