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| List of Illustrations | |
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| List of Color Plates | |
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| Foreword | |
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| Acknowledgments | |
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| Introduction | |
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| Books for the New Century | |
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| Europe's Legacy | |
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| The Fine Press Book | |
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| The Deluxe Book | |
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| The Bookwork | |
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| Embodied Spaces | |
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| Book Dissemblings | |
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| The Readymade Book | |
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| The United States: Assimilation and Change | |
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| The Fine Press Book | |
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| The Roycroft Press: Art and Business | |
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| Between Britain and America | |
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| A New American Fine Printer: Harry Duncan | |
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| Fine Press Auguries: Leonard Baskin | |
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| California's "Small Renaissance" | |
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| Printing as Spiritual Devotion: William Everson (Brother Antoninus) | |
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| The Deluxe Book | |
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| Printmaking's Changing Profile | |
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| Modern Painters and Sculptors as Illustrators | |
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| An American Hybrid: The Allen Press | |
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| The Multiple Bookwork | |
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| Making Offset's Mark: Eugene Feldman | |
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| Books for Our Time | |
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| The Artist as Independent Publisher | |
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| Photobookwork Precursors | |
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| The Sculptural Bookwork | |
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| Cornell and Duchamp: Imagined Terrains | |
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| Book as Assemblage | |
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| The 1960s: Ferment | |
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| The Fine Press Book | |
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| The Janus Press: A New Demeanor for Fine Printing | |
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| Book Art as an Alternative Lifestyle | |
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| Fine Printing on Campus | |
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| California's Print Activists | |
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| The Deluxe Book | |
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| Shades | |
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| Stamped Indelibly: Independent Deluxe Books | |
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| Richard Tuttle's Books of "Obstinate Humility" | |
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| Europe in America | |
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| The Multiple Bookwork | |
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| Something Else in Independent Publishing | |
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| Media Versus Aura: McLuhan and Benjamin | |
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| Ed Ruscha's "Mimesis of Amateurism" | |
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| The Dematerialized Book | |
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| The Sculptural Bookwork | |
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| The Captive Book: The Book as Box | |
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| The Appropriated Book | |
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| Additions and Subtractions | |
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| Performance and Installation Bookworks | |
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| The 1970s: Explosion | |
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| The Fine Press Book | |
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| Out of the Cradle | |
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| Fine Press Gatherings: Exhibitions and Conferences | |
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| Women at the Press | |
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| Crossover: The Center for Book Arts | |
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| The Pluralistic Book | |
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| The Ups and Downs of the Ordinary Book | |
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| "Your Money or Your Life" | |
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| The Deluxe Book | |
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| The Deluxe Book | |
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| In and Outside of the Atelier | |
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| Collecting: The Book as Art | |
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| Criticism: The Book Stripped Bare | |
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| The Multiple Bookwork | |
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| The Multiple Bookwork | |
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| No Longer Innocent: International Influence | |
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| Collecting the Anti-Collectible Book | |
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| Private Collecting: Peter Frank and the Sackners | |
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| To Have and to Hold: Printed Matter and Franklin Furnace | |
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| Conversation as Content: Hompson and Applebroog | |
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| Photography's Face for the Multiple Bookwork | |
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| Picturing the Visual Studies Workshop Press | |
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| The Copier as Printmaker | |
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| Alter-Aesthetics | |
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| Building Community, Building A Network | |
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| Building Community, Building a Network | |
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| Artists' Books Personalize the Political | |
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| Show and Tell: Exhibition and Reception | |
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| The Sculptural Bookwork | |
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| The Sculptural Bookwork | |
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| The Next Chapter | |
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| The Next Chapter | |
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| Conclusion | |
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| Timeline | |
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| Resources on Book Art | |
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| Bibliography | |
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| Index | |
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| Photographic Credits | |