Published in conjunction with the exhibition Jessica Stockholder, Kissing The Wall: Works, 1988-2003, co-organized by Blaffer Gallery, the Art Museum of the University of Houston, and the Weatherspoon Art Museum, The University of North Carolina at Greensboro, this is the first publication to take an in-depth look at Stockholder's career from the late 1980s onward, beginning with the seminal piece from which both the exhibition and catalogue take their name. In an interview with Stockholder, Nancy Doll and Terrie Sultan, curators of the exhibition, explore the new direction Stockholder's work has taken in 2003 with the creation of freestanding sculpture. Together they explore the significance of this "breaking away" from the wall, and the creation of a "situation" in the larger context of her work. Medievalist Elspeth Carruthers reveals in her essay the close relationship between Stockholder's sprawling installations and medieval modes of mapping space and time. Art historian Miwon Kwon takes this opportunity so revisit Rosalind Krauss's essay "Sculpture in the Expanded Field" (1979) and rethink Krauss's ideas in the context of Jessica Stockholder's work. The catalogue also features an annotated chronology and selected exhibition and publication histories.