Every once in a while, it’s just so good to read a critical anthology actually dealing with something that needs to be dealt with that you may wonder, as I did, why this book is only available now. While reading it, I realised more and more that this seems like one of the most defining issues when thinking about art practice since conceptualism. How to qualify artistic research? Or, more properly, research in and through art? Its very idea and its set of rules? How is it dependent on its outcome and, viceversa, how is it decisive in shaping it? My favourite chapter, “The Chimera of Method” by Jeroen Boomgaard, is where to get some truly good answers.