"Liz Magor’s beautiful writing is as quietly mind-expanding as her artwork. Her texts are cinematic in their pacing, cutting between scenes, and in their canny, knowing descriptions of the physical world. Some of my favourites here are her lecture notes, conversations, and correspondence for the ways they place the writing in that physical world. But the surprising thing about this brilliant collection is that Magor’s writing is its own parallel universe, an expansive, heterodox place full of unexpected insights and experimentation."
Dan Byers, Robinson Family Director of the Carpenter Center for the Visual Arts at Harvard University 

"I knew Liz Magor to be a protean thinker, warm and witty: still, none of this prepared me for the breadth and candour of Subject to Change. This most charismatic intellect moves through the prescriptive art world ‘corrections’ of the 1980s, to her inspirations from literature and anthropology, to the relationship of writing to art making, and most persistently, to ruminating the fundaments of a studio practice. This perspicacious collection is a deep dive into the workings of a visionary, supple mind and confirms Magor as one of the great artist-writers of our time."
Moyra Davey

"When I look at art, I need to be convinced that the artist has investigated their subject extensively and taken it as far as they can go. Liz Magor’s work fulfills this, and this collection of her writings goes further by laying bare her curiosity about the world. Here we get glimpses into how she generates her seductive practice. The reader is treated to the mind-expanding nature of her work--not to explain it, rather to enrich the experience."
Brian Jungen

"This is a powerful book; it is in motion. It is timeless and honest in its struggles and questions. The notes, essays, and statements show deep respect for the work but never pretend to be a neat package. Subject to Change takes readers close to the way Liz Magor thinks about her work, how she works, and how she submits to the real. It is fascinating to read pieces from decades ago and to see how relevant they are to Magor’s recent practice, as well to questions confronting the art world today."
Céline Kopp, Director & Chief Curator, Triangle France

Read on Manifold.