Between 1986 and 2000, Anthony Cragg’s sculptural oeuvre underwent a signifcant transition. The artist moved from making sculptures using found materials and objects to a more studio-based practice in which the found materials themselves became the subject and content of his sculptures. This publication begins where the previous volume, „Sculpture 1969–1985“ left off. It serves as a guide, aiming to facilitate a better understanding not only of the chronological sequencing of Cragg’s works, but also of the primary concerns that have in uenced them over time. Cragg’s sculptures of this period attracted considerable critical interest. Some of the most prominent art critics of the day engaged with Cragg’s oeuvre, and a number of their essays have been reprinted here, offering fresh insights into the sculptor‘s work. Texts by : Lewis Biggs, Germano Celant, Lynne Cooke, Demosthenes Dawetas, Catherine Grenier, Thomas Mc Evilley, Peter Schjeldahl, Jon Wood