None of this would be possible without the support of visionary funders. We sincerely thank the Smart Family Foundation, the Horace W. Goldsmith Foundation, and the Richard H. Driehaus Foundation, as well as iCI Exhibition Partners Gerrit and Sydie Lansing, and Ken Kuchin and Bruce Anderson, for their generous support of this project. We also thank the Arts Planning Council at the University of Chicago for encouraging greater involvement by university students through their grant. The Smart also acknowledges the critical support of the Illinois Arts Council, a state agency; Nuveen Investments; and Tom and Janis McCormick and the Kanter Family Foundation for their support of Smart Museum exhibitions. We offer them our deep thanks.

We also thank Susan and Michael Hort for lending work to the exhibition. Additional thanks are due to Chantal Crousel Galerie, Klosterfelde Gallery, Lisson Gallery, Lombard Freid Projects, Galerie Christian Nagel, Max Protetch Gallery, and Andrea Rosen Gallery for their support of the artists' work and their ongoing assistance with Beyond Green. Josie Browne at Max Protetch and Susanna Greeves at Andrea Rosen deserve additional thanks for their assistance in facilitating loans.

We also thank those who made special contributions to this catalogue. Victor Margolin offered support and expertise during the book's conception and production. His essay allows us to consider the ideas put forth in the exhibition within the context of an expansive framework of social, ecological, and political involvements with sustainability. Jason Pickleman of JNL Design translated the concepts of the exhibition into graphics and catalogue, providing a visual identity to the project as it travels. From the beginning, he understood and embraced the challenges of designing a book that articulated sustainable design in both form and content. Greg Nosan provided excellent editorial guidance.

Many individuals on both our staffs have contributed their professional skills, creativity and enthusiasm to planning, fundraising, catalogue production, presentation, programming, and touring. At the Smart we offer special thanks to deputy director for collections, programs, and interpretation Jacqueline Terrassa, who shepherded the project during her term as interim director and worked closely with Stephanie Smith to develop the programs that accompany the exhibition's Chicago presentation; project interns Sara Black, Rachel Furnari, and Kristin Love Greer for their skill, dedication, and grace under pressure; deputy director for development and external affairs Shaleane Gee; public relations and marketing director Christine Carrino; manager of education programs Amanda Ruch; and the registration and preparations staff who so ably addressed the special requirements of this exhibition-Lindsay Artwick, Rudy Bernal, and David Ingenthron. At iCI, we thank director of exhibitions Susan Hapgood, former exhibitions associate Amy Owen, exhibitions assistant Ramona Piagentini, registrar Beverly Parsons, and intern Erica Hope Fisher for their management of this complex exhibition, catalogue, and tour; director of development Hedy Roma and development assistants Hilary Fry and Katie Holden for skillful fundraising efforts; and communications coordinator Sue Scott for her public relations work.

Finally, we extend our warmest appreciation to the trustees of the Smart Museum of Art and of Independent Curators International for their continuing support, enthusiasm, and commitment to our respective institutions. They join us in expressing our appreciation to everyone who recognized the importance of this project and gave generously in so many ways to ensure its success.

This exhibition is an especially appropriate collaboration for our two institutions, as it draws on a shared commitment to presenting significant developments in contemporary art in relation to current cultural trends and issues. It continues a series of exhibitions organized by Stephanie Smith for the Smart Museum of Art that explore critical art practice-conceptual and socially engaged work involving multiple constituencies, sites of production, and strategies for collaboration. Likewise, iCI's program of traveling exhibitions of contemporary art takes as one of its priorities a focus on critical issues in artistic and curatorial practice. Beyond Green builds on these histories by introducing us to exciting artistic developments and providing a new way of seeing art within a framework of sustainability. Even as they speculate in other disciplines, the works in Beyond Green can be best understood as artwork, not as design, architecture, or activism. They are for the most part provisional rather than practical, polemical and opportunistic rather than reasonable. Some can be used to effective ends, but ultimately they offer us a playful and yet entirely serious meditation on how we can use the resources at hand to sustain responsible living.

Anthony Hirschel
Dana Feitler Director
Smart Museum of Art
University of Chicago

Judith Olch Richards
Executive Director
Independent Curators International
New York