Collective Form(ation)s

Last year, the young London-based urban design group Assemble won the Turner Prize. Their claim to function as a ‹studio› and for the non-art status of their work makes their new found place in art's discourses an interesting symptom of the critical gaps and lacks in the growing attention paid to art collectives. This article briefly maps out some of the key issues and missing tools that critics still need if we are to adequately understand how art collectives both re-make their own non-identity and make artworks as, in tandem, a doubled-up form of co-artworking.