At the end of the late 1970s, art theorist and critic Rosalind Krauss had written a seminal text entitled "Sculpture in the Expanded Field," in an attempt to both locate and analyze vanguard sculptural practices of the time such as the work of Richard Serra, Robert Smithson, Mary Miss, and Donald Judd whose practices crossed outside of the limits of traditional sculpture and entered into the realms of architecture and landscape through the production of works that she classified as site constructions, marked sites, earthworks and axiomatic structures. Over the past three decades, the boundaries between art and architecture have continued to blur, giving rise to a series of works known as installations whose conceptual, spatial and material trajectories have generated a new and expanding network of relations between the domains of architecture, interiors, sculpture and landscape. At the same time, the range of institutional venues advancing architectural installation practices, such as the PS1 program spawned by the MoMA in New York, the Serpentine Gallery''s annual architectural pavilion in London and the Art and Architectural Biennale''s in Venice, have provided platforms to intensify the production and reach of contemporary installations. Installations have not only contributed to the advancement of architectural research but have also enabled the redefinition and progressive development of architecture''s disciplinary territory allowing architects to explore spatial and tectonic ideas, experiment with emerging technological strategies, and distill perceptual and experiential conditions without the limitations traditionally imposed by the permanence and utility of building. Following the legacy of Rosalind Krauss, EXPANDED FIELD: Installation Architecture Beyond Art by Ila Berman and Douglas Burnham explores the realm of art and architecture across a broad terrain of installation practices, revealing a critical territory that, despite its exuberant proliferation,