Gary Young
“Border Crossing.” San Francisco: Book Club of California Quarterly, January 2015
Woody Leslie
“Documenting Documenting.” Chicago: JAB #37, Spring 2015
Elizabeth Curren
“DOC/UNDOC.”  Chicago: Parenthesis 29, The Journal of the Fine Press Association, Autumn 2015

Jennifer A. González
“DOC/UNDOC: Transgress, Transcend, Transform.” San Francisco: Art Practical, April 2015

An introduction by Prof. Isabel Dulfano and five essays by University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content written in response to a visit with DOC/UNDOC in the Rare Books Department of Special Collections at the J. Willard Marriott Library, University of Utah.
First, the introduction by instructor Isabel Dulfano, Associate Professor of Spanish:
DOC/UNDOC — Part 1/6, “Peruse, Inspect, Handle, Consider”
Second by Sam DeMonja:
DOC/UNDOC — Part 2/6, “A Mouth Full of Ink”
Third by Peter Tanner:
DOC/UNDOC — Part 3/6, “This Type of Trespass”
Fourth by Dallas Fawson:
DOC/UNDOC — Part 4/6, “Ambiguous, Unclassifiable, Undefinable Identity”
Fifth by Julia Menendez Jardon:
DOC/UNDOC — Part 5/6, “Open, Explore, Empty, Choose, Reimagine and Collaborate”
Sixth by Laura Denisse Zepeda:
DOC/UNDOC — Part 6/6, “Luces Brillantes”

Emily Martin
“The Anti-Ekphrastic: Art Inspired By Text”
Writers often respond to visual art, a form known as Ekphrastic prose or poetry, and most famously as John Keats’ “Ode to a Grecian Urn.” But what happens when the form is inverted?… This idea is most apparent in works like Documentado/Undocumented Ars Shamánica Performática, which is a collection of performance texts (not unlike Grapefruit by Yoko Ono) on identity and race compiled by five separate artists. The work itself is a question of the novel’s identity in the 21st century: art inspired by text.”


  1. Felicia,

    The two boxes arrived safely. I have put DOC/UNDOC out in Special Collections in our display of new acquisitions that is up this week.

    I had no idea it would be so heavy. It took two people to get it out of the box and on the table. I still have to figure out how it works.

    The book is beautiful and beautifully made, the mask is humorous, and all the multiple parts of the work are very intriguing.


    Barbara Robinson
    Librarian, Boeckmann Center for
    Iberian & Latin American Studies
    Special Collections
    Doheny Memorial Library, 206
    University of Southern California

  2. DOC/UNDOC is a cross-border, baroque, and collaborative tour de force from Moving Parts Press. Felicia Rice, publisher and artist, is one of the great contemporary masters of the fine press/artist book world. The content and contents are designed to confront your perceptions of self and aliens (from Mexico, from the US, and maybe even from Space.)—if you are comfortable with the content—you didn’t get it.

    —Peter Rutledge Koch

  3. Felicia, I did see your project at the Kulpa Gallery on Sat. and was very impressed, marveled, in fact, by how you handled the multiple printings, striking images combined with blocks and strands of text, the entire presentation. I don’t see how you achieved so many multiple printings, climaxed by the final opaque run. You are truly a master printer and designer. I’ll also see it at the Sesnon, taking along one or two friends.

    Warm congratulations!

    Kay Metz
    Prof. Emerita of Art, UC Santa Cruz

  4. I’m thrilled to know about the publication. Please do keep us posted on your projects and I look forward to meeting at some point, here or there. Again, congratulations on a beautiful and potent project.

    Susan Krane
    Director, San Jose Museum of Art

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