Jen Delos Reyes teaches a fantastic course in the history of social practice. Anyone looking for texts that delve into process, collaboration, social engagement, and socially engaged art at large will find great ideas here.
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Alberro, A. (1999). Reconsidering Conceptual Art, 1966-1977. In A. Alberro & B. Stimson (Eds.), Conceptual Art: A critical anthology (p. xvi-xxxvii). Cambridge, MA and London, England: The MIT Press. Retrieved from http://scholar.google.com/scholar?hl=en&btnG=Search&q=intitle:Reconsidering+Conceptual+Art,+1966-1977#0
Bishop, Claire. (2006). The social turn: collaboration and its discontents. Artforum. Retrieved from http://artforum.com/inprint/id=10274
Bishop, Claire. (2006). Participation (Documents of Contemporary Art). Cambridge, MA: Whitechapel and the MIT Press. Retrieved from http://dl.acm.org/citation.cfm?id=1211935
Bishop, Claire. (2004). Antagonisnl and Relational Aesthetics The Palais de Tokyo. October, (Fall 2004), 51-79.
Bourriaud, N. (2004). Relational Form. Relational Aesthetics (pp. 11-24). France: l’Imprimerie Darantiere a Dijon-Quetigny.
Cartiere, C. (2008). Coming in from the Cold: A public art history. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (pp. 7-32). New York: Routeledge.
Eccles, T., Finkelpearl, T., & Pasternak, A. (2007). Thinking about the public in public art. In A. Pasternak, M. Brenson, & R. A. Peltason (Eds.), Creative Time: The Book:33 Years of Public Art in New York City (pp. 82-90). New York: Princeton Architectural Press.
Enwezor, O. (2007). The Production of Social Space as Artwork: Protocols of Community in the Work of Le Groupe Amos and Huit Facettes. In B. Stimson & G. Sholette (Eds.), Collectivism After Modernism (pp. 223-51). Minneapolis, Minnesota: University of Minnesota.
Frieling, R. (2008). Toward Participation in Art. In R. et al Frieling (Ed.), The Art of Participation: 1950 to now (pp. 32-49). San Francisco and New York: The San Francisco Museum of Modern Art in association with Thames & Hudson.
Gablik, S. (1992). Connective Aesthetics. American Art, 6(2), 2. doi:10.1086/424147
Gillick, L. (2006). Contingent Factors: A Response to Claire Bishop’s “Antagonism and Relational Aesthetics.” October, (Winter 2006), 95-107.
Groys, B. (2010). The Produciton of Sincerity. Going Public (pp. 38-49). New York: Sternberg Press.
Hugnet, G., & Scolari, M. (1936). Dada. The Bulletin of the Museum of Modern Art, 4(2/3), 3-18. The Museum of Modern Art. Retrieved from http://www.jstor.org/pss/4057867
Jackson, S. (2011). Quality Time: Social Practice Debates in Contemporary Art. Social Works: Performing Art, Supporting Publics (pp. 43-74). New York: Routeledge.
Kester, G. H. (2004). Dialogical Aesthetics. Conversation Pieces: Community and Communication in Modern Art (pp. 82-123). Berkeley: University of California.
Kinmont, B. (2005). A Given. In T. Purves (Ed.), What we want is free: generosity and exchange in recent art (p. 61-?). Albany: State University of New York Press.
Kwon, M. (2003). Exchange Rate: On Obligation and Reciprocity in Some Art of the 1960s and After. In H. Molesworth (Ed.), Work Ethic, Baltimore: Baltimore Museum of Art (pp. 82–97). University Park, PA: Pennsylvania State University Press.
Kwon, M. (2004). The (Un)Sitings of Community. One Place After Another: Site-Specific Art and Locational Identity (pp. 138-155). Cambridge, MA: MIT Press. Retrieved from https://monoskop.org/images/d/d3/Kwon_Miwon_One_Place_after_Another_Site-Specific_Art_and_Locational_Identity.pdf
Lacy, S. (1995). Debated territory: Toward a critical language for public art. Mapping the Terrain: New Genre Public Art (pp. 171–185). Bay Press. Retrieved from http://www.transart.org/wp-content/uploads/group-documents/65/1363991009-Lacy.pdf
Lind, M. (2007). The Collaborative Turn. In J. Billing, M. Lind, & L. Nilsson (Eds.), Taking the matter into common hands: on contemporary art and collaborative practices (pp. 15-31). London, UK: Black Dog.
Lind, M. (2010). Actualization of Space: The Case of Oda Projesi. In B. K. Wood (Ed.), Selected Maria Lind Writing (pp. 119-133). Berlin, Germany: Sternberg Press.
Mesch, C. (2007). Institutionalizing Social Sculpture: Beuys’ Office for Direct Democracy through Referendum Installation (1972)*. In C. Mesch & V. Michely (Eds.), Joseph Beuys: The Reader (pp. 198-217). MIT Press.
Negri, A. (2011). Metamorphoses: Art and Immaterial Labour. Art and Multitude (pp. 101-123). Malden, MA: Polity Press. Retrieved from http://books.google.com/books?id=Ff8anv8uW_IC&pg=PA101&lpg=PA101&dq=Negri+Art+and+Immaterial+Labour&source=bl&ots=5lMlE03eB3&sig=uFjLyypzEBvFWnEqNcJm_sKkhWw&hl=en&ei=KuPFTvHuL4z8iQKe243fBQ&sa=X&oi=book_result&ct=result&resnum=6&ved=0CEsQ6AEwBQ#v=onepage&q=Negri Art and Immaterial Labour&f=false
Sholette, G. (2011). Introduction: The Missing Mass. Dark Matter: Art and Politics in the Age of Enterprise Culture (pp. 1-22). New York and London: Pluto Press.
Smith, O. F. (1993). Fluxus: A brief history (and other fictions). In J. Jenkins (Ed.), In the Spirit of Fluxus. Minneapolis, Minnesota: Walker Art Center.
Stiles, K. (n.d.). Performance Art. In K. Stiles & P. Selz (Eds.), Contemporary Art: A sourcebook of artists’ writings (p. 1996). Berkeley and Los Angeles: The University of California Press.
Stimson, B. (2009). What Was Institutional Critique? In A. Alberro & B. Stimson (Eds.), Institutional Critique: An anthology of artists’ writings (pp. 20-42). Cambridge, MA: MIT Press.
Verwoert, J. (n.d.). Gathering people like thoughts: on hosting as an unorthodox form of authorship dedicated to the practice of Anton Vidokle (pp. 11-19).