Microinternational was an informal yet influential network of artists active between 1993 and 1999, primarily organized by Kevin Hanley and Jonathan Kroll.

Emerging from the experimental margins of the Los Angeles art scene, the group operated without a fixed location, institution, or manifesto—opting instead for a fluid, provisional model of collaboration that responded to the spatial and economic constraints of the time.

Far from a traditional collective, Microinternational functioned more like a conceptual platform or “nomadic exhibition device,” often staging interventions in apartments, storage units, and other non-art spaces. Its projects unfolded across borders—geographical, disciplinary, and institutional—anticipating many of the themes that would later define globalized artistic practices in the 2000s.

Participants included a number of artists who would go on to receive significant international recognition: Kai Althoff, Cosima von Bonin, Casey Cook, Francesca Gabbiani, Michael Krebber, Anja Medved, Carlos Mollura, Dave Muller, Frances Stark, and Jennifer Steinkamp, among others. Their contributions ranged from ephemeral installations and text-based works to ambient sound pieces and architectural interventions.

This book documents the brief yet resonant existence of Microinternational, reconstructing a chapter of 1990s art history that has remained largely overlooked. It not only traces the group’s exhibitions and activities, but also reflects on the experimental ethos of a moment when the boundaries between artist, curator, and host were radically redefined.