| 2022 | Aphra Bern | Oroonoko |
| 2022 | Aristophanes | Lysistrata |
| 2022 | Rainer Maria Rilke | Selected Poems |
| 2022 | Philip Roth | Portnoy's Complaint |
| 2022 | Aimé Césaire | Une tempête |
| 2022 | Bruce Damer | Avatars! |
| 2022 | Margaret Thompson Drewal | Yoruba Ritual |
| 2022 | Sherry Turkle | The Second Self |
| 2022 | Richard Hell & Christopher Wool | Psychopts |
| 2022 | David Ogilvy | On Advertising |
| 2022 | Richard Prince | Jokes Gangs Hoods |
| 2022 | Yasaburo Kuwayama | Trademarks and Symbols Vol. 1 and Vol. 2 |
| 2022 | Ursula Andkjaer Olsen | Outgoing Vessel |
| 2022 | Edward Castronova | Exodus to the Virtual World |
| 2022 | Marcus Brutus | The Uhmericans |
| 2022 | Donella H. Meadows | Thinking in Systems |
| 2022 | Frank Slootman | Amp it Up |
| 2022 | Richard P. Feynman | Feynman Lectures on Computation |
| 2022 | Byung-Chul Han | Non-things |
| 2022 | R. Buckminster Fuller with Jerome Age and Quentin Fiore | I Seem To Be a Verb |
| 2022 | Nikolai Gogol | The Nose and Other Stories |
| 2022 | Ezra Pound | Selected Cantos |
| 2022 | T.S. Eliot | Selected Poems |
| 2022 | William Faulkner | The Sound and The Fury |
| 2022 | Ivan Turgenev | A Month in the Country |
| 2022 | Theodore John Kaczynski | Technological Slavery |
| 2022 | Antonin Artaud | Le Théâtre et son double |
| 2022 | W. David Marx | Status and Culture |
| 2022 | Ludwig Wittgenstein | Tractatus Logico-Philosophicus |
| 2022 | David Golumbia | The Politics of Bitcoin: Software as Right-Wing Extremism |
| 2023 | Maggie Nelson | Bluets |
| 2023 | Peter Flach | Machine Learning: The Art and Science of Algorithms that Make Sense of Data |
| 2023 | Linda Simpson | My Comrade |
| 2023 | Meg Onli & Amber Rose Johnson | Colored People Time |
| 2023 | Ethem Alpaydin | Machine Learning |
| 2023 | Pieter Hintjens | Social Architecture: Building On-line Communities |
| 2023 | Ania Malinowska | Love in Contemporary Technoculture |
| 2023 | Simon Critchley | Memory Theater |
| 2023 | Lydia Lunch & Exene Cervenka | Adulterer Anonymous |
| 2023 | Mary Shelley | Frankenstein |
| 2023 | Anne Carson | Eros the Bittersweet |
| 2023 | David Joselit | After Art |
| 2023 | Paul Verlaine | La Bonne Chanson* |
| 2023 | Norbert Weiner | God & Golem |
| 2023 | John Berger | Ways of Seeing |
| 2023 | Matt Klein | Audience Capture |
| 2023 | Saint Ignatius (George E. Ganss translation) | The Spiritual Exercises of Saint Ignatius |
| 2023 | Hany Farid | Fake Photos |
| 2023 | Nobert Weiner | Cybernetics |
| 2023 | Alex Kitnick | Distant Early Warning |
| 2023 | Friederich Kittler | Gramophone, Film, Typewriter |
| 2023 | Future Commerce | The Multiplayer Brand |
| 2023 | Charles Darwin | On Natural Selection |
| 2023 | Italo Calvino | Invisible Cities |
| 2023 | Marshall McLuhan & Quentin Fiore | The Medium is the Massage |
| 2023 | Tessa Williams | Cult Perfumes |
| 2023 | Henry Wolf | Visual Thinking |
| 2023 | Lorna Simpson | For the Sake of the Viewer |
| 2023 | Lorna Simpson | Collages |
| 2023 | Trinh T. Minh-ha | The Twofold Commitment |
| 2023 | Jean-Paul Sartre | Anti-Semite and Jew |
| 2023 | Win Wenders | Once |
| 2023 | Rem Koolhaas | With / For Prada |
| 2023 | Ruby Justice Thelot | A Cyberarchaeology of Checkpoints |
| 2023 | Stine Jarvin and Cory Arcangel | Identity Pitches |
| 2023 | Ernest Hemingway | The Old Man and the Sea |
| 2023 | Legacy Russell | Glitch Manifesto* |
| 2023 | Amit Chaudhuri | Sojourn |
| 2023 | Jean Baudrillard | Simulations* |
| 2023 | Theodore John Kaczynski | Technological Slavery* |
| 2023 | Tiqqun | Theory of the Young-Girl* |
| 2023 | Guy Debord | La Société du Spectacle |
| 2023 | Mel Chin | Primetime Contemporary Art |
| 2024 | Sylvia Plath | The Colossus and Other Poems |
| 2024 | Niviaq Korneliussen | The Native Greenlander |
| 2024 | Daniel J. Boorstin | The Image |
| 2024 | John Malik | Symbolists and Decadents |
| 2024 | Nick Land | Fanged Noumena |
| 2024 | Lorne L. Dawson | Comprehending Cults |
| 2024 | Eugene McDaniels | Anthology of Concretism |
| 2024 | Theodore J. Kaczynski | Technological Slavery |
| 2024 | Friedrich Kittler | Gramophone, Film, Typewriter |
| 2024 | Jeffrey Sconce | Haunted Media |
| 2024 | Legacy Russell | Glitch Feminism |
| 2024 | Mark Fisher | Flatline Constructs |
| 2024 | Byung-Chul Han | The Burnout Society |
| 2024 | Metahaven | Can Jokes Bring Down Governments? |
| 2024 | Theodore John Kaczynski | Anti-Tech Revolution |
| 2024 | Yukio Mishima | The Sailor Who Fell from Grace with the Sea |
| 2024 | Nicholson Baker | The Mezzanine |
| 2024 | Mark Fisher | Capitalist Realism |
| 2024 | Genevieve Goffman | The Triumph of a Lonely Peace |
| 2024 | Jean Baudrillard | Simulations |
| 2024 | Guy Debord | La Société du Spectacle |
| 2024 | Helen Hester / Laboria Cuboniks | The Xenofeminist Manifesto |
| 2024 | Michael Rush | New Media in Late 20th-Century Art |
| 2024 | Ramon Amaro | The Black Technical Object |
| 2024 | Henri Cartier-Bresson | Book 1 (Aperture) |
| 2024 | M. A. P. Rosenthal | Spirits in Sequins |
| 2024 | Richard Kern | Extra High |
| 2024 | Richard Kern | Super High |
| 2024 | The Dark Forest Collective | The Dark Forest Anthology of the Internet |
| 2024 | James Joyce | Ulysses |
| 2024 | David Ferry | Gilgamesh |
| 2024 | Chris Brown | Scenes, Semotics and the New Real |
| 2024 | Mark Francis and Kay Pallister | Crash: Homage to JG Ballard |
| 2024 | G. B. Jones | G. B. Jones |
| 2024 | Richard Kern | No Erotica |
| 2024 | Richard Kern | Polaroids |
| 2024 | Luigi Ballerini | Italian Visual Poetry 1912-1972 |
| 2024 | The Cobrasnake | Y2Ks Archive |
| 2024 | William Gibson | Neuromancer |
| 2024 | Kyoichi Tsuzuki | Tokyo: A Certain Style |
| 2024 | Legacy Russell | Black Meme |
| 2024 | Henry Jenkins, Mizuko Ito, danah boyd | Participatory Culture in a Network Era |
| 2024 | Harry Blamires | The New Bloomsday Book |
| 2024 | Lina Abascal | Never Be Along Again: How Bloghouse United the Internet and the Dancefloor |
| 2024 | William Faulkner | As I Lay Dying |
| 2024 | Kabir | The Kabir Book |
| 2024 | Sean Barton | Indecent Exposure (1996-2000) |
| 2025 | Kurt Wurmli | The Power of Image: HIJIKATA TATSUMI'S SCRAPBOOKS AND THE ART OF BUTO |