Years of Books and Projects by Johanna Drucker has been exhibited throughout the United States. Research Drucker's research focuses on alphabet historiography, modeling interpretation for electronic scholarship, digital aesthetics, the history of visual information design, history of the book and print culture, history of information, and critical studies in visual knowledge representation. Her monograph, The Century of Artist's Book (1995), was the first monograph length publication on the topic of artist's books. Most recently, her scholarship has focused on information visualization, "which draws heavily on models from the empirical sciences, where approaches based on representation and transparency prevail." In contrast to this approach, Drucker stresses the rhetorical and performative nature of visualization, with emphasis on interpretation. She contends that digital tools should be used to "design graphic forms that inscribe subjectivity and affective judgment." Books 1990s In her first book, Theorizing Modernism: Visual Art and the Critical Tradition (1994), Drucker maps visual arts discourses through a rigorous examination of the rhetoric of 19th and 20th century critical writing and art practice. In the process, she theorizes the modernist tradition of visual art through a rhetoric of representation rather than from a formalist or historical approach, particularly regarding space, the ontology of the object, and the production of subjectivity. In The Visible Word: Experimental Typography and Modern Art (1994), Drucker contends that much art criticism of Futurism, Dada, and Cubism has failed to appreciate the fundamental materiality of these movements in relation to both visual and poetic forms of representation. Drucker emphasized, for the first time, the extent to which typographic activity furthered debates about the very nature and function of the avant-garde. Continuing with her interest in letterform, Drucker's next book, The Alphabetic Labyrinth: The Letters in History and Imagination (1995) analyzes the history of the alphabet, not just as a collection of arbitrary signs, but as the direct visual embodiment of meaning in relation to intellectual movements. For example, she shows how modern typefaces, first developed in the late 18th century, embody Enlightenment philosophy. Shifting her focus to artist books, Century of Artists' Books (1995) is the first full-length analysis of the development of artists' books as a 20th-century art form, exploring their structure, form, and conceptualization. Analyzing such artistic luminaries as William Morris, Marcel Duchamp, and Max Ernst, Drucker considers the book as metaphor, poem, and narrative or non-narrative sequence by situating its historical, theoretical, sociological, and technical