In 2009, e-flux began distributing the printed version of the journal as a PDF-to-print edition designed by Adam Florin that can be found at bookshops and art spaces around the world through a network of distributors.

In 2014 Mark Sladen wrote "e-flux journal focuses primarily on long-form texts, with little effort to style the reading environment or to employ complex audiovisual elements.

"[3]Since 2010, e-flux journal has regularly produced thematic issues, often guest edited by writers and thinkers such as Irit Rogoff, Boris Groys, Anselm Franke and Carlos Motta.

The compilation is edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle, with essays by Boris Groys, Hito Steyerl, Liam Gillick, Monika Szewczyk, Luis Camnitzer, Raqs Media Collective, Sean Snyder, Tom Holert, Irit Rogoff, Dieter Roelstraete, Marion von Osten, Gean Moreno and Ernesto Oroza, Michael Baers.

Critics, curators, artists and writers were invited to contribute include: Julieta Aranda, Brian Kuan Wood, Anton Vidokle, Cuauhtémoc Medina, Boris Groys, Raqs Media Collective, Hans Ulrich Obrist, Hu Fang, Jörg Heiser, Martha Rosler, Zdenka Badovinac, Carol Yinghua Lu, Dieter Roelstraete, and Jan Verwoert.

Post-Fordism, Precarity, and the Labor of Art (June 2011): This publication is a collection of texts from e-flux's online and print journal edited by Julieta Aranda, Brian Kuan Wood, and Anton Vidokle with contributions from Antke Engel, Hito Steyerl, Liam Gillick, Tom Holert, Irit Rogoff, Marion von Osten, Diedrich Diederichsen, Lars Bang Larsen, Keti Chukhrov, Franco Berardi, Precarious Workers Brigade.

A theoretical but nonetheless dramatic standoff is one of the outcomes of this shortcoming: while capitalism in its current incarnation cuts arts funding and starves artists out of their old neighborhoods, watching them fight like gladiators the better to learn even more strategic and cut-throat ways of surviving hard times, art is at the same time pulling the wool over capitalism's eyes with its ridiculous and inexplicable approaches to absolutely everything.

[17][18] Beyond the view that multiple, globally dispersed conceptual art practices provide a heterogeneity of cultural references, Andrei Monastyrski and Collective Actions propose much more: other dimensions altogether, other spatiotemporal politics, other timescales, other understandings of matter, other forms of life–not only as works, but as a basic condition for being able to perceive artworks in the first place.

[19] According to critic Tony Wood Steyerl's writing explains how "the link between political and cultural representation, never straightforward, has become profoundly unstable in the image-saturated neoliberal era; we live in 'an age of unrepresentable people and an overpopulation of images', in which 'a growing number of unmoored and floating images corresponds to a growing number of disenfranchised, invisible or even disappeared or missing people'.

"[20] Martha Rosler, Culture Class (September 2013): This collection of essays written between 2010 and 2012 presents Martha Rosler's most extensive update to her consideration of the role of artists in world culture and in urban gentrification since her landmark 1989 project If You Lived Here ... [21][22] "Writing in direct response to Richard Florida's book The Rise of the Creative Class," Abbe Schriber states that "Rosler problematizes Florida's definition of creative workers as driving urban economic success, exploring the notion that artistic labor "cannot be conflated with neoliberal urban political regimes," as sociologist Ann Markusen has put it.

[26] This reader is edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle includes texts from: Hito Steyerl, Keller Easterling, Bruno Latour, Ursula K. Heise, Gean Moreno, Franco "Bifo" Berardi, Diedrich Diederichsen, Rasmus Fleischer, Jon Rich, Geert Lovink, Brian Kuan Wood and Joana Hadjithomas / Khalil Joreige, Hans Ulrich Obrist and Julian Assange, Metahaven, Benjamin Bratton, and Patricia MacCormack.