CentroCentro has a range of publications that supplement its exhibition activities and public programme. Its launch comes in response to a three-fold objective: that of generating knowledge, sharing that knowledge, and contributing new approaches to the narratives on which the artistic panorama of our time is based. Conceived as a critical tool of thought, but also as a vehicle for updating and revision, these texts address those languages and themes on which our projects are based: performance art, the visual arts, architecture, sound creation...

The first one, Looking Ahead (Mirar de Frente) (2019), brings together a collection of texts by Miguel Benlloch that have been edited by Mar Villaespesa and Joaquín Vázquez on the occasion of the exhibition Conjugated Body (Cuerpo Conjugado). 

Mirror Becomes a Razor When It's Broken (2020) is the result of a research process that is connected to the cycle of the same name. Curated by Sonia Fernández Pan, it brought together works by Josu Bilbao, Lúa Coderch, Estanis Comella, Eva Fábregas and Rubén Grillo. The book proposes a relationship between the text and the exhibitions through the words of different authors.

CentroCentro also has a collection of eight volumes with designs by Maite Zabaleta. The first one is Frequency Singular Plural (Frecuencia Singular Plural) (2020), a work that expands the content of the performance art cycle of the same name that was curated by María Montero Sierra during 2019. Edited by Montero herself, the book features the participation of such theorists as Brandon LaBelle and Pauline Oliveiros, and the text that Beatriz Alonso wrote as a memento of the cycle. As well as a compilation of conversations with some of the artists who took part in the project such as Nuno da Luz, Laia Estruch, Marco Godoy, Anna Guedes, Ángela Milano, Julián Pacomio and Hannah Weinberger, the book also includes poems by María Salgado and Elena Aitzkoa and a visual essay by Camile Aleña.

The second book, entitled Through the Sand (A través de la arena) (2020), arose from the rediscovery of the public programmes featured in the exhibition of the same name that was curated by Laura Vallés Vílchez. That exhibition took as its point of reference two magazines from two different geographies: Arena and Zehar (both founded in 1989) and the book includes two of its protagonists in its pages: Mar Villaespesa and Miren Eraso. It also features texts by the book’s curator and editor and by Jon Mikel Euba, an essay by Noemí de Haro, Inés Molina and Lola Visglerio on the Fadaiat workshop and a conversation with José Díaz, Nuria Enguita, Olga Fernández and Maider Zibelti.

Traces of Vang: the Suspended Spring (Rastros de Vang: la primavera suspendida) (2020) is linked to the experimental music cycle Vang III, curated (and edited) by Alberto Bernal, Marina Hervás and Anna Margules Rodriguez. The book concentrates on the two themes addressed by that edition of the cycle: objects and memory. The book’s editors have provided material and it also includes texts by Peter Ablinger, Heloisa Amaral, Carolina Cerezo, Carmen Pardo and Jonathan Sterne.

Transcending Limits. Other Views of the Cibeles Palace (Traspasar los límites. Otras miradas sobre el Palacio de Cibeles) (2020), linked to the project The Palace Seen By (El Palacio visto por...) seeks to cast renewed (and contemporary) light on the history and fortunes of the Cibeles Palace. The publication includes texts by David Bestué, elii [architecture office], Gloria G. Durán, Ángel Gutierrez and Elvira Navarro. 

The publication A Green Jade Lake (Un lago de jade verde) (2022) compiles research and reflections that were carried out and developed for the first exhibition ever to be curated by the Institute for Postnatural Studies, and includes texts and narratives by thinkers, artists and curators (Geocinema, Chus Martinez, Inés Muñozcano, Marta Ramos-Yzquierdo, Claudia Rodríguez-Ponga) that help us to reflect on the idea of nature from different perspectives. 

Aqueous Madrid (Madrid acuosa) (2022), is a compilation of the research that led to the exhibition of the same name, directed by Malú Cayetano, which seeks to raise public awareness of our city's rich water heritage, covering the past and present, looking to the future, recovering forgotten relationships and encouraging readers to explore the city’s relationship with water, its perceptions of and interactions with it.   

A Cartography of Diversity in the Literary and Artistic Madrid of the 1920s (Cuestión de ambiente. Diversidad en el Madrid literario y artístico de los años 20) (2023) seeks to remember the lives of a number of creators who lived their homosexuality openly and freely in the capital of Spain in the 1920s. This publication is intended as a guide to the lives of twelve people who were prominent in the world of art and literature in those years. The texts are written by Joaquín García Martín, curator of the exhibition of the same name that took place at CentroCentro in 2021, with contributions by Eva María Moreno and Carlos Primo.

The City Within [in the Rural Galaxy] (Ciudad Adentro [en la Galaxia Rural]) (2023). This book is an invitation to reflect on the contemporary city based on the double experience of the exhibition of the same name, curated by José Tono Martínez, and a symposium held at CentroCentro in 2022 with the participation of prominent philosophers, researchers and creators from different generations. The publication includes contributions by Lola S. Almendros, Andoni Alonso Puelles, Eurídice Cabañes, Adolfo Estalella, Amador Fernández Savater, Alfonso Galindo Hervás, Leire Iriarte Cerdán, Alejandro Martín Navarro and Angélica Velasco Sesma.

In 2023, in addition to this collection of eight publications, CentroCentro also published Excuse Me, I’m Talking (Perdona, estoy hablando) which aims to introduce the public to the vision of and knowledge generated by autobiographical comics made by women.