This series represents Kraus's work as a fiction writer, art critic, playwright, theatre director, editor, and creative writing instructor. The material dates from 1974 through 2015. Included in this series are paper and born-digital versions of material related to Kraus's work as an author, teacher, and editor at Semiotext(e); audio and video recordings of performances of her work; and writing about Kraus. Materials related to Kraus's writings include drafts, research materials, notes, publicity materials, reviews, and correspondence. The bulk of the series documents Kraus's autobiographical novels and her critical writing on art and includes paper and born-digital materials. Kraus's books documented in this series include I Love Dick, Torpor, Summer of Hate, Aliens & Anorexia, After Kathy Acker, Video Green: Los Angeles Art and the Triumph of Nothingness, and Where Art Belongs. This material consists of paper and born-digital drafts, proofs, published books and magazines, newspaper and magazine clippings, notes, photographs, posters, flyers, correspondence, and audiovisual material. In addition, the I Love Dick material includes scripts of Longing Lasts Longer, a 1998 play based on I Love Dick, as well as correspondence regarding its production, and photographs and video recordings of the performance. Also included in this section are some of Kraus and Lotringer's notebooks and letters to Dick used in the creation of the book, and fan mail sent to Kraus after the publication of the book. Kraus's art writing includes critical writing on artists and their exhibitions in the United States and Europe, and catalog essays for exhibitions. This work is documented through paper and born-digital drafts, notes, published books and magazines, as well as magazine and newspaper clippings. Research materials include photocopies and clippings of critical writings by others, exhibit catalogs, and correspondence with artists and editors. Kraus's essays on topics other than art and her short stories are also included in this series.

This series also documents Kraus's theatre work in New York City in the 1970s and 1980s, including Readings from the Diaries of Hugo Ball, Disparate Action/Desperate Action, and collaborations with Sylvère Lotringer on the works of Antonin Artaud. This material also documents Kraus's theatre workshops with labor unions and other groups in New York City. The theatre material includes video and audio recordings of Readings from the Diaries of Hugo Ball, I Talked about God with Antonin Artaud, an untitled performance of Artaud's work at Columbia University, and audio recordings of workshops Kraus held with labor union members.

Also included in this series are materials related to interviews conducted with and by Kraus, writing about her work, awards and grants she received, her speaking engagements, her work as a teacher, her work as an editor at Semiotext(e), and photographs. The interviews include those conducted by Kraus with Penny Arcade and Christopher Isherwood, and an interview conducted by Gary Indiana with Kraus. Writing about Kraus includes reviews of her work, as well as critical interpretations of her writings. The photographs consist of photographs of Kraus used for publicity materials and of events at which she appeared. The material related to speaking engagements includes posters, flyers, and catalogs for the events as well as correspondence regarding planning for the events. The teaching material documents Kraus's work at the European Graduate School and includes syllabi; correspondence regarding the planning of the classes; diary entries about teaching and the class locations; and notes on what the focus of the classes should be, as well as ideas for projects and readings for the students. Material documenting Kraus's work as an editor at Semiotext(e) includes born-digital correspondence, drafts, and notes regarding publication of works in Semiotext(e)'s Native Agents series as well as their general publishing areas.

This series contains paper, born-digital, and audiovisual material documenting Kraus's career as a filmmaker from the early 1980s through the mid 1990s. The series dates from 1980-2015 and includes scripts, notes, publicity materials, correspondence, film, video, and audio recordings. The bulk of this series consists of materials for Gravity and Grace, The Golden Bowl or Repression, and How to Shoot a Crime. The film, video, and audio recordings in this series document all stages of production of the films and include final prints used for screenings. There are some audiovisual materials that have not been identified as belonging to any specific film; in these cases titles from the media label has been retained. The paper and born-digital material in this series includes finished and draft scripts, production materials, correspondence, and press material. The production materials include notes, receipts, grant applications, crew lists and resumes, and correspondence regarding aspects of production. Topics in the correspondence include issues with filming locations, screenings, as well as funding for the film. Press materials include reviews, stationery, postcards, posters, and stickers. Photographs include production stills and candids taken during production. Other films documented in this series include Sadness at Leaving, Traveling at Night, Voyage to Rodez, Foolproof Illusion, and In Order to Pass. This series also documents Kraus's participation in film exhibitions and conferences through paper and born-digital correspondence, exhibition catalogs, and posters.

This series contains over 80 diaries documenting Kraus's life from 1975 through 2015. This series consists mainly of paper diaries in bound volumes, with some loose paper entries, born-digital entries, and video recordings. The diaries include her feelings about her personal and professional lives and early notes and drafts of her work. Included in this series are some of Kraus's diaries created during the project between Kraus and Lotringer that led to the publication of I Love Dick; diaries kept during her work on other publications, including Torpor; and diaries kept during the production of her film Gravity and Grace. Some diaries contain a few entries and some are completely filled with entries. Kraus identified some diaries by date spans, some by location, and others by project title.

This series consists of general correspondence between Kraus and friends, collaborators, and acquaintances, spanning from 1975 to 2015. These include paper and email correspondence, as well as word processing drafts of letters. Topics include daily life, as well as current and proposed projects. Correspondents include Hedi El Kholti, Justin Cavin, Tamar Brott, David Farrar, Ruth Novaczek, Moyra Davey, Jim Fletcher, Bernadette Van Huy and John Kelsey (Bernadette Corporation), Bob Glück, Gary Indiana, Sylvère Lotringer, Eileen Myles, Lynne Tillman, Penny Arcade, and Sheila Heti.

This series contains paper material and an audio recording documenting The Chance Event, particularly the planning of the event by Kraus in 1996. The series includes a catalog of sessions at the event, drafts of material used in the event, photographs of the event, and a mini audio cassette from Kraus' answering machine with messages from event participants.