Renée Green

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Nasceu em Clevend, Ohio, E.U.A, 1959.

Vive e trabalha em Nova Iorque e São Francisco E.U.A.

Educação
Whitney Independent Study Program, 1989-90.
Radcliffe Publishing Procedures Course, Harvard University, 1981.
Wesleyan University, B.A., 1981.
Parsons School of Design, 1982 and 1984.
School of Visual Arts 1979-80.

Exposições individuais (selecção)
2015
“Begin Again, Begin Again”, MAK Center, Schindler House, Los Angeles.
2011
“Sigetics”, Elizabeth Dee Gallery, New York.
2010
“Endless Dreams and Time- Based Streams”, Yerba Buena Center for the Arts, San Francisco.
2009
“Renée Green. Ongoing Becomings Rétrospective 1989-2009″, Musée cantonal des beaux-arts, Lausanne.
“Endless Dreams and Water Between”, National Martime Museum, Greenwich, London.
2008
“Le reve de l´artiste et du spectateur”, Jeu de Paume, Paris.
2007
“United Space of Conditioned Becoming”, Galerie Christian Nagel, Berlin.
2006/07
“Wavelinks”, Neuberger Museum of Art, Purchase College, New York.
2006
“Survey”, caltrans headquarters, Los Angeles.
“Unité d´habitation”, Galerie Martine Aboucaya, Paris.
2005
“Index (From Oblivion): Paradoxes and Climates”, Einstein Spaces, Berlin.
“Index (From Oblivion)”, Galleria Emi Fontana, Mailand.
“Der soziographische Blick 7. Renée Green, Relay”, Kunstraum Innsbruck.
“Sound Politics”, with Mayo Thompson and Ultra-Red, Baltimore Museum ofArt, Baltimore.
2004
“Elsewhere? Here”, Galeria Filomena Soares, Lissabon.
“Wavelinks, Contemporary Arts Center, Cinncinati, Ohio.
2002
“Phases + Versions”, Portikus, Frankfurt.
2000
“Shadows and Signals,” Fundació Antonio Tàpies, Barcelona.
“Other Planes of There,” Pat Hearn Gallery, New York.
“Platform: Ongoing Conversations and Work,” The Swiss Institute, New York.
“Returns:Tracing Lusitania,” Centro Cultural de Belem, Lissabon.
1999
“Between and Including,” Secession, Wien.
“Making History,” Renée Green and Sam Durant, Bard College, Center for Curatorial Studies.
“Project Wall,” Rosamund Felsen Gallery, Los Angeles.
1998
“Some Chance Operations”, Emi Fontana Gallery, Mailand.
1997
“The Digital Import/Export Funk Office,” Kunstverein Kreis Gütersloh.
1996
“Certain Miscellanies,” Stichting de Appel, Amsterdam.
“Flow,” FRI-ART Centre d´Art Contemporain Kunsthalle, Fribourg, (CH), website: www.thing.net/wrp.
“Partially Buried,” Pat Hearn Gallery, New York.
“Übertragen/Transfer,” Galerie Christian Nagel, Köln.
“The Digital Import/Export Funk Office”, Kunstraum, Universität Lüneburg.
1995
“miscellaneous,” DAAD Galerie, Berlin.
“miscellaneous continued,” Neuger/Riemschneider Galerie, Berlin.
1994
“Taste Venue,” Pat Hearn Gallery, New York.
“;Quest,” Emi Fontana Galerie, Mailand.
1993
“World Tour”, Museum of Contemporary Art, Los Angeles,
travelling exhibition to Dallas Museum.
1992
“Import/Export Funk Office,” Galerie Christian Nagel, Köln.
1991
“VistaVision: Landscape of Desire,” Pat Hearn Gallery, New York.
“Bequest,” Worcester Art Museum, Worcester, MA.
1990
“Anatomies of Escape, “Institute of Contemporary Art, The Clocktower Gallery, New York.



Exposições Colectivas (Seleção)
2014
„Wörter als Türen – in Sprache, Kunst, Film“, Halle für Kunst und Medien, Graz.
„Take It or Leave It: Institution, Image, Ideology“, UCLA Hammer Museum, Los Angeles.
2013
„NYC 1993: Experimental Jet Set, Trash and No Star“, New Museum, New York.
„Make an effort to remember. Or, failing that, invent.“, Betonsalon Paris, Paris.
„Das Anthropozän-Projekt 2013“, Haus der Kulturen, Berlin.
„Blues for Smoke“, Museum of Contemporary Art, Los Angeles.
2011
„lieb & teuer“, Kunstverein Tiergarten, Berlin.
„the Avantgarde: Specters of the Nineties“, Marres, Centre for Contemporary Culture, Maastricht.
2010
“Bilder in Bewegung. Künstler & Video / Film”, Museum Ludwig, Köln (upcoming).
2009
“Geschichte/n verwahren”, IG Bildende Kunst, Wien.
“Schere-Stein-Papier. Pop Musik als Gegenstand Bildender Kunst”, Kunsthaus Graz, Graz.
“Regift”, Swiss Institut-Comtemporary Art, New York.
2008
“Manifesta 7 Trentino – Alto Adige 2008″, International Foundation Manifesta, Südtirol.
“e-flux – VIDEO RENTAL”, CAMJAP, Centro de Arte Moderna José de Azeredo Perdigão Fundação Calouste Gulbenkian, Lissabon.
2007
“Simply Red”, FWM – The Fabric Workshop and Museum, Philadelphia.
“Elsewhere? Video works by Monica Bonvicini, Lovett/Codagnone, Renée Green, Liliana Moro, Diana Thater, Gillian Wearing”, Galleria Emi Fontana, Milan.
“10. Istanbul Biennial”, Istanbul.
2006
“10 ans d´acquisitions de dons et de legs”, 1996-2006.”, Musée cantonal des Beaux-Arts, Lausanne.
“The Unhomely: Phantoms Scenes in Global Society.” 2nd International Biennial of Contemporary Art of Seville. Sevilla, Spain.
2005
“Artist´s Books, Revisited.”, Art Metropol, Canada; Printed Matter, New York.
“Double Consciousness: Black Conceptuel Art Since 1970.”, Contemporary Arts Museum, Houston.
“Transformer 1″, Fluc im Exile, Vienna.
2004
“La fin du XVIIIe siècle et aujourd´hui”, L´ancien Musée de peinture de Grenoble (organisiert vom Magasin), Grenoble.
“Mobilen Movables”, Galerie im Taxispalais, Innsbruck.
“jpeg.bild.ton.maschine. Schnittstelle von bildender Kunst und Musik”, Künstlerhaus Bethanien, Berlin.
“Renée Green: Wavelinks.”, Arsenal, Berlin (screening).
“Social Capital.”, Whitney Museum of American Art, Independent Study Program Exhibition; Art Gallery of the Cuny Graduate Center, New York.
“Sound Forest Folly”, “Lustwarande 04: Disorientation by Beauty”, Tilburg.
“Born to Be a Star”, Künstlerhaus Wien.
“On the Wall: Contemporary Wallpaper.”, Museum of Art, Rhode Island School of Design, Providence.
2003
“Conceptualisms. Zeitgenössische Tendenzen in Musik, Kunst und Film. Aufführungen, Ausstellung, Lectures und Filmprogramm”, Akademie der Künste, Berlin.
“What Lies Between: The Autobiographical Impulse in Film and Video”, UCLA Hammer Museum, Los Angeles (Screening).
“Tuscia Electa: Arte Contemporanea nel Chianti”, Turin.
“Attack! Kunst und Krieg in den Zeiten der Medien”, Kunsthalle Wien.
“Strangers: The First ICP Triennial of Photography and Video.”, International Center of Photography, New York.
2002
Documenta XI, Kassel.
„Stories,” Haus der Kunst, München.
„Global Complex,” OK Centrum für GegenwartKunst Oberösterreich, Linz.
„Museum unserer Wünsche/Museum of our Wishes,” Museum Ludwig, Köln.
„Sonic Process,” MACBA, Barcelona Centre Georges Pompidou, Paris.
2001
„Take Two,” The Ottawa Art Gallery, Canada.
„Ausgeträumt…”, Secession, Wien.
„Love Supreme,” La Criée Centre d´Art Contemporain, Rennes.
„Berlin Biennale,” Kunstwerke, Berlin.
„Public Offerings,” MOCA, Los Angeles.
„Memorial Exhibition,” Pat Hearn Gallery, New York.
„One Planet,” Bronx Museum of Art, New York.
2000
„Voilà!: Le Monde dans la tete,” Musée de la Ville de Paris.
„History and Memory,” Historisches Museum and Schirn Kunsthalle, Frankfurt.
1999
“Ruins in Reverse,” CEPA Gallery, Buffalo, NY.
“The Comfort Zone,” The Public Art Fund, New York.
“Graf, Green, Kogler, Schlegel, Schmalix, Williams,” Museum of Contemporary Art, Brno, Czech Republic.
“Studio One,” Clocktower Gallery, New York (screening).
“The Stockholm Syndrome,” CD-ROM exhibition scripted and designed by Måns Wrange, Igor Isaksson,Ilkka Isaksson, in partnership with Stockholm-Cultural Capital of Europe 1998.
“Architecture of Resistance,” International Center for Urban Ecology, (screening).
“Persuasion,” Lombard/Freid Fine Arts, New York .
“Pat Hearn Gallery Summer Show,” New York.
“Elsewhere 3,” Glassbox, Paris (screening).
“Harn Museum of Art,” screening series, Gainesville, Florida.
“Art-Worlds in Dialogue,” Museum Ludwig, Köln.
1998
“The Cultured Tourist,” Leslie Tonkonow Artworks & Projects, New York.
“Anticipation, Version 4,” Centre pour l´Image Contemporaine, Genève.
“Sharawadgi,” Felsenvilla, Baden.
“All Over the Map,” L.A. Freewaves 6th Celebration of Independent Video & New Media, Los Angeles.
44th International Short Film Festival, Oberhausen.
“The Style Engine,” Pitti Immagine, Florenz.
„Graf, Green, Kogler, Schlegel, Schmalix, Williams,” Kunsthalle Krems, Krems.
“Artist/Author: Contemporary Artist´s Books,” Museum of Contemporary Art, Chicago (travelling exhibition)
“Performance Anxiety,” La Jolla Museum, CA and Site Sante Fe, New Mexico.
„Changing Spaces,” The Power Plant, Toronto, Vancouver Art Gallery, Vancouver.
1997
Robert Flaherty Film Seminar, Ithica, NY.
“Performance Anxiety,” Museum of Contemporary Art, Chicago.
“Letter & Event,” Apex Art, C.P., New York.
“Critical Images: Conceptual Works from the 1960s to the present,” Leslie Tonkonow Artworks & Projects, New York.
“Home Sweet Home: Einrichtungen/Interieurs,” Deichtorhallen Hamburg.
“Changing Spaces,” (traveling exhibition), Projects from the Fabric Workshop and Museum, Philadelphia City Gallery at Chastain, Atlanta.
Kwangju Biennale, Korea, (Sept.-Oct.), “Partially Buried (in Three Parts),” Johannesburg Biennale, South Africa (Oct.-Nov.), “Tracing Lusitania: Excerpts from an Imagined Prototype” An Ongoing Project by Renée Green.
“Translocations,” organized by Displaced Data, London and IRADAC (The Institute for Research on the African Diaspora in the Americas and the Caribbean), City University of New York, New York.
“Résonances,” ANGI-Galerie ART’O, Paris.
1996
“Now/Here,” Louisiana Museum of Art, Copenhagen.
“Nach Weimar,” Neues Museum, Weimar.
“Embedded Metaphor,”1996-99,A traveling exhibition organized by Independent Curators International/Nina Felshin , New York, John and Mable Ringling Museum, Sarasota, FL Western Gallery, Western Washington U., Bellingham, WA Bowdoin College Museum of Art, Brunswick, ME Virginia Beach Center for the Arts, Virginia Beach, VA Ezra and Cecile Zilkha Gallery, Wesleyan U., Middletown, CT Pittsburgh Center for the Arts, Pittsburgh, PA.
“A Drift,” Bard College, New York.
“Handmade Readymades,” Bertha and Karl Leubsdorf Gallery, Hunter College, New York.
1995
“Mirage,” Institute of Contemporary Art, London.
“Architectures of Display,” Architectural League of New York and Minetta Brook, New York.
“Das Ende der AvantGarde: Kunst als Dienstleistung,” Kunsthalle der Hypo-Kulturstiftung, München.
“It´s Not A Picture,” Galleria Emi Fontana, Mailand.
“Video: l´immagine e l´ogetto. Artisti degli Stati Uniti/Video: The Image and the Object. Artist from the U.S.,” Museo Laboratorio de Arte Contemporanea, Rom.
“Wallpaper Works,” Contemporary Arts Museum Houston.
1994
“Installation: Selections from the Permanent Collection,” Museum of Contemporary Art, Los Angeles.
“Don´t Look Now,” The Thread-Waxing Space, New York.
“Services,” Universitat Lüneberg.
“Sogetto Sogetto,” Castelo di Rivoli, Rivoli.
“The Seventh Museum,” Stroom, Den Haag.
“The Ideal Place,” HCAK, Den Haag.
“The Body as Measure,” Davis Art Museum, Wellesley College, MA.
“Temporary Translations,” Deichtorhallen, Hamburg.
“The Cooked and the Raw,” Museo Reina Sofia, Madrid.
“Sommerakademie München–Eine Freie Akademie auf Zeit,” Kunstverein München, München.
“Kontext Kunst/Context Art,” Neue Galerie am Landesmuseum Johanneum, Graz.
“Mapping,” American Fine Arts, New York.
1993
Whitney Museum of American Art Biennial, New York.
“Aperto,” Venice Biennale, Venedig.
“Project Unité,” Firminy, Frankreich.
“Just what is it that makes today´s homes so different so ppealing?,” Galerie Jennifer Flay, Paris.
“Fontanelle: Kunst in (x) Zwischenfallen,” Potsdam, .
“On taking a normal situation…,” Museum van Hedendaagse Kunst, Antwerpen (MUHKA), Antwerpen.
“What Happened to the Institutional Critique,?” American Fine Arts, New York.
“Peccato di Novita,” Galerie Emi Fontana, Mailand.
“Die Arena des Privaten,” Kunstverein München, München.
“Theater of Refusal: Black Art and Mainstream Criticism: Fine Arts Gallery, University of California, Irvine.
1992
“True Stories,” Institute of Contemporary Art, London.
“Dirty Data,” Sammlung Schürmann 1992, Ludwig Forum for International Art, Aachen.
“Multiple Cultures,” Convent of San Egidio, Rom.
“Inheritance,” LACE, Los Angeles.
“Wohnzimmer/Buro,” Galerie Christian Nagel, Köln.
“Mary Kelly/Renee Green,” Herbert F. Johnson Museum of Art, Cornell University, Ithica, New York.
“Speak,” Randolph Street Gallery, Chicago.
“Huitiemes Ateliers Internationaux Pays de Loire,” F.R.A.C., Clisson, Frankreich.
“Transgressions in the White Cube: Territorial Mappings,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont.
“Travel Documents,” San Francisco Cameraworks.
“Informationsdienst,” Kubinski Galerie, Köln.
“More Books as Art,” Hecksher Museum, Huntington, NY.
1991
“Lost Illusions: Recent Landscape Art,” Vancouver Art Gallery, Canada
“Arte Joven en Nueva York,” Sala Mendoza, Caracas, Venezuela.
“Natural History,” Barbara Farber Gallery, Amsterdam.
“New Generations: New York,” Carnegie Mellon Art Gallery, Pittsburg.
“SiteSeeing: Travel & Tourism in Contemporary Art,” Whitney Museum of American Art, New York.
“Color Theory,” Amelie A. Wallace Gallery, SUNY at Old Westbury, NY.
1990
“Out of Site,” P.S.1 Museum/Institute of Contemporary Art Long Island City, New York.
“The Construction of Knowledge,” Diane Brown Gallery, New York.
Nicole Klagsbrun Gallery, New York.
“Social Studies: 4 + 4 Young Americans,” Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio.
“Selections: Aljira & Artists Space,” Artists Space, New York.
“Expense Account: Figuring the Damage,” University of Rochester, Rochester, New York.
1989
“From the Studio: Artists in Residence, 1988-89, The Studio Museum in Harlem,” New York



Filmes
“Forces of Circumstance”, Kölnischer Kunstverein, Köln, 2002.
“Shadows and Signals,” Cine Ambigu-Apolo, Barcelona, 2000.
“Between and Including,” Filmhaus Spittelberggasse, Wien, 1999.
“Some Chance Operations,” Galleria Emi Fontana, Mailand, 1998.
“Flow”, Fri-Art, Fribourg, 1996.
“Tracing Lusitania: A Prototype, 1991-97.” Presented as a model with “Paixao Nacional,” by Karim Aïnouz as a sample selection, Vienna Secession, 1999.
“VistaVision: Landscape of Desire”, Pat Hearn Gallery, New York, 1991.



Publicações (seleção)
2006
“Place”, in: Sarai Reader 06. Turbulence” , New Delhi: The Sarai Programme, CSDS, 2006.
“Relay”, in: The Sociological View, Innsbruck: Kunstraum Innsbruck, 2006.
“Beyond”, in: Institutional Critique and After, Zürich: JRP/Ringer Kunstverlag, 2006
“States of Exception”, in: MFA Graduate Exhibition Catalogue 2006, San Francisco: San Francisco Art Institute.
2005
“Index (Aus dem Vergessen): Paradoxe und Klimata.” In: Einstein Spaces. Yvonne Leonard, ed. Berlin: Einstein Forum, 2005.
2004
“Other Planes of There,” Yard (Los Angeles), vol.1, no.1 (Fall 2004): 54-61.
“NO Guru, NO Method, No Master: zur Methode und Zukunft der Lehre”, Texte zur Kunst (Köln) no.53 (März 2004): 140-143.
“Künstlerische Praxis als Dispositive: Katharina Schlieben und Sonke Gau im Gespräch mit Renée Green” ITH: das Magazin für des Instituts für Theorie der Gestaltung und Kunst (Zürich), Nr. 31 (Juni 2004): 61-69.
2003
“Negotiations in the Contact Zone / Negociaçôes na zona contacto”, Renée Green, editor,, Lisboa: Assirio & Alvim, 2003.
2002
“Obsolescence = Mutation Unrealized?”, Oktover (New York), Nr. 100 (Spring 2002): 76-77
“Survival: Ruminations on Archival Lacunae. Adaptations, Re-readings and New Readings. Intoduction to the Following Accretive Process.”, in: Interarchive: Archival Practices and Sites in the Contemporary Art Field. Beatrice von Bismarck, ed. Lüneburg: Kunstraum der Universität Lüneburg; Köln: Walther König, 2002.
“Slippages”, in: Radiotemporaire”. Grenoble: Magasin, 2002
“Introductory Notes of a Reader and ´A Contemporary Moment`”, in: From Work to Text: Dialogues on Practise and Criticism in Contemporary Art. Jürgen Bock, ed. Lissabon: Centro Cultural de Belém, 2002.
“Returns: Tracing Lusitatia. Questions from Elvan Zabunyan which Stimulated Responses from Renée Green.”, in: From Work to Text: Dialogues on Practise and Criticism in Contemporary Art, Jürgen Bock, ed. Lissabon: Centro Culturel de Belém, 2002.
“Raum für Notizen: ein Tagebuch zur Documenta 11″, Texte zur Kunst (Köln), Nummer 47 (September 2002): 70-77
2001
“Between and Including”, with contributions from Giuliana Bruno, Michael Eng, Renée Green, Lynne Tillman, Joe Wood, Wien Secession, Wien, 2001
“Nachwort/Brief: (Situationist Text)”, in: Situationistinnen und andere…”, Berlin: b_books, 2001
“Un moment contemporain: penser les recontres artistiques”, multitudes (Paris), Nummer 4 (März 2001): 65-73
“Some Conditions for Independent Study: The Whitney Program as a Thought Oasis or Weathered Bastion”, in:Education, Information, Entertainement, Ute Meta Bauer, ed. Wien: Selene; Institut für Gegenwartskunst.
2000
“Notes on Humanist and Ecological Republic” and “Lac Mantasoa”: Florian Pumhösl, Wien Secession, in: Texte zur Kunst, September, 2000.
“Shadows and Signals”, texts by Alexander Alberro, Nora Alter, Renée Green, Fundació Antoni Tàpies, Barcelona, 2000.
“Scenes from a Group Show: Project Unité”, in: Site-Specificity: The Ethnographic Turn. Alex Coles, ed. London: Black Dog, 2000.
1999
“Zwischen Zeilen und Orten”, Springerin (Wien), Nr. 1, 1999.
Translocations Issue, in: Springerin, 1999.
“In is Out, Out is In, Get It?” in: Glamorama, Spex, 1999.
1998
“Compared to What?: Blues Legacies and Black Feminism by Angela Davis,” in: Spex, November 1998.
“Affection Afflictions: My Alien, My Self/More “Reading at Work,” Loving the Alien: Science Fiction, Diaspora and Multikultur, ed. Diedrich Diedrichsen, ID Archiv, Berlin, 1998.
“Site-Specificity Unbound: Considering “Participatory Mobility,” in: Springerin, March/April 1998.
“Artist/Author: Contemporary Artist´s Books̶, Cornelia Lauf und Clive Philpot eds; designed as artist´s book by Renée Green, American Federation of the Arts, New York, 1998.
“Perplexed”, in: Artist/ Author: Contemporary Artist´s Books. Cornelia Lauf und Clive Philpot, eds.; New York: American Federation of the Arts, 1998.
1997
“Partially Buried,” in: October 80, Spring 1997, MIT Press.
“Partially Buried,” CD track on Performance Anxiety CD, MCA Chicago, 1997.
“Slippages,” Wien Secession, (“Agenda” publication), Wien, 1997, abbreviated version “Der Künstler als Ethnograf?” was published in: Texte zur Kunst, September 1997.
1996
“Collecting Well is the Best Revenge: Commemorative Toile Fabric, 1995″, in: Stud. Juoel Sanders, ed. Princeton: Princeton Architectural Press, 1996.
“Import/ Export Funk Office: Another Work in Progress”, in: Games, Fights, Collaborations: Das Spiel von Grenze und Überschreitung. Beatrice von Bismarck, Diethelm Stoller und Ulf Wuggenig, ed. Lüneburg: Kunstraum, University Of Lünseburg; Ostfildern: Cantz, 1996.
“Spike Lee´s Mix: Calculated Risks and Assorted Reckonings” in: Spex, 1996.
“Notes from a User: ´L´Informe´,” in: Texte zur Kunst, September 1996.
“Certain Miscellanies: Some Documents”, (book), DAAD(Berlin) and De Appel Foundation (Amsterdam) 1996.
“Flow,” a web site made for White Room Productions, NYC and Fri-Art Fribourg, Switzerland at http://www.thing.net/jca beginning March 31, 1996 and continuing.
“The Fact of Blackness”, ed. Alan Read, ICA London/Bay Press, 1996.
“Stud”, ed., Joel Sanders, Princeton Architectural Press, 1996.
“Games, Fights, Collaborations”, Kunstraum, Universität Lüneburg, 1996
“The Digital Import/Export Funk Office”, CD-ROM, produziert in Zusammenarbeit mit der Universität Lüneburg.
1995
“Questions of Feminism: 25 Responses,” in: October 71, Winter 1995.
Page Project, in: Blocnotes, Winter 1995, number 8.
“Dropping Science: Art and Technology Revisited ,” in: Flash Art, November 1995.
1994
“On Site Specificity: A Discussion with Hal Foster, Renée Green, Mitchell Kane, Miwon Kwon, John Lindell, Helen Molesworth”, in: Documents (New York), Nr. 4-5, 1994.
Conversation with Diedrich Diedrichsen, “Yo Hermeneutics” (Buch), ed. Diedrichsen, D., 1994
“Eighteen Aphoristic Statements,” in: Vor der Information, Wien, 1994.
“Collectors, Creators, Shoppers,” in: Frieze, Fall 1994.
Page Project, in: Metropolis M, Amsterdam, October 1994.
“After the Ten Thousand Things” (Buch), Stroom, The Hague, 1994.
“Camino Road” (Buch), Museo Reina Sofia, Madrid, 1994.
1993
“WORLD TOUR”, (catalogue) Museum of ContemporaryArt, Los Angeles, 1993.
“Inventory of Clues,” (catalogue), “Taking a Normal Situation…,” MUHKA, Antwerp, 1993.
“The Beat Goes On,” (Vortrag) Museum für Angewandte Kunst, Wien, 1993.
1992
“Der Offentliche Blick,” Artists Pages, Jahresring #38, 1992.
“Black Popular Culture?,” in: Texte zur Kunst, Winter 1992 and in: Art and Text, Summer 1992.
“Open Letter #1: On Influence,” in: Texte zur Kunst, Fall 1992.
“Sites of Criticism Symposium: Practices,” in ACME Journal, Vol. 1 No.2,1992.
1991
“Trading on the Margin,” in: Transition: An Review #52, 1991 pp.124-32, Oxford University Press.
“Democracy in Question,” in: Transition: An International Review, #53, 1991, pp.163-167.
“Sites of Genealogy” and “I Won´t Play Other to Same,” in: Texte zur Kunst, Summer 1991.
“Cold Sweat,” (“Kalter Schweiß”), in: Texte zur Kunst, Fall 1991.
1990
“I Won´t Play Other to Your Same,” in: Meaning 7, May 1990, pp. 15-16.
“What´s Painting Got To Do With It?: Art in the Age of Post-Mechanical Production,” in: Post-Boys and Girls: Nine Painters, Artists Space, New York, 1990.
1981
”No Title: The Collection of Sol LeWitt”, ed., John Paoletti, Wesleyan University/ Wadsworth Atheneum, Hartford, Connecticut, 1981.