Arranged alphabetically.

Abel, Kirsten.  “The Makers: Gary Hill’s Mind-Bending Media Art.”  Seattle Magazine, August 17, 2015.  Online here.

Adamson, Loch. “Sculpting sight: Henry Art Gallery, Seattle.” Artweek 25, 13 (July 7, 1994): 16, 17.

Alcala, Bruno. “Arret sur images.” Beaux Arts Magazine (August 1990): 97–99.

Alessandrini, Iole. “Luminous Landscape.” Arcade XV, 3 (Spring 1997): 30, 31.

Alonso, Rodrigo. “La imagen como indagacion conceptual.” La Nación (Buenos Aires, Argentina), May 14, 2000.

Alzugaray, Paula. “Sob Os Holofotes.” Istoé, July 22, 2009, 110 -111.

Ament, Deloris Tarzan. “Artist Uses Videos to Tease Viewers.” The Seattle Times (Seattle, WA), February 22, 1993.

Amouroux, Eric. “Passagearbeten/Passageworks.” Galeries Magazine 55 (Summer 1993): 55.

Ancona, Victor. “Ithaca Video: Margin Notes on A Movable Feast.”  Videography 4, 9 (1979): 60–62.

Anello, Laura. “Una rassegna sul rapporto fra spazio urbano e ambiente.”  La Stampa/Qui Roma (Turin, Italy), April 21, 1997.

Aquin, Stephanie. “Gary Hill – Vague de fond.” Voir (Montreal, Quebec), February 12, 1998.

Ardenne, Paul and Ami Barak. “Metropolis entre deux terres, entre deux thèses.” art press 160 (1991): 88.

Arnell, Karin. “Elektroniken Gerkonsten Liv.” Civilingenjöre NR 2 (1995): 14, 15.

“Around Town. Whitney Biennial.” Interview XIII, 6 (June 1983): 84.

“Art: Alternative Programming.” The New Yorker, June 12, 1995.

Artner, Alan G. “Veni, Vidi, Video.” Chicago Tribune (Chicago, IL), October 9, 1994.

A view of oneself through art.  The New Indian Express, August 17, 2017.  Online here.

Azzi, Francesca. “Poeta das novas mídias faz individual.” O Tempo (Brazil), July 2, 1997.

Bækgaard, Bjarne. “Livsnær kunst.” Stift, January 17, 1999.

Baker, Kenneth. “Capp Street Opens Doors of Perception.” San Francisco Chronicle (San Francisco, CA), May 27, 1998.

Baker, Kenneth. “Images Play with the Notion of Being.” San Francisco Chronicle (San Francisco, CA), December 2, 2000.

Baker, Kenneth. “Unlimited ‘Time’.” San Francisco Sunday Examiner and Chronicle (San Francisco, CA), January 2, 2000.

Bakke, Erik. “Gary Hill / Barbara Gladstone Gallery.” New Art Examiner 27, 5 (February 2000): 54–55.

Bambozzi, Lucas. “A Crítica do Vídeo. Uma Experiência.” ForumBHZvideo Revista 2 (1994): 87–89.

Baqué, Dominique. “L’art américain au 20e siècle: le regard européen.” art press 183 (September 1993): 79–82.

Baqué, Dominique. “Gary Hill.” art press 269 (June 2001): 3, 80–82.

Barbichon, Jean-Yves. “Gary Hill: maître-mot.” NOV’Art, February 1993.

Barcott, Bruce. “Gary Hill / Donald Young Gallery, Seattle.” New Art Examiner 20 (May 1993): 51.

Barcott, Bruce. “On view: Seattle.” New Art Examiner 20 (February 1993): 24–26.

Barcott, Bruce. “I was a camera. Art: Gary Hill straps on his video equipment and takes us for a walk.” The Seattle Weekly (Seattle, WA), June 22, 1994.

Barlow, Melinda. “Studio as Study:  A Selection of Drawings by American Video Artists.” PAJ 24, 2 (May 2002): 1–4, 16–17.

Baron, Marie-Guy. “La secousse multimédia des artistes.” Le Figaro (Paris, France), October 17, 2002.

Barret, Robert. “Panorama Artistique.” Previsions, August 24, 1990, 4.

Barrett, David. “Gary Hill: White Cube, London.” Art Monthly 203 (February 1997): 22.

Barter, Ruth. “Doubletake.” Art Monthly 155 (April 1992): 16, 17.

Bassan, Raphael. “Murs d’Images pour un Art Mur.” Liberation (Paris, France), July 31, 1990.

Batchelor, David. “Almost everything is available.” Frieze 6 (September/October 1992): 38.

“BEACON (two versions of the imaginary).” Sculpture 13 (July/August 1994): 33.

“Beau Fleuve: Five Programs of Work by 27 Film and Video Makers from Buffalo.” Media Study/Buffalo (January–May 1980): 11.

Becker, Bart. “The 39ers. Seattle shakers and makers 39 and under.” The Seattle Weekly (Seattle, WA), July 4, 1990.

Beckmann, Angelika. “Gary Hill.” European Photography 58, 2 (Fall 1995): 60–67.

Bélisle, Josée. “Gary Hill.”  Magazine of the Musée d’art contemporain de Montréal 19, 1 (Summer 2008): 7–8.

Bellant, Jeffrey. “Cutting-edge work: Cranbrook’s ‘Being and Time: The Emergence of Video Projection’.” West Bloomfield Spinal Column (Bloomfield, IL), February 19, 1997.

Bellemare-Brière, Véronique. “La vidéo s’éclate.” Esse 4 (1998): 2–5.

Bellemare-Brière, Véronique. “Gary Hill – La vidéo reine au MAC.” Séquences 196 (May–June 1998): 55.

Bellour, Raymond, Catherine David and Christine van Assche. A conversation among the curators of “Passages de l’Image.”  Les Lettres Françaises (September 1990).

Bénichou, Anne. “From Exhibition to Event.” Espace 6, 2 (Winter 1990): 29–34.

Benjamin, Marina. “Ghosts in the machine.” New Statesmen & Society, December 3, 1993, 33, 34.

Bensley, Lis. “Site Santa Fe.” ARTnews 94, 9 (November 1995): 249.

Berg, Stephen. “Als die bilder fliegen lernten.” Neue bildende kunst 5 (October/November 1994): 19–23.

Berk, Amy. “Searching for a Tuna Fish Sandwich at the End of the Millennium.”  Online here.

Berland, Jody. “International Video.” Vanguard 16, 2 (April/May 1987): 26–28.

Bers, Miriam. “Gary Hill:  Kunstmuseum Wolfsburg.” tema celeste 90 (March/April 2002): 92.

“Beunruhigende blick.” Art – das Kunstmagazin 1 (January 1999): 67.

Bevan, Roger. “Very moving art experience: Hirshhorn Museum and Sculpture Garden, Washington, D.C.” Art Newspaper 5 (February 1994): 12.

“Biennale: l’identità è virtuale, l’alterità è reale.” Il Giornale dell’Arte (July-August 1995).

Björkman, Anders. “Tillfälligt inne och bara på låtsas.” Västerbottens-Kuriren (Umeå, Sweden), July 5, 1999.

Blessig, Anne Marie. “Clermont-Ferrand Carrefour d’Images.” Vidéobroadcast (March 1989): 62.

Blouin, Patrice. “Amour, baffles et cocktails Molotov.” Cahiers du Cinéma (November 2002): 27.

Bogan, Neill. “Backwards and Forwards with Gary Hill.” IMAGE News (February/March 1987): 6.

“Boise Art Museum begins ‘Genius’ show.” SkyWest Magazine, Winter 2003, 27.

Bonde, Lisbeth. “Renæssancemaleriet ført op til vort århundrede.” Informationer (Aarhus, Denmark), January 19, 1999.

Bonnin, Anne. “Maquis: Le Plateau.” art press 285 (December 2002): 86.

Borum, Poul. “Fraværets Film.” Tusinoe Øjne 116 (July 20, 1989).

Bosco, Roberta. “Gary Hill, en el Macba: En busca de un nuevo lenguaje.” El Periodico del Arte 14 (August/September 1998).

Bourriaud, Nicolas. “Documenta IX: re-runs on channel Documenta.” Flash Art International 166 (October 1992): 131–132.

Bourraiud, Nicholas. “Vagabondajes européens.” Globe 47 (May 1990): 130.

Bouruet-Aubertot, Veronique. “Art et son en phase de resonance.” Beaux Arts Magazine 178 (March 1999): 33.

Bousteau, Fabrice and Bérenice Geoffroy-Schneiter. “Yanomami, le monde sans images.” Beaux Arts Magazine 228 (May 2003): 74–81.

Boxberger, Edith. “World in Pieces, ‘Video art:’ Meg Stuart and Gary Hill explore the one-dimensionality of a relationship.” Ballett/Tanz (August/September 1997): 26, 27.

Boyle, Deirdre. “Video Playback. Ithaca Video Festival – Ritual for a Media Age.” Sightlines (Fall 1979): 5, 6.

Braet, Jan. “Schepen in de nacht.” KNACK, September 15, 1993, 131, 132.

Breerette, Geneviève. “Produire des oeuvres avec les Indiens Yanomamis.”  Le Monde (France), May 30, 2003.

Breerette, Geneviève. “Vidéo-ci, vidéo-là.” Le Monde (France), March 11–12, 2001, 26.

Bria, Ginevra. “Gary Hill da Lia Rumma. Una carica di profondità.” Artribune (Milan, Italy), April 7, 2015.  Online here.

Brown, Gerald. “Sound Bite A-Go-Go.” Philadelphia Weekly (Philadelphia, PA), March 6, 1996.

Brown, Laurie Halsey. “media(tion); fragmentation and acceleration.” Photography Quarterly 80, 1 (2001): 16–19.

Brown, Richard L. “God and Country.” Tacoma News Tribune (Tacoma, WA), October 12, 1990.

Brugger, Erika. “Videokunst nur eine ‘Knopfdruck-Kultur’?” Programmzeitung (July/August 1988).

Buck, Louisa. “Hand it to the scientists.” Evening Standard (London, UK), July 18, 2001.

Bufill, Juan. “El laberinto parlante de Gary Hill: El Macba muestra tres instalaciones audiovisuales del artista.” La Vanguardia (Barcelona, Spain), July 15, 1998.

Burkhart, Kathe. “A History of Video: Long Beach.” Artweek 15, 36 (October 27, 1984): 11, 12.

Burnham, Scott. “Currents Review at ICA.” Boston University Daily Free Press (Boston, MA), January 24, 1991.

Camard, Florette. “Passages de l’Image.” Galeries Magazine 39 (October/November 1990): 158–165, 203.

Cameron, Donna. “Barbara London Curator of ‘Video Spaces: Eight Installations’ at the Museum of Modern Art.” Manhattan Arts International (Summer 1995).

Campeau, Sylvain. “Epistémologie de la réalité visuelle: Musée d’Art Contemporain, Montréal.” Vie des Arts, Montreal 42, 170 (Spring 1998): 81, 82.

Camper, Fred. “Split Images. Gary Hill at the Museum of Contemporary Art.” Chicago Reader (Chicago, IL), November 4, 1994.

“CAPS Video Festival: 1978 – 79.” Media Study/Buffalo (June-August 1979): 4.

Carron, Natacha. “Gary Hill. Surfe sur les ondes cérébrales.” Coda 21 (April 1996).

Carter, Elizabeth A. “Video Exhibition Expands Notion of Art Form.” Oakland Tech News (Oakland, CA), February 24, 1997.

Casabella, Carla. “Sala de estar: Im-presentable.” ABC (Barcelona, Spain), October 7, 1998.

Casavecchia, Barbara. “Gary Hill.” Frieze, June 01, 2015. Online here.

Castelli Gattinara, Frederico. “Gli artisti d’oggi? Figli naturali delle metropoli.” Il Giornale dell’Arte (April 1997): 22.

“Catalogues monographiques.” Critique d’art 1 (May 1993): 42.

Cazenave, Agnès. “Indiens Yanomami l’esprit de la forêt.” La Vie (Paris, France), June 5, 2003.

Cena, Olivier. “Les Vacances de M. Sorin.” Télérama 2672 (March 28, 2001): 72.

Chaimovich, Felipe. “Tecnologia Bem-Aproveitada.” Jornal da Tarde, Brazil  (November 1, 1997).

Chi, Kuo-Chang. “The Seventh International Month of Photography, Houston.” Photodom (February 1998), pp. 41 – 49.

Chion, Michel. “La bouche et la video.” L’Image Video 3 (April/May 1990), pp. 20 – 22.

Chion, Michel, et al. “En Rev’nant de l’Expo.” BREF. (January 1991).

Chung, Yong-do. “Gary Hill:  New Art Language Marking History of Reason. ” Art, Korea (October 2000), pp. cover, 9, 12, 140 – 145. In Korean.

Cleenewerck, Kaat. “Kaaitheater Dans (2).” Deze Week in Brussel (February 18, 1998).

Clemans, Gayle. “A Brisk Return for Consolidated Works.” The Seattle Times (February 23, 2006), p. E3.

Coen, Esther. “Artisti tra eccessi ed equivoci.” La Repubblica, Rome (March 10, 1997).

Colard, Jean-Max. “Popus: Gary Hill.” Les Inrockuptibles 4 (March 13 – 19, 1996), p. 6.

Colard, Jean-Max and Pierre Hivernat. “Corps et graphie.” Les Inrockuptibles 138 (February 11 – 18, 1998).

Colby, Joy Hakanson. “Off the Wall.” The Detroit News (January 30, 1997).

“The Concise History of 20th Century Art.” BT (Monthly Art Magazine Bijutsu Techo) Vol. 52, No. 784 (March 2000), p. 15. In Japanese.

Conomos, John. “Verbal executions on Gary Hill’s videography.” Photofile (May 1992) 35, pp. 35 – 38.

Cooke, Lynne. “Gary Hill: ‘Who am I but a figure of speech?'” Parkett 34 (1992), pp. 16 – 19 (in English), pp. 22 – 27 (in German).

Cook-Romero, Elizabeth. “Between a Handful of Thought Stream.” Pasatiempo, The Santa Fe New Mexican (July 21 – 27, 2006), pp. 32 – 33.

Copeland, Colette. “Video Rhetoric.” Afterimage, 37, 1 (July/August 2009), pp. 30 – 31.

Copeland, Colette. “Review of An Art of Limina: Gary Hill’s Works and Writings.” Afterimage, 37, 3 (November/December 2009), p. 23.

Cornwell, Regina. “Gary Hill – Museum of Modern Art, New York.” Sculpture 10, 3 (May/June 1991), p. 69.

Coslovich, Gabriella. “ACMI:  from video village to spin city.” The Age, Melbourne (October 22, 2002), The Culture, p. 7.

Couvreur, Bram. “Video en de kunst van de verbeelding.” Uit In Amsterdam (January 7, 1998).

“Las creaciones de Guillermo Kuitca y Gary Hill en los espacios de Centre del Carme.” Pais Valenciano (February 26 – March 4, 1993), p. 15.

Croft, Williams Janis. “Caps Video: Wegman, Hill, Koplan, Lucier.” Afterimage 7, (November 1979).

Dannatt, Adrian. “Anal Masochism.” Flash Art (October 1992), pp. 130, 131.

Danto, Arthur. “Art.” The Nation 261, 7 (September 11, 1995), pp. 248, 249.

Dargent, Françoise. “Des Indiens dans la ville.” Le Figaro (June 6, 2003), p. 26.

Darke, Chris. “Gary Hill: Museum of Modern Art, Oxford.” Frieze 14 (January/February 1994), pp. 54, 55.

Darwent, Charles. “Portrait of the artist as a coin man.” The Independent on Sunday (November 19, 2006), p. ABC 13.

“Das 21. Jahrhundert: Mit Paracelsus in die Zukunft – eine Ausstellung in der Kunsthalle Basel.” Artis (May 1993).

De Baecque, Antoine. “Iconoclastes, iconolâtres.” Cahie`rs du Cinema 435 (September 1990), pp. 57 – 59.

Debailleux, Henri-François. “Le corps est le materiau central de mon travail puisqu’il est toujours avec moi,” Libération, Paris (February 3 – 4, 2007), pp. 42 – 43.

De Barros, Paul. “Video Artists Reveal One-of-a-Kind Image.” Seattle Times (May 10, 1990).

Debray, Régis. “Retour au corps.” Connaissance des Arts (June 1996), pp. 17 – 25.

Decter, Joshua. “Gary Hill: Galerie des Archives, Paris.” Artforum 35, 3 (November 1996), p. 108.

Degener, Patricia. “A Too-Brief Chance to See Video Pieces at Their Best.” St. Louis Post-Dispatch (November 12, 1985).

“Del paraíso de Delvaux a las instalaciones de Gary Hill y Baldessari,” El Punto de las Artes, Barcelona (July 17 –31, 1998), p. 11.

De Moffarts, Eric. “Ecriture et Video.” Artefacturm (February/March 1988), p. 48.

De Moffarts, Eric. “Télévision: le dernier carré?: La 2ème Semaine Internationale de Vidéo à Genève.” Gen Lock 7 (December 1987), pp. 11, 12.

De Moraes, Angélica. “MAM abre hoje mostra individual de Gary Hill.” O Imparcial, Brazil (September 2, 1997).

Den Hartog Jager, Hans. “Droomwereld.” HP de Tijd (September 3, 1993), pp. 111 – 115.

Denizot, René. “Vu du pont Jacques Cartier.” Galeries Magazine (October/November 1989), pp. 110 –113, 185, 188.

Dercon, Chris. “Am I Now Getting Sentimental.” Parkett 33 (1992), pp. 155 – 158.

De Rijcke, Elke. “Dageraad of avondschemer over de video-installaties van Gary Hill.” Metropolis M 1 (1993), pp. 26 – 31.

Devriendt, Christine and Paul-Emmanuel Odin. “L’image comme une aiguille qui ecrit au bout des mots Site Recite (a prologue) une video de Gary Hill.” Kanal 6 (May 1990), pp. 54 – 56.

Di Biagio, Claudio. “Città Natura.” Time Out, Rome (May 1997).

Diez, Renato. “Gary Hill:  Immagini contro parole.” Arte 380 (April 2005), pp. 98 – 104.

Dion, François. “Les Cent Jours. Formes Conformes.” Voir, Montreal (September 7 – 13, 1989), p. 17.

Dithmer, Monna. “Mester i videosurfing,” Politiken, Aarhus (January 18, 1999).

“Documenta IX: More is a Mess.” Artnews 91, 7 (September 1992), pp. 129, 131.

Dollar, Steve. “Image Festival Explores New Frontiers.” Atlanta Journal and Constitution (May 7, 1989).

Domino, Christophe. “Quand le corps rend l’âme.” Beaux Arts 118 (December 1993), pp. 70 – 83.

Doran, Anne. “Seeing is Believing.” Time Out, New York 173 (January 14 – 21, 1999), p. 49.

Drake, Chris. “Gary Hill, Museum of Modern Art, Oxford.” Frieze 14 (January/February 1994), pp. 54, 56.

Drateln, Doris V. “Passages de l’image.” Kunstforum 110 (November/December 1990), pp. 347 – 350.

Dubois, Jean. “Figures réfléchies: la rencontre en arts interactifs / Reflexive Figures: The Encounter in Interactive Arts.”  Esse arts + opinions 63 (Spring Summer 2008), pp. 18 – 25.

Dubois, Philippe. “Ecriture et vidéo à Genève: Options fortes.” Cahiers du Cinema 403 (January 1988), p. XII.

Dunbar, Andrew. “The storyteller’s room: Capp Street Gallery, San Francisco.” Art Papers 23, 1 (January/February 1999), p. 42.

Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), pp. 68 – 73.

Durán, Lourdes. “Los ‘modelos de consciencia’ de Gary Hill.” Diario de Mallorca (September 9, 2006).

Durand, Régis. “Gary Hill. Centre Georges-Pompidou Galeries contemporaines.” art press 177 (February 1993), p. 80.

Durland, Steven. “CRUX.” High Performance 37, 10, 1 (1987), pp. 97, 98.

Durland, Steven. “Editor Speak.” High Performance 37, 10, 1 (1987), p. 8.

Eamon, Christopher. “Becoming Digital: James Coleman, Ernie Gehr, Gary Hill.”  Flash Art (March/April 2003), pp. 80 – 83.

Estado, Agência. “São Paulo tem mostra de arte multimediática.”  O Tempo, Brazil (October 2, 1997).

Estep, Jan. “Transcendental Twaddle: Saying Wittgenstein.” New Art Examiner 29, 3 (January – February 2002), pp. 50 – 57.

“Europe: De Brest à Vladivostock.” Kanal (October 1991), pp. 10, 11.

Evola, Dario. “Al Centro Georges Pompidou Passages de ‘Image.” Farevideo (November 1990).

“Exposición: Gary Hill Instalaciones Videograficas.” Periodico de la Sala de Exposiciones Rekalde 3 (March 1993).

Failing, Patricia. “Gary Hill / Donald Young Gallery, Seattle.” Artnews 92 (September 1993), p. 182.

Failing, Patricia, et al. “Fast Forward: nineteen artists whose works are gaining recognition. Gary Hill.” Artnews 92 (November 1993), pp. 122 – 33.

Failing, Patricia. “Seattle. Gary Hill.” Artnews (November 1993), pp. 124, 125.

Fargier, Jean-Paul. “Absences répétées.” art press 175 (December 1992), p. 65.

Fargier, Jean-Paul. “Au creux de l’enfer, à la pointe du paradis.” art press 173 (October 1992), p. 80.

Fargier, Jean-Paul. “Défense de Doubler.” art press 147 (May 1990), p. 70.

Fargier, Jean-Paul. “Gary Hill sur la crête des vagues.” Jardin des Modes (December 1992).

Fargier, Jean-Paul. “Z. Rybczinski et G. Hill: La ligne, le point, le pli: a propos de La quatrieme dimension et Disturbance.” Cahiers du Cinema 415 (January 1989), pp. 60 – 63.

Farr, Sheila. “Ardent About Art.” Pacific Northwest: The Seattle Times Magazine (December 1, 2002), pp. 34 – 43.

Farr, Sheila. “Thinking man’s video. Art: Gary Hill’s video installations achieve pure thought.” Seattle Weekly (May 22, 1996), p. 21.

Farr, Sheila. “’WOW’ intoxicates, vexes the senses.” The Seattle Times (November 5, 2004).

Fechner-Smarsly, Thomas. “Periphere und Perfide Idyllen.” Neue bildende kunst 2 (February 1995), pp. 42 – 45.

Ferrer, Esther. “The Image, from Every Angle.” Lapiz 69 (June 1990), pp. 50 – 55.

Fifer, Sally Jo. “Phelan Winners Announced.” Video Networks, San Francisco 11, 1 (December 1986/January 1987), pp. 3, 4.

“Film and Video. Whitney Biennial.” Flash Art (1985), p. 54.

Fioravante, Celso. “Imagem de vídeo ganha nova dimesão com Gary Hill.” Folha de São Paulo (October 2, 1997).

Firmin-Didot, Catherine. “Les esprits se rencontrent.” Télérama 2785 (May 31 – June 6, 2003), pp. 87 – 88.

Fischer, Jack. “Artists grapple with reality vs. the virtual.” San Jose Mercury News (December 3, 2000), p. 15E.

Fischer, Judith. “Der visuelle Poet als Sinnsucher.” Tanz Affiche 80 (June 1998), p. 9.

Fitzsousa, Michael. “Focus of Videos is People.” Waterbury Republican (April 23, 1987).

Flocon, Camille. “Beaubourg: Passages de l’Image.” L’Image Video (September/October 1990), pp. 14 – 16.

Flórez, Fernando Castro. “¿Por que se embrollan las cosas?”  ABCD Las Artes y Las Letras, Madrid (October 14, 2006), pp. 44 – 45.

Folha, Agência. “Hill colta ao país para festival de dança em BH.” Folha de São Paulo (October 27, 1997).

Fontaine, Mario. “Pour les amateurs d’insolite,” La Presse, Montreal (February 8, 1998), p. B5.

“ForumBHZvideo 1993.” ForumBHZvideo Revista 2 (1994), pp. 91, 92.

Fox, Catherine. “Video Poet Sees Things in a Muddle.” Atlanta Journal and Constitution (March 20, 1987).

Fraser, Marie. “Letter from Montreal: May 1998.” C Magazine 58 (May-August 1998), p. 41.

Fredericksen, Eric. “Gary Hill.” The Stranger, Seattle (June 21 – 27, 1994).

Fredericksen, Eric. “Gary Hill at Donald Young. Where am I?” The Stranger, Seattle (May 15 – 21, 1996).

Freitas, Almir de. “Ensaio.” BRAVO 7, 73 (October 2003), p. 21 (photo).

Frejlif, Bengt. “Passagearbeten.” Beckerell 3 (Summer 1993), pp. 34 – 38.

Freudenhiem, Susan. “Video Art Show a Mixed Bag.” San Diego Tribune (June 3, 1987).

Frohne, Ursula. “Warheit des Scheins: Gary Hill: Suspension of Disbelief,” Mediagramm, Museum für Gegenwartskunst 11, (April 1996).

Furlong, Lucinda. “State of the Art Scan: the Ithaca Video Festival.” Afterimage 9 (January 1982), pp. 12 – 14.

Galasso, Alessandra. “California Dreaming:  Sbarcano in Italia i video del surfista dell’immagine.” Arte, Italy, No. 313 (September 1999), pp. 167 – 168.

Galloway, David. “Cologne Exhibit is Milestone for Video Sculpture.” International Herald Tribune (April 2, 1989).

Gamble, Allison. “Strategic occupation.” New Art Examiner, Chicago (January 1993), pp. 17 – 19, 44.

“Gary Hill and Eva Hesse on Show.” Flash Art 169 (March/April 1993), p. 98.

“Gary Hill: Opening of War Zone – A Video Installation and Presentation of New Videotapes.” Media Study/Buffalo, New York (January – May 1980), p. 10.

“Gary Hill show tours six U. S. museums: Hirshhorn Museum and Sculpture Garden, Washington, DC.” Flash Art (International Edition) 174 (January/February 1994), p. 43.

“Gary Hill’s Venice.” Seattle Weekly (June 21, 1995), p. 27.

“Gary Hill, Thaddeus Holownia, Marie Judlova.” C Magazine 46  (Summer 1995), p. 22.

Gascon, France. “Le retour des Cent jours.” ETC Montreal 10 (Winter 1989), pp. 33 – 35.

Gattinara, Federico Castelli. “Gli artisti d’oggi?  Figli naturali delle metropoli.”  Il Giornale Dell’Arte, Italy (April 1997), p. 22.

Gauthier, Léa. “Communauté de visages.” Mouvement 16 (April – June 2002), pp. 42 – 43.

Gauville, Hervé.“Du maquis historique au maquis végétal.” Libération (October 21, 2002).

Gauville, Hervé. “Gary Hill, le maître du temps.” Libération 31, Montreal (February 14 – 15, 1998), p. 31.

Gavillet, Pascal. “A Saint-Gervais: Semaine Internationale de Video.” Scènes Magazine, Switzerland 13 (November 1987).

Gay, Jean-Jacques. “Deux temps trois mouvements. A propos de ‘Site Recite’ de Gary Hill.” Gen Lock 15 (December 1989), p. 23.

Gay, Jean-Jacques. “Surf, drogue et video.” Museart 26 (December 1992/January 1993), pp. 122 – 24.

Gayer, John. “ARS 95 Ateneum and City Sites, Helsinki.” C Magazine 46 (June/Summer 1995), pp. 35, 36.

Genova, Arianna di. “Giardino di Cemento.” Il Manifesto, Italy (April 23, 1997).

Gibson, Jeff. “Virtually a biennial: conference as a prelude to the 10th Biennial of Sydney.” Flash Art (International Edition) 184 (October 1995), p. 45.

Gilbert-Rolfe, Jeremy. “South Houston Gallery, New York.” Artforum 13 (January 1975), p. 74.

Gillick, Liam. “Doubletake.” Art Monthly (March 1992), pp. 14, 15.

Giuliani, Francesca. “Gary Hill:  ‘Archi Risonanti’ l’arte contemporanea conquista il Colosseo.” La Repubblica, Rome (April 14, 2005), pp.  14 – 15.

Glowen, Ron. “Camera of the mind: Contemporary Art Center, Seattle.” Artweek (February 22, 1990), pp. 15, 16.

Glowen, Ron.  “Experimental sites and sounds: Henry Art Gallery, University of Washington, Seattle.” Artweek 18 (September 26, 1987), p. 1.

Glowen, Ron. “Natural processes of thought: video of the mind.” Artweek 23 (September 17, 1992), p. 24.

Glowen, Ron. “Statements in the Streets.” Artweek 22, 7 (August 29, 1991), pp. 1, 15, 16.

Glueck, Grace. “Turn On, Tune In and Drop By: Video Art’s Come a Long Way.” The New York Observer (July 24, 1995).

Godfrey, Tony. The Burlington Magazine 136 (March 1994), pp. 192, 193.

Goggin, Kathleen. “Review of the Gary Hill exhibition catalogue published by the Editions du Centre Georges Pompidou.” Parachute 70 (April/May/June 1993), p. 49.

Goldberg, Michael. “Video in Re-verse: the recent tapes of Gary Hill.” Video Com, Tokyo 22 (May/June 1985), pp. 154, 155.

Goldberg, Michael. “Who’s Exciting Electronic Games? Japan 87 Video Television Festival.” Video Com, (1987) pp. 85 – 87.

Goodman, Jonathan. “Gary Hill.” Contemporary Visual Arts 22 (1999), p. 74, 75.

Gopnik, Blake. “Isabelle Huppert Portrait by Gary Hill is the Daily Pic by Blake Gopnik.”  The Daily Beast (September 12, 2012).  Online here.

Gragg, Randy. “The Waning of Modernism.” Seattle Weekly (November 21, 1990), p. 55, 56.

Gragg, Randy. “Video symphony.” Seattle Weekly (May 22, 1991), p. 58.

Grassi, Andrea. “Blackwood Gallery opens new exhibit, 18:  Beckett,” The Medium University of Toronto (November 13, 2006), p. 7, 10.

Graves, Jen. “Gary Hill on a Rainy Monday: Escape into the Mind.” The Stranger SLOG, Seattle (August 20, 2007) [http://slog.thestranger.com/2007/08/gary_hill_on_a_rainy_Monday].

Graves, Jen. “There’s More Than One Way to Stare Down a Camera: the Messy Feedback Loops of Surveillance Art.” The Stranger, Seattle (October 21, 2008) [http://www.thestranger.com/seattle/Content?oid=703426].< /p>

Graves, Jen.  “The 25 Greatest Works of Art Ever Made in Seattle.” The Stranger, Seattle (March 5 – 11, 2009), pp. 18 – 23.

Graves, Jen. “Currently Hanging: The Hidden Searchlight by Gary Hill.”  The Stranger, May 1, 2012.  Online here.

Green, Roger. “Familiar Media, Fresh Ideas.”  The Ann Arbor News (February 22, 1997).

Greene, David A. “Gary Hill at Museum of Contemporary Art.” Art Issues (March/April 1995), p. 39.

Grey, Meg. “Gary Hill.” RES, San Francisco 2, 2 (1999), p. 25.

Grillner, Katja. “Att Drömma Om Regnbågens Slut Och Horisontens Faktiska Vara: En resa i tillvarons arkitektur med Gary Hill’s “Tall Ships.” Arkiteture, Sweden 2 (1996), pp. 49 – 51.

Grillo, Cristina. “Gary Hill procura una criança brazileira.” Fohla de São Paulo, Brazil (July 1, 1997).

Grout, Catherine. “Gary Hill – La condition humaine de la pensee.” Arte Factum 48 (June/July/August 1993), pp. 8 – 12.

Grundberg, Andy. “Gary Hill at the Museum of Modern Art.” New York Times (December 21, 1990).

Gudis, Catherine. “Interview with Gary Hill at MOCA.” The Contemporary 4, No. 1 (Winter 1987).

Guerin, Frances. “All the Way Captivating.” ArtSlant, Paris (November 3, 2008) [http://www.artslant.com/par/articles/show/2735].

“Guggenheim Museum di New York, Baselitz-Hill: l’ascia contro il computer.” Il Giornale dell’arte (May 1995).

Hackett, Regina. “Gary Hill and Gary Reel at And/Or Art Center.” Seattle Post-Intelligencer (January 21, 1981).

Hackett, Regina. “Gary Hill’s Stark Videos Lack Charm but Pack Power.” Seattle Post-Intelligencer (November 14, 1985).

Hackett, Regina.  “Gary Hill’s ‘Tall Ships’ a hit at the Henry.”  Seattle Post-Intelligencer (1997).

Hackett, Regina.  “Seattle Video Artist Wins Prestigious Prize.” Seattle Post-Intelligencer (June 14, 1995), p. C3.

Hackett, Regina.  “The Artist as Translator: Putting a new spin on the words we use.” Seattle Post-Intelligencer (September 8, 2000), What’s Happening, p. 22.

Hackett, Regina.  “Thought becomes physical in Hill’s video.” Seattle Post-Intelligencer (June 2, 1998), pp. D1, D2.

Hackett, Regina. “20th-Century Art Takes a New Turn at Donald Young.” Seattle Post-Intelligencer (January 24, 1992).

Hackett, Regina. “Video Sculpture Compels Viewer to Stay Tuned.” Seattle Post-Intelligencer (February 19, 1993).

Hackett, Regina.  “Videos, Talking Heads, and a Multilingual Floor.” Seattle Post-Intelligencer (May 20, 2004), p. F10.

Hagen, Charles. “Gary Hill, ‘Primarily Speaking’ at the Whitney Museum of American Art.” Artforum 22, 6 (February 1984), pp. 77, 78.

Hagen, Charles. “Tube Art (Take Out).” Village Voice (May 14, 1985), pp. 46, 47.

Hall, Charles. “Doubletake.” Arts Review (April 1992), pp. 116, 117.

Halle, Howard. “Class Act. Way west in Chelsea, Gary Hill includes the masses.” Time Out, New York (December 19, 1996).

Hankwitz, Molly. “Gary Hill: 23:59:59:20 — The Storyteller’s Room.”  Res, San Francisco (Summer 1998), p. 8.

Hannon, Gerald. “Bruce’s big adventure.” Canadian Art 12, 2 (Summer 1995), pp. 57 – 61.

Hara, Hélio. “A arte dependente do olhar do outro.” O Globo, Brazil (July 1, 1997).

Hara, Hélio. “As imagens reencantadas: Gary Hill diz que percepção basta entender sua mostra no CCBB.” O Globo, Brazil (June 12, 1997).

Hara, Hélio. “Luz e percepção.” O Globo, Brazil (March 14, 1997).

Hara, Hélio. “O lugar do outro: Trocas de emoção e sensações num acúmulo de idéias.” O Globo, Brazil (July 3, 1997).

Hara, Hélio. “O outro à mostra segundo Gary Hill.” O Globo, Brazil (July 3, 1997).

Hatano, Tetsuro. “Video Installation – From Japan ’87 Video Television Festival.” IDEA, pp. 32 – 35.

Haynes, Rob.  “In Light of the Other.” The Big Issue (March 29 – April 4, 1994), p. 11.

Heartney, Eleanor.  “Video in Situ.” Art in America 83, 10 (October 1995), pp. 94 – 99.

Helfand, Glen.  “Gary Hill: Capp Street Project, San Francisco.” Art Text 63 (November 1998 – January 1999), pp. 93, 94.

Helfand, Glen. “Lost in space: Gary Hill’s illuminations lodge in the memory.” San Francisco Bay Guardian (May 27, 1998), p. 63.

Herzberg, Nathaniel. “Le mystère du métal jaune dans la chambre noire.” Le Monde, Paris (February 4 – 5, 2007), p. 23.

Hirszman, Maria. “Hill brinca com tempo e espaço.” Jornal da Tarde, Brazil (October 4, 1997).

Hixson, Kathryn.  “Gary Hill. Museum of Contemporary Art.” New Art Examiner, Chicago (November 1994), pp. 40, 41.

Hoberman, J. “Videosyncrasies.” Village Voice (December 31, 1979), pp. 39, 41.

Horn, Lawrence. “On Video and its Viewer.” Millennium Film Journal 14/15 (Fall/Winter 1984/1985), pp. 154 – 164, and On Film 13 (Fall 1984), pp. 42 – 52.

Howells, Bronwen. “The Contemporary Arts Center/Cincinnati, Light into Art: From Video to Virtual Reality.” Dialogue (November/December 1994), p. 42.

Huhtamo, Erkki. “Uusien kuvien pujotteluvyöhyke.” Kulttuuri (January 8, 1991).

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Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.

Hürzeler, Catherine. “Kann man auf abstrakte Weise surfen? Ein Gespräch mit dem Videokünstler Gary Hill.” Das Kunst-Bulletin 9 (September 1997), pp. 12 – 19.

Husson, Didier. “Galaxie Garry Hill: messages à décoder.” Vidéo Camera (December 1992).

“L’image de la langue: Rétrospective Gary Hill.” Le Courrier Samedi-Magazine (November 7, 1987), p. 16.

“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).

“Image Station: Gary Hill.” Asahi Camera, Japan (July 1992).

Jalving, Camilla. “Uorden.” Kristeligt Dagblad, Copenhagen (May 13, 2002).

Jamart, Christine. “Gary Hill: ‘La Voix Iconique.’” Art et Culture, Brussels 5 (January 1993).

Jarque, Fietta. “La Ier Bienal de la Imagen en Moveimiento ofrecera video y cine interdisciplinar.” El Pais, Madrid (December 8, 1990).

Jauffret, Magali. “L’esprit de la forêt d’Amazonie donne des hallucinations à Paris.” L’Humanité hebdo (May 31, 2003).

Johnson, Ken. “Gary Hill.” The New York Times (April 1, 2011), p. 31.

Jones, Karen. “Whitney Biennial.” Tema Celeste 40 (Spring 1993), p. 85.

Jonquet, François. “C’est la rentree, risquez le maquis.” Nova Magazine (September 2002).

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Jørgensen, Ulla Angkjær. “Vedkommende videokunst,” Stift (January 17, 1999).

Jover, Manuel. “Gary Hill à l’écran.” Beaux Arts (November 1992), p. 125.

Jowitt, Deborah. “Taking It Apart: Radical Expats Drop by New York.” Village Voice XLIII, 51 (December 22, 1998), p. 145.

Juncosa, Enrique. “Gary Hill, Poeta de la Oscuridad.” El País, Barcelona (September 12, 1998).

Kaihotsu, Chie. “Bad Interview.” Studio Voice, Japan 200 (August 1992), pp. 96, 97.

Kandel, Susan. “Gary Hill: Museum of Contemporary Art, Los Angeles.” Artforum 33, 8 (April 1995), pp. 86, 87.

Katz, Helena. “Gary Hill usa tecnologia para desvendar o corpo.” O Estado de São Paulo, Brazil  (July 5, 1997).

Keats, Jonathon. “The New Face of Conservation.” Art + Auction (May 2006), pp. 138 – 145.

Kember, Pamela. “Video killed the literature star.” South China Morning Post (January 12 – 18, 2001).

Kern, Kristine. “Ud over det saevanlige.” Politiken, Copenhagen (May 5, 2002).

Kertess, Klaus. “Video Drone.” Artforum 34, 4 (December 1995), p. 61.

Kneiss, Ursula. “Schmerzliche Erinnerung an die bewegte Form.” Der Festwochen Standard (May 20 – June 17, 1998).

Kobayashi, Yuka. “Arts are the Amusement Sport. A visit to haunting video art.” Cutie, Japan (1992).

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Koskina, Katerina. “Metropolis: Setting the Stage?” ARTI, Athens 5 (May/June 1991), pp. 114 – 127.

Kottman, Peiter. “Gary Hill maakt een dansersrug tot een berglandschap.” NRC Handelsblad, Rotterdam (October 11, 1997).

Kotz, Liz. “Video Drone.” Artforum 31, 7 (May 1993), pp. 15, 16.

Kozinska, Dorota. “Brave New Space: The Art of Gary Hill,” The Montreal Gazette (February 7, 1998), p. K5.

Kremer, Mark. “Geef me een licham met vleugels van papier.”  Metropolis M 6 (December 1997/January 1998), pp. 22 – 35.

“Kultur: Alte und neue Klassiker.” Focus 43 (1996), pp. 150 – 153.

Kuppens, Kris and Veronique Patteeuw. “Meg Stuart opnieuw met dans in Leuven. Het gaat om vragen, niet om antwoorden.” Veto (January 12, 1998), p. 11.

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Kyrou, Ariel. “Immersion Pétrolière.” Chronic’Art, No. 31 (Paris) (December 2006 – January 2007), pp. 44 – 46.

L.M. “Las ‘Imágenes de luz’ de Gary Hill se presentan en la Fundación Juan March.” Ultima Hora, Palma de Mallorca (September 28, 2006), p. 80.

La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), pp. 12 – 14.

Laermans, Rudi. “Cultural Unconsciousness in Meg Stuart’s Allegorical Performances.” Performance Research 2, 3 (Autumn 1997), pp. 97 – 102.

Lageira, Jacinto. “Gary Hill: The Imager of Disaster.” Galeries Magazine (December 1990/January 1991), pp. 74 – 76.

Lageira, Jacinto. “Gary Hill. Une verbalisation du regard.” Parachute 62 (April/May/June 1991), pp. 4 – 11.

Lajer-Burcharth, Ewa. “Real bodies: Video in the 1990’s.” Art History 20, 2 (June 1997), pp. 185 – 213.  (In Polish: Magazyn Sztuki 15 (March/April 1997), pp. 287 – 317.)

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Lamarche, Bernard. “L’art de la syncope,” Le Devoir, Montreal (February 2, 1998), p. D8.

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Lanz, Eric. “Installation – Vidéo – Gravure.” Halle Sud 16, Geneva (October 1987), p. 16.

Lapointe, Josée. “Angoisses sur grand écran,” Le Soleil, Quebec (March 7, 1998), p. D12.

Larson, Kay. “Art: A Shock to the System.” New York (April 29, 1991), pp. 86, 87.

Larson, Kay. “Art: Through a Screen Dimly.” New York 16, 36 (September 12, 1983), pp. 86, 87.

Larson, Kay. “New York: Whitney Biennial.” Galeries Magazine 43 (June/July 1991), pp. 68 – 71.

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Leão, Tom. “A revanche carioca do camaleão do pop.” O Globo, Brazil (November 4, 1997).

Lebowitz, Cathy.  “Gary Hill at Barbara Gladstone.” Art in America (March 2003), pp. 119 – 120.

Lebowitz, Cathy and Josefina Ayerza. “Gary Hill:  Cathy Lebowitz interviews Josefina Ayerza.” lacanian ink (Spring 2003), pp. 104 – 105 (plus cover/back photos).

Léchot, Lysianne. “2e Semaine internationale de vidéo.” FACES journal d’architectures 7 (Winter 1987/1988), pp. 51 – 53.

Leduc, Louise. “Le vidéaste Gary Hill au MAC,” Le Devoir, Montreal (January 30, 1998), p. B10.

Lee, Thomas. “March Screening Series at BF/VF.” Visions Magazine (March 1983), pp. 12, 13.

Leffingwell, Edward. “Report from São Paulo. The Bienal Branches Out.” Art in America 83, 3 (March 1995), pp. 34 – 41.

Lepecki, André. “Meg Stuartin ja Gary Hillin uusin teos Kiasmassa.” Tanssi 2 (1998), p. 10.

Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), pp. 20 – 27.  Reprinted in: Morgan, Robert C., ed. Gary Hill. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000, pp. 232 – 239, and in Italian inGary Hill:  Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 34 – 41.

Lewis, Jo Ann. “The Biennial’s Grand Illusions.” The Washington Post (December 10, 2000), pp. G1, G6 – G7.

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Libbenga, Jan. “Videokunst Verlengt Het Bewustzijn.” NRC, Donderdug (September 15, 1988).

Liebmann, Lisa. “Mr. Hoet’s Holiday.” Artforum 31, 1 (September 1992), pp. 87 – 89.

Lillington, David. “Always on My Mind: David Lillington talks to Greg Hilty, one of the curators of ‘Doubletake’.” Frieze 4 (April-May 1992) pp. 12, 13.

Lippens, Nate. “Get trapped in Gary Hill’s feedback loop at 911 Media Arts Center.” (August 16, 2007) http://seattlepi.nwsource.com/theater/327885_visual17.html.

London, Barbara J. “Between What Is Seen and What Is Heard.” Image Forum 133 (April 1991).

Long, Andrew. “Summer’s stock: recent American shows.” Art and Antiques 21, 7 (Summer 1998), pp. 32 +.

Lopez, Nayse. “A videoarte de Gary Hill.” Jornal do Brasil (July 3, 1997).

Lord, Catherine. “It’s the thought that counts: Museum of Fine Arts, Santa Fe; University of New Mexico, Albuquerque.” Afterimage 11, 3 (October 1983), pp. 9 – 11.

“Los museos catalanes hacen su agosto: menú de exposiciones a la carta,” ABC Cataluña, Barcelona (August 8, 1998).

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Manitach, Amanda. “In the Mood to Tear Shit Up.” City Arts (Seattle, WA), February 19, 2014. Online here.

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Marchi, Valérie. “Maquis d’artistes.” L’oeil (October 2002).

Marco, C. D. “Valencia: Gary Hill.” ABC de las artes (March 26, 1993), p. 36.

Margolin, Michael. “Cranbrook Art Museum, ‘Being and Time’ Video Projection Art.” Oakland Press (Marquee), Michigan (January 24, 1997).

Marshall, John. “Three local artists win ‘genius grants’: MacArthur awards honor creativity.” Seattle Post-Intelligencer, June 2, 1998, p. A1, A7.

Marziani, Gianluca.  “Città Natura.” L’opinione, Rome (March 7, 1997).

Mathews, Stanley. “Art at the Armory: Occupied Territory. The Body Politic.” Dialogue (January/February 1993), pp. 12, 13.

Matossian, Chaké. “Banal e Videopoética.” Sabato, Lisbon (December 25, 1992).

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Meuris, Jacques. “Art et science ou science et art?” Art et Culture, Brussels (September 1992).

Meyers, Todd. “Consciousness and Fragmentation. Gary Hill Encountering Bodies.” Fuse Magazine 18, 3 (Spring 1995), pp. 46, 47.

Michelon, Olivier. “Tapis dans la lisiere entre l’espace et le temps.” Le Journal de Arts (September 27 – October 10, 2002).

Milliard, Guy. “Lettre d’un sélectionneur. A propos de la ‘Semaine Internationale de vidéo’ de St-Gervais Genève.” Gen Lock 15 (December 1989), pp. 8 – 11.

Miller, Alicia. “‘Searchlight: Consciousness at the Millenium’ at CCAC.”  Artweek (December 1999), p. 19.

Miller, Brian. “Spring Arts: Gary Hill’s Glass Glossary.” Seattle Weekly (Seattle, WA), February 11, 2014.  Online here.

Miller, Brian. “The Fussy Eye: Gary Hill, Part II, at the Henry.” The Seattle Weekly (Seattle, WA), August 28, 2012.  Online here.

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Mittenthal, Robert. “Overpowering Ideas.” Reflex (March/April 1992), pp. 19, 20.

Mittenthal, Robert. “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), pp. 9 – 13.

Molas, Verónica. “Juegos de la percepción.” La Voz del Interior, Córdoba, Argentina (July 27, 2000), p. 4C.

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de Moraes, Angélica. “Gary Hill no CCBB: Instalação do artista pode ser vista até 15 de setembro.” Jornal do Commercio, Brazil (July 13-14, 1997).

de Moraes, Angélica. “MAM abre hoje mostra individual de Gary Hill.” O Imparcial, Brazil (September 2, 1997).

de Moraes, Angélica. “Rio vai ter individual de Gary Hill em junho.” O Estado de São Paulo, Brazil (October 2, 1997).

Moreau, Yvan. “Montreal – Là et nulle part,” ETC Montreal 43 (1998), p. 53 – 54.

Morgan, Anne Barclay. “Gary Hill: Hirshhorn Museum and Sculpture Garden, Washington, DC.” Art Papers 18 (September/October 1994), pp. 45 – 46.

Morgan, Anne Barclay. “Video spaces: eight installations: Museum of Modern Art.” Art Papers 19 (November/December 1995), pp. 52 – 53.

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Morgan, Stuart. “Thanks for the Memories.” Frieze (April/May 1992), pp. 6 – 11.

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Morse, Margaret. “Site Specifics: Passages de l’image at the San Francisco Museum of Art in the Context of American Image Culture.” Video Networks, San Francisco 16, 2 (April/May 1992), pp. 7 – 9.

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Nesweda, Peter. “Von Wohnsitz zum Schleudersitz.” Noëma Art Journal 37 (September/October 1991), pp. 80, 81.

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Provencher, Louise. “Catastrophe(s) en ou le bégaiement du temps.” Espace 44, Montreal (Summer 1998), pp. 26, 28, 29.

Provenzano, Frank. “Cranbrook Video Show is a Bold Step.” Detroit Free Press (January 28, 1997).

Provenzano, Frank. “Video Exhibit,” Eccentric Newspapers, Birmingham-Bloomfield Edition (March 9, 1997).

“Public Art: In Public: Seattle 1991.” Seattle Arts 14, 6 (June 1991), p. 3.

Pytlinski, Deanne. “Liminality and Ritual in the Art of Gary Hill.” Chicago Art Journal 11 (Spring 2001), pp. 57 – 68.

Quasha, George and Charles Stein. “Cut to the Radical of  Orientation (TWIN NOTES on being in touch in Cut Pipe),” in “Touch in Contemporary Art.” Public 13 (Toronto: Public Access, 1996), pp. 65 – 83. Reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 281 – 293.

Quasha, George and Charles Stein. “Performance Itself,” in Ric Allsopp and Caroline Bergvall’s (eds.) Peformance Research 7, 2 (June 2002). Reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 425 – 453.

Raizada, Rajeev. “Gary Hill.” ISIS (Michelmas 1993), pp. 12, 13.

Rankin, Scott.  Letter to the Editor. “Reading between the lines.” Afterimage (May 1987), p. 2.

Reneau, Olivier. “Meg Stuart and Gary Hill. Casting de choc aux Abbesses.” Technikart 19 (February 1998), p. 19.

Renouf, Renee. “Conceptual visualizations: Video Free America, San Francisco.” Artweek 13, 23 (July 3, 1982), p. 2.

Rhein, Alice. “Sight, Sound & (E)Motion.” The Metro Times, Detroit, Vol. XVII, No. 18, (January 29-February 4, 1997), pp. 14-15.

Ribal, Pilar. “Gary Hill:  Como suenan las imágenes.” El Cultural (October 5, 2006), p. 28 – 29.

Richman, Elise. “Beyond Decoration.” Seattle Weekly (June 16 – 22, 2004), p. 73.

Riding, Alan. “Artists Touched By Amazon Tribe.” The New York Times (June 17, 2003), p. E1, E5.  Also published in International Herald Tribune (June 20, 2003), p. 20.

Riding, Alan. “Love Flaunts Her Conquests in Paris.” The New York Times (August 6, 1997), pp. C11, C13.

Rivoire, Annick. “En art, le mot mute.” Libération (October 23, 2002).

Rivoire, Annick. “Gary Hill:  pionnier de la vidéo: ‘Une émotion circulaire.’”  Libération (October 23, 2002).

Rivoire, Annick. “Gary Hill:  sculpteur d’images.” Libération (October 11, 2004).

Roberson, Kate. “BAM exhibit examines language with video art.”  The Arbiter, Boise State University (December 12, 2002), p. 8.

Rocha, Daniela. “Gary Hill torna humana a tecnologia.” Folha de São Paulo, Brazil (October 3, 1997).

Rocha, Daniela. “Furto muda rumos da exposição de Hill.”  Folha de São Paulo, Brazil (September 19, 1997).

Rogerson, Stephanie. “Inspired by Beckett.” NOW Magazine, Toronto (December 14, 2006).

Romano, Gianni. “Inasmuch as it is always already taking place.” Lapiz 80 (October 1991), pp. 36 – 41.

Ross, Trine. “Mod beskueren som høje skibe,” Politiken, Aarhus (January 19, 1999).

Roth, Charlene. “Louder than words. Gary Hill at the Long Beach Museum of Art.” Artweek 25 (January 20, 1994), p. 15.

Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” Artnews 100, 5 (May 2001), pp.  176 – 179.

Rugoff, Ralph. “Medium Cooled: Monitoring Gary Hill’s Career.” L. A. Weekly (January 20 – 26, 1995), p. 33.

Runefelt, Eva. “Världen ställd på högkant i Umeå.” Kultur, Svenska Dagbladet, Umeå (July 10, 1999) , p. E1.

Rush, Michael. “A Résumé of Surfing and Philosophy as Well as Art.” The New York Times (September 15, 2002), pp. 31 – 32.

Ryan, Dinah. “Anonymity and identity.” Art Papers 18 (January/February 1994), pp. 56, 57.

Sá, Fátima. “A busca pelo lugar do outro: Videoinstalações de Gary Hill interagem com o espectador que se aproxima.” Jornal do Brasil (July 4, 1997).

Sadurni, Isabel. “Gary Hill: Capp Street Project, San Francisco.” Art News 97, 9 (October 1998), pp. 149, 150.

Sales, Enric. “Arte de vanguardia en el IVAM.” Jano XLV, 1043 (June 4 – 10, 1993), pp. 92, 93.

Samaniego, Alberto Ruiz de. “Gary Hill and Maurice Blanchot:  Dialogues at the Threshold.” Dardo magazine, 2 (June – September 2006), pp. 146 – 179.

Sandbye, Mette. “Se og bliv set,” Avisen, Aarhus (Weekend: January 22 – 28, 1999).

Sarrazin, Stephen. “Gary Hill at Galerie des Archives.” art press 147, France (May 1990), p. 98.

Sarrazin, Stephen. “Gary Hill: mean what you move.” Flash Art (International Edition) 173 (November/December 1993), pp. 86, 87.  (In French: “Gary Hill. Dai un senso a ciò che muovi.” Flash Art XXVI, 174 (April 1993), pp. 34, 35.)

Sarrazin, Stephen. “La parole aux objets.” art press 165, France (January 1992), pp. 20 – 23.

Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.”  Andere Sinema 104 (July-August 1991), pp. 21 – 24.

Sarrazin, Stephen. Pixel (January 1991).

Sarrazin, Stephen. “Things Fall Apart: Gary Hill & Meg Stuart (with Damaged Goods) Splayed Mind Out/Gary Hill: Installations and Videotapes.” Intercommunication 25 (Summer 1998), pp. 82, 83.

Sarrazin, Stephen. “Vidéo chroniques.” Gen Lock: Trimestriel de la création vidéo. 16 (March 1990), p. 3.

Sarrazin, Stephen. “Vidéo formes ’89.” art press (June 1989), pp. 81, 82.

Sato, Yoshiaki. “The Progression of Video Art and Spirituality. Looking at Gary Hill’s Work.” Image Forum 6, 57 (June 1985), p. 137.

Schmitz, Edgar. “warten.” Contemporary Visual Arts 28 (1999), pp. 70 – 71.

Schneider, Irmela. “Wörter sehen und Bilder lesen. Einige Betrachtungen zur Veränderung von Grundlagen innerhalb der Medienästhetik.” Soziale Wirklichkeit, Jena, Germany (Winter 1997), pp. 299 – 315.

Schnoor, Chris. “Re-Thinking the Image: Video Art by Gary Hill at Boise Art Museum.” BoiseWeekly 11, 29 (January 22 – 28, 2003), pp. 13 – 16.

Schnoor, Chris. “Thinking the Image: Gary Hill at ASU Art Museum.” Shade (October / November 2003), pp. 23 – 25.

Schulman, Daniel. “Gary Hill: Inasmuch As It Is Always Already Taking Place.” The Art Institute of Chicago Museum Studies: The Lannan Collection 25, 1 (1999), pp. 72, 73, 90, 100.

Schumacher, Donna. “Gary Hill: Capp Street Project.” Sculpture 17, 8 (October 1998), p. 58.

Schumacher, Donna. “Seeing Time.” Flash Art (January / February 2000), p. 48.

Schumacher, Rainald. “Gary Hill.” Kunstforum International 132 (November 1995 – January 1996), pp. 407, 408.

Schumacher, Rainald. “Lichtreisen. Gary Hill im Guggenheim.” Neue bilden kunst 4, 5 (1999), pp. 154, 155.

Schumacher, Rainald. “Stop the train: Stan Douglas, Beat Streuli, Bruce Nauman and Gary Hill.” Flash Art (International Edition) 30, 194 (May/June 1997), pp. 90 – 93.

Schwabsky, Barry. “Gary Hill.” Contemporary 71 (2005), pp. 58 – 60.

Schwartz, Ineke. “Over elk gebaar is gedebatteerd.” de Volkskrant, Amsterdam (October 10, 1997).

Schweinfurth, Reiner. “Klang ist so! Sonambiente – ein Festival für alle menschlichen Wahrnehmungskanäle.” Zitty 17 (1996), pp. 30, 31.

Schwendener, Martha. “Gary Hill: Barbara Gladstone.” Flash Art (May / June 1999), p. 113.

Scott, Carrie E.A. “Methodical Man.” Seattle Weekly (August 15 – 21, 2007), p. 42.

Sei, Keiko. “URA ARU.” Gendaishi techó, Japan 4 (April 1985), pp. 103, 104.

“SF Video Festival.” Video Networks, San Francisco 7, 6 (September 1983), p. 1.

Shaviro, Steven. “A Promise of Intimacy: Gary Hill.” Reflex 8, 4 (August/September 1994), p. 30.

Shaviro, Steven. “Fringe Research.” Artbyte 1, 4 (October/November 1998), pp. 14 – 15.

Shaw-Eagle, Joanna. “Corcoran exhibit is varied metaphor.”  The Washington Times (December 9, 2000), pp. D1, D5.

Simões, Alessandra. “As esculturas falantes de Gary Hill.” Gazeta Mercantil, Brazil (October 10-12, 1997).

Simonini, Ross. “Hill Marks the Intersection of Image, Object and Sound.” Seattle Post-Intelligencer (May 2, 2008).

Slemmons, Rod. “Gary Hill. Under New Skins.” Reflex (May/June 1993), p. 13.

Slemmons, Rod. “The new automat.” Image, Rochester 39 (Fall/Winter 1996), pp. 18 – 25.

Slyce, John and Matthew Collings. “Video Art: A Top Twenty.”  Modern Painters.  Vol. 13, No. 2 (Summer 2000), pp. 30 – 33.

Smallenberg, Sandra. “Een seconde per gefilmde geweldsexplosie.” Nrc Handelsblad, Amsterdam (January 3, 1998).

Smallenberg, Sandra. “Mediakunst weg can ‘in crowd.’”Nrc Handelsblad, Amsterdam (December 11, 1997).

Smallwood, Lyn. “Gary Hill’s skin flicks.” Seattle Weekly (March 3, 1993), p. 36.

Smallwood, Lyn. “The great offenders.” Seattle Weekly (October 24, 1990), p. 47.

Smallwood, Lyn. “The World as They Know It.” Seattle Weekly (March 18, 1992), p. 28.

Solnit, Rebecca. “Santa Fe Fax.” Art Issues (September/October 1995), pp. 34, 35.

Sonoda, Keiko. “Gary Hill. Video Installation Exhibition.” The Sun, Japan 374 (August 1992).

“The Southern Circuit… Explained.” IMAGE News, Atlanta (February/March 1987), pp. cover, 4, 5.

Soutif, Daniel. “Pick to Click.” Artforum XL, 1 (September 2001), pp. 160 – 161.

Squibb, Stephen. “Atypical Usage: Gary Hill, George Quasha and Charles Stein.” IDIOM (April 28, 2010). [http://idiommag.com/2010/04/atypical-usage-gary-hill-george-quasha-and-charles-stein-at-eai/]

Stadler, Matthew. “A Theater of Perception. Picture This.” The Stranger, Seattle (June 18 – 24, 1998), p. 27.

Stals, Jose Lebrero. “Eadweard Muybridge, Bill Viola, Giulio Paolini, Gary Hill, James Coleman: Ydessa Hendeles Foundation, Toronto.” Flash Art (International Edition) 176 (May/June 1994), p. 77.

Steger, Michael. “Virginia: Anonymity and Identity.” New Art Examiner, Chicago (January 1994), p. 40.

Sterrett, Jill. “L’art en vue / Art on View.” artpress 2: Arts Technologiques – Conservation et Restauration (February/March/April 2009), pp. 60 – 64.  (French and English)

Sterritt, David. “Multichannel Show (Primarily Speaking).” The Christian Science Monitor (December 8, 1983).

Stiftel, Ralf. “Unter die Netzhaut: Gary Hill’s Midnight Crossing im Westfälischen Kunstverein.” Westfälischer Anzeiger (September 7, 1997).

Sturken, Marita. “Out of sync: Hudson River Museum, Yonkers, New York.” Afterimage 11 (November 1983), pp. 18, 19.

Sturken, Marita. “A Whitney Sampler.” Afterimage (October 1993), pp. 17, 18.

Suchère, Eric. “Gary Hill Le Trafiquant d’ Images.” Beaux Arts 142 (February 1996), pp. 65 – 70.

Sugihara, Mariko. “Everything that is seen on TV is an idiom.” Video Com, Japan 20 (1985), p. 164.

Sullivan, Missy. “Pixel Picassos.” FORBES (November 15, 1999), pp. 318, 320.

Swenson, Kirsten. “Gary Hill at Barbara Gladstone,” Art in America (May 2007), p. 192.

Tamblyn, Christine. “Designer video: the AFI National Video Festival: Hollywood, California.” Afterimage 12 (December 1984), p. 5.

Tamblyn, Christine. Reply to a letter to the editor. “Reading between the lines.” Afterimage (May 1987), p. 2.

Tamblyn, Christine. “Video Art: A Historical Sketch.” High Performance 37, 10, 1 (1987), pp. 32 – 37.

Taubin, Amy. “Body Electric: Video Art at the Whitney Biennial.” Village Voice XXXVI, 18 (April 30, 1991), pp. 45, 46.

Taubin, Amy. “The Whitney Biennial: Video.” Millennium Film Journal 13 (Fall/Winter 1983/1984), pp. 113 – 115.

Taubin, Amy. “Video: Gary Hill.” Village Voice 11, 21 (May 17 – 23, 1995), p. 3.

“Thiers. Suspension of Disbelief.” Flash Art (October 1992), p. 115.

Thély, Nicolas. “Gary Hill: Vidéographe.” Beaux Arts 213 (February 2002), p. 36.

Thériault, Michèle. “Translation between the lines: Gary Hill’s Incidence of Catastrophe.” Paragraph 23/2 (July 2000), pp.  135 – 156.

Thomas, Dana. “Portrait of a Tribe.” Newsweek (July 14, 2003).

Tietenberg, Annette. “Die Augen, sie sind blödsinning und beinahe blind: Bilder, die entstehen und vergehen: Gary Hill’s Midnight Crossing im Westfälischer Kunstverein Münster.” Seite 34 (August 30, 1997).

Torres, Bolivar. “Plugado no apagamento do ritmo e dos corpos.” Jornal Do Brasil,  Caderno B (July 19, 2009), p. B2.

Tougas, Colette. “Gary Hill. Musée d’art contemporain de Montréal, 30 janvier – 26 avril.” Parachute 90 (April – June 1998), pp. 43, 44.

Tröster, Christian. “Video Moderne Dissonanzen.” Vogue, Germany (July 1995), p. 62.

Turkovich, Tanya. “Seeing and Being Seen: The Work of Gary Hill at the Museum of Contemporary Art.” F Newsmagazine (November 1994), pp. 23, 24.

Turner, Jonathan. “Ferment and Creativity.” Artnews (January 2006), pp. 90 – 97.

Uberquoi, Marie-Claire. “Dos manipuladores de la imagen, John Baldessari y Gary Hill, exponen en BCN.” El Mundo, July 15, 1998.

“Umfrage: Medienkunst.” Art – das Kunstmagazin 12. (December 1999), pp. 50 – 51.

Upchurch, Michael. “Strange critters: In July, Seattle art galleries contain menageries.” The Seattle Times (Seattle, WA), July 11, 2017.  Online here.

Upchurch, Michael. “View 31 images of yourself in Gary Hill’s ‘Dream Stop.'” The Seattle Times (Seattle, WA), August 16, 2016.  Online here.

Upchurch, Michael. “Gary Hill at James Harris: Fun with glass fragments, words.”  The Seattle Times (Seattle, WA), February 7, 2014.  Online here.

Upchurch, Michael. “A stroll with sound/video artist Gary Hill through his new show.” The Seattle Times (Seattle, WA), May 6, 2012.  Online here.

Updike, Robin, Marc Ramirez and Putsata Reang. “3 local residents named ‘geniuses’: Prestigious MacArthur grants go to writer, poet, video artist.” The Seattle Times (June 2, 1998), pp. A1, A11.

Updike, Robin. “Time and ‘Undertime’.” The Seattle Times (March 2, 2000), p. 25.

Valdellós, Ana María Sedeño. “Artistic precedents of the music video.” LAPIZ 203 (June 2004), pp. 24 – 39 (in Spanish and English).

Valiente, Pablo. “Primera Bienal De La Imagen En Movimiento.” RTV Magazine di los Mercados Audiovisuales 20 (January 1991), pp.  61 – 65.

Van Assche, Christine. “Restless Images.” Galeries Magazine (April/May 1990), p. 176.

Van Assche, Christine. “Tendances Multiples.” Tendances Multiples, Videos des Années 80, Petit Journal, No. 22 (March/May 1990).

Van Assche, Christine. “Vidéo Story.” Galeries Magazine 38 (August/September 1990), pp. 68, 69.

Van der Jagt, Marijn. “Schimmen: Gary Hills tussenwereld.” De Groene Amsterdammer (September 22, 1993), p. 24.

Velasco, Suzana. “Linguagem Física.” O Globo. (July 20, 2009), p. 1 (Segundo Caderno).

Vendrame, Simona. “A Bridge Towards the Future.” tema celeste 86 (Summer 2001), pp. 44 – 49.

Vernay, Marie-Christine. “Tactique Plastique.” Liberation (February 14 & 15, 1998), p. 30.

Viau, René. “Passages de l’Image.” Vie des Arts, Montreal XXXV, 140 (September 1990), pp. 80, 81.

Vidal, Jaume. “Gary Hill, pionero de la videocreación, muestra en el Macba su obra junto a la de Shamberg y Baldessari.” El País (July 15, 1998).

“Video 80/San Francisco International Video Festival.” Video 80 1, 1 (1980), p. 25.

“Video Art by Gary Hill.” Gallery, Japan (July 1992).

“Video as Art.” Pia, Japan (February 22, 1985).

“Video Biennale Special.” Photo Japon, Japan (1985), pp. 80, 81.

“Video Installations At Biennale Add Verve To Art.” The Hindu (January 02, 2017). Online here.

“Video’s New Wave.” Dial Thirteen(May 1986).

Villani, John Carlos. “Videos make viewer part of creative process.” The Arizona Republic (October 19, 2003).

Villaseñor, Maria Christina. “Bound Spaces.” Art Journal 54, 4 (1995), pp. 93 – 97.

Vine, Richard. “Report from Denmark. Part I: Louisiana Techno-Rave.” Art in America (October 1996), pp. 41 – 47.

Viñuela, Ana. “La convergencia de los soportes. I Bienal de la Imagen en Movimento Centro de Arte Reina Sofía.” Cinevideo, Spain, pp. 3 – 5.

Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), pp. 44 – 47.

Vogel, Sabine. “Stedelijk van Abbemuseum, Eindhoven, Netherlands.” Artforum 32 (November 1993), pp. 120, 121.

Von Graevenitz, Antje. “Living Funeral Art–Video Installations by Bill Viola and Gary Hill.” Archis 7 (1993), pp. 45 – 53.

Wakefield, Neville. “Let’s Go to the Videotape.”  Art and Auction XXI, 4 (October 19 – November 1, 1998), cover, pp. 48 – 53.

Wewerka, Olga. “ ‘KW’ – finální dokoncení.” Atelier Czech Republic (November 18, 1999).

Wißmann, Kathrin. “Der Moment vor der Ekstase: Katsushika Hokusai, Gustave Courbet, Gary Hill: Künstler, dem Geheimnis der Welle auf der Spur.” mare 3 (August/September 1997), pp. 92, 93.

“Wij herinneren ons niet.” KNACK Belgium (October 13 – 19, 1999), pp. 80 – 82.

Williams, Janis Croft. “CAPS Video: Wegman, Hill, Kolpan, Lucier.” Afterimage 7, 4 (November 1979), p. 4.

Willis, Holly. “The Unknown That Knows Where the Hole in the Mind Resides: Installations and Videos by Gary Hill at the Long Beach Museum of Art.” Video Networks, San Francisco (February/March 1994), pp. 20 – 22.

Wivel, Henrik. “Sjaelfuldt,” Berlingske Tidende (February 5, 1999).

Woodward, Richard B. “Plugged In.” World Monitor 50 (May 1992), pp. 50 – 52.

Wooster, Ann-Sargent. “Gary Hill.” Village Voice (February 18 – 24, 1981), unpaginated.

Wooster, Ann-Sargent. “The Heart of Darkness–Film and Video at the Whitney Biennial.” Arts Magazine (October 1991), pp. 66 – 71.

Wooster, Ann-Sargent. “Manhattan Short Cuts – Video at the Whitney Biennial.” Afterimage (Summer 1985), pp. 34 – 36.

Xexéo, Artur. “A estátua de Gandhi e a outra.” Journal do Brazil (August 3, 1997).

Yablonsky, Linda. “Medium Cool.” Time Out, New York 210 (September 30 – October 7, 1999), p. 67.

Yamamori, Eiji. “Gary Hill.” Aera Magazine 5, 27, Tokyo (July 1992), pp. 72, 73.

Yood, James. “Gary Hill / Donald Young Gallery.” Artforum (Summer 2006), pp. 358 – 359.

Young, Lisa Jaye.  “Electronic Verses: Reading the Body vs. Touching the Text.” Performing Arts Journal 52, 18, 1  (January 1996), pp. 36 – 43.

Zeichner, Arlene. “MoMA-TV: The Push to Artisfy Video.” Village Voice XXVIII, 36 (September 6, 1983), pp. 80 – 83.

Zutter, Jörg. “Gary Hill / Bruce Nauman:  International New Media Art.” artonview No. 32 (Summer 2002 – 2003), pp. 6 – 11.

Zwingenberger, Jeanette. “Gary Hill, quand penser c’est voir.” L’Oeil 555 (February 2004), pp. 24 – 25.

Zwinger, Susan. “Video as Attitude in New Mexico.” Artweek (July 16, 1983), p. 18.