SOLO EXHIBITION CATALOGUES and BROCHURES

Arranged chronologically.

Video Viewpoints, unpaginated. New York: Museum of Modern Art, February 1980. Program notes.

Quasha, George. “Notes on the Feedback Horizon.” In Glass Onion, unpaginated. Barrytown: Station Hill Press, 1980. Program notes. Reprinted in Gary Hill, edited by Robert C. Morgan, 109–113.  Baltimore: PAJ Books / The Johns Hopkins University Press, 2000; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 98–99. Barcelona: Ediciones Polígrafa, 2009.

Hanhardt, John G. Gary Hill: Primarily Speaking, 1981-83. The New American Filmmakers Series 12, unpaginated. New York: Whitney Museum of American Art, 1983. Program notes.

Oeuvres vidéo de Gary Hill en sa présence. Center for Media Art, unpaginated. Paris: American Center, 1983. Program notes.

Gary Hill. Selected Videography, unpaginated. Tokyo: JICS Plaza Video and International Community Services, 1984. Program notes.

Gary Hill/Steven Kolpan Video Works, unpaginated. Woodstock, New York, 1985. Program notes

Hanhardt, John G. Gary Hill. The New American Filmmakers Series 30, unpaginated. New York: Whitney Museum of American Art, 1986. Program notes.

Quasha, George and Jean-Paul Fargier. Gary Hill: DISTURBANCE (among the jars). Villeneuve d’Ascq, France: Musée d’Art Moderne, 1988. In French and English.

OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990. In Danish and English. Texts by Agnete Dorph Christoffersen, Raymond Bellour and Gary Hill.

Mittenthal, Robert. Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990.

Lageira, Jacinto. Gary Hill: Between Cinema and a Hard Place. Paris: OCO, Espace d’art contemporain, 1991. In French.

Gary Hill, Video Installations. Eindhoven: Stedelijk Van Abbemuseum, 1992.

Shizuko Watari. Gary Hill – I Believe It Is an Image. Tokyo: Watari Museum of Contemporary Art, 1992.

Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992. In French. Translations by Alexia Walker. Texts by Lynne Cooke, Jacinto Lageira, and Hippolyte Massardier.  Reprinted in Gary Hill, edited by Robert C. Morgan, 27–55. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000.

Mignot, Dorine. Gary Hill, 8–9. Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993. In English with Dutch and German translations. Texts by Rudi Fuchs, Toni Stooss, Gary Hill, Willen Van Weelden, Lynne Cooke, and George Quasha. Reprinted in Gary Hill, edited by Robert C. Morgan, 96–103. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000.

Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993. In Spanish and English. Texts by Gary Hill, Jacinto Lageira, Lynne Cooke, and Hippolyte Massardier.

Gary Hill: Sites Recited. Long Beach: Long Beach Museum of Art, 1993.  Texts by Harold B. Nelson, Carole Ann Klonarides, Steven Kolpan, George Quasha, and Raymond Bellour. Reprinted in Gary Hill, edited by Robert C. Morgan, 91–95. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000.

Gary Hill: In Light of the Other. Oxford: The Museum of Modern Art Oxford and Liverpool: Tate Gallery Liverpool, 1993. Texts by Lars Nittve, Robert Mittenthal, Corinne Diserens, Bruce W. Ferguson, and Stuart Morgan. Reprinted in Gary Hill, edited by Robert C. Morgan, 56–61. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000.

Bruce, Chris. Gary Hill. Seattle: Henry Art Gallery, University of Washington, 1994. Texts by Lynne Cooke, Bruce W. Ferguson, John G. Hanhardt, and Robert Mittenthal.  Reprinted in Gary Hill, edited by Robert C. Morgan, 135–148, 114–121, 104–108. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000.

Thériault, Michèle. Gary Hill: Selected videotapes 1978 – 1990, unpaginated. Toronto: Art Gallery of Ontario, 1994. In French with English translation by Donald McGrath. Program notes.

Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington: The Voyager Company, 1994. Texts by Michael Nash, George Quasha and Charles Stein, Lynne Cooke, Bruce Ferguson.

Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995. In Swedish and English. Texts by Tom Sandqvist, George Quasha, and Måns Och Pål Wrange.

Vischer, Theodora. Gary Hill: Imagining the Brain Closer than the Eyes (Gary Hill: Arbeit am Video).  Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995. Texts by Hans Belting, Gottfried Boehm, Gary Hill, Birgit Kempker, Karlheinz Lüdeking, and Friedemann Malsch.  Text by Hans Belting reprinted in Italian in Gary Hill: Scritti / Interviste, 160–177. Milan:  Mondadori Electa S.p.A., 2005.

Tono, Yoshiaki. Focus: Why Do Things Get in a Muddle?, unpaginated. Tokyo: Video Gallery Scan, 1985. Program notes.

Quasha, George and Charles Stein. Gary Hill: HanD HearD/liminal objects. Paris: Galerie des Archives and Barrytown, New York: Station Hill Arts, 1996. Reprinted in Gary Hill, edited by Robert C. Morgan, 122–134. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000; and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 209–233. Barcelona: Ediciones Polígrafa, 2009.

Quasha, George and Charles Stein. Tall ShipsGary Hill’s Projective Installations 2. Barrytown: Station Hill Arts, 1997. Reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 189–205. Barcelona: Ediciones Polígrafa, 2009.

Quasha, George and Charles Stein. ViewerGary Hill’s Projective Installations 3. Barrytown: Station Hill Arts, 1997. Reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 235–279. Barcelona: Ediciones Polígrafa, 2009.

Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997. In Portuguese and English. Texts by Arlindo Machado, George Quasha and Charles Stein. Reprinted in Gary Hill, edited by Robert C. Morgan, 149–157, 158–167. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000.

Liesbrock, Heinz. Gary Hill: Midnight Crossing. Münster: Westfälischer Kunstverein, 1997. In German and English. Text by Robert Mittenthal.  Reprinted in Gary Hill, edited by Robert C. Morgan, 168–177. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000.

Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998. In French and English. Text by George Quasha and Charles Stein. Reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 295–315. Barcelona: Ediciones Polígrafa, 2009.

Gary Hill: HanD HearD – Withershins – Midnight Crossing.  Barcelona: Museu d’Art Contemporani de Barcelona, 1998. Texts by Heinz Liesbrock, George Quasha and Charles Stein, and José Lebrero Stals.

TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart, unpaginated. New York: The Kitchen, 1998. Program notes.

Splayed Mind Out: Gary Hill, Meg Stuart & Damaged Goods, unpaginated. New York: The Kitchen, 1998. Program notes.

Ceruti, Mary. Gary Hill: 23:59:59:23 – The Storyteller’s Room, unpaginated. San Francisco: Capp Street Project, 1998. Program notes.

Gary Hill: Midnight Crossing. Warsaw: Center for Contemporary Art, Ujazdowski Castle, 1998. In Polish. Text by Heinz Liesbrock.

Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999. In Danish and English. Texts by Jens Erik Sørensen, Julie Harboe, Anders Kold, Gitte Ørskou Madsen, George Quasha and Charles Stein, and Jérôme Sans. Text by Quasha and Stein reprinted in their An Art of Limina: Gary Hill’s Works and Writings, 317–325. Barcelona: Ediciones Polígrafa, 2009.

Gary Hill:Video Works. Tokyo: NTT InterCommunication Center, 1999.

Amalfitano, Lelia. Gary Hill: Placing Sense Ö Sens Placé, unpaginated. Boston: School of the Museum of Fine Arts, 1999. Program notes.

Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000. In Spanish. Texts by Gary Hill, Arlindo Machado, George Quasha, Charles Stein and Rodrigo Alonso.

Gary Hill: Instalaciones. Córdoba:  Ediciones Museo Caraffa, 2000. In Spanish.  Texts by Daniel Capardi, Rodrigo Alonso, Arlindo Machado, George Quasha and Charles Stein.

Hill (scape): Gary Hill’s video screening, performance and installation exhibition, unpaginated. Hong Kong: Videotage, 2001. Program notes.

Gary Hill: The Performative Image, unpaginated. Tokyo: Gary Hill Exhibition Committee, 2001. In Japanese and English.

McAlear, Donna, ed. Gary Hill. Winnipeg: The Winnepeg Art Gallery, 2001.  Texts by Sigrid Dahle and André Jodoin.

Quasha, George. Gary Hill: Language Willing. Barrytown: further/art; and Boise: Boise Art Museum, 2002. Revised version of the text reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 353–371. Barcelona: Ediciones Polígrafa, 2009.

Unfolding Vision: Gary Hill, Selected Works 1976 – 2003. Taipei: Museum of Contemporary Art, 2003. In Chinese and English. Texts by Elaine W. Ng and George Quasha.

Mind on the Line: Gary Hill, George Quasha, Charles Stein, Aaron Miller and Dorota Czerner. Wroclaw: WRO Art Center, 2004. In English and Polish.

Gary Hill: Resounding Arches / Archi Risonanti. Rome: Ministero per i Beni e le Attività Culturali Soprintendenza archeologica di Roma; and Milan: Mondadori Electa S.p.A., 2005. In Italian and English. Texts by Ester Coen and Giuliana Stella. Catalogue and DVD.

Gary Hill / Gerry Judah. Paris: Somogy Publishers / LTB Holding, Ltd., 2007.

Ramos, María Elena. Gary Hill. Caracas: Centro Cultural Chacao, 2009. In Spanish.

Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009. In Portuguese and English. Texts by Marcello Dantas, Gary Hill and George Quasha.

Gary Hill: Viewer. Moscow: GMG Gallery, 2010. In Russian and English. Texts by John G. Hanhardt, Irina Kulik, and Andrey Parshikov.

GROUP EXHIBITION CATALOGUES and BROCHURES

Arranged chronologically.

Third Annual Ithaca Video Festival, unpaginated. Ithaca: Ithaca Video Festival, 1977. Program notes.

New Work in Abstract Video Imagery, unpaginated. Syracuse: Everson Museum of Art, 1977. Program notes.

Atlanta Independent Film & Video Festival, unpaginated. Atlanta: Image Film/Video Center, 1978. Program notes.

Fourth Annual Ithaca Video Festival, unpaginated. Ithaca: Ithaca Video Festival, 1978. Program notes.

Jenkins, Bruce and John Minkowsky. Beau Fleuve, 29. Buffalo, New York: Media Study/Buffalo, 1979.

1979 Athens Video Festival, 29. Athens: Athens Center for Film and Video, 1979.

Political Commentary in Contemporary Art, 54, 55. Potsdam: Brainerd Art Gallery, 1979.

Everson Video Revue, unpaginated. Syracuse: Everson Museum of Art, 1979.

New York State Projects: Video XXVIII, unpaginated. New York: Museum of Modern Art, 1979. Program notes.

Tokyo Fukui Kyoto New York Seattle Los Angeles, 19. New York: Museum of Modern Art, 1979.

The Fifth Annual Ithaca Video Festival, unpaginated. Ithaca: Ithaca Video Festival, 1979. Program notes.

1980 Athens Video Festival, 15. Athens: Athens Center for Film and Video, 1980.

Installation: Video, unpaginated. Buffalo: Hallwalls Contemporary Arts Center, 1980.

Video 80. Program notes published as an insert in Video Networks 4, 3 (October 1980): 5–7.

The Electronic Gallery, 14. Binghamton: State University of New York, Binghamton, 1981.

Themes in Electronic Image Processing, unpaginated. New York: The Kitchen Center for Music, Video and Dance, 1981.

The 103rd Annual Daniel Wadsworth Memorial Video Festival, 2, 11. Hartford: Montevideo, 1981.

The Seventh Annual Ithaca Video Festival, unpaginated. Ithaca: Ithaca Video Festival, 1981. Program notes.

National Video Festival: The State of the Art, 75. Los Angeles and Washington, D. C.: American Film Institute, 1981.

D. Visions 1981 Video Awards Festival, unpaginated. New York: D. Visions Gallery, 1981. Program notes.

Video Europäische Videotheken, unpaginated. Munich: Städtische Galerie im Lenbachhaus, 1981.

Biennale of Sydney 1982: Vision in Disbelief, 147. Sydney: Biennale of Sydney, 1982.

Siggraph ’82 Art Show, unpaginated. Boston: Siggraph, 1982.

Die Bilderwelt der Literatur: Schriftsteller arbeiten fürs Fernsehen, 104–106. Graz: ORF Landesstudio Steiermark, 1982.

Electronic Visions, unpaginated. Yonkers: Hudson River Museum, 1983. Program notes.

Rice, Shelley. Video Installation 1983, unpaginated. Published as a special supplement to Afterimage 11, 8 (December 1983).

The Second Link: Viewpoints on Video in the Eighties, 29, 45, 82–83. Banff, Alberta, Canada: Walter Phillips Gallery, The Banff Centre School of Fine Arts, 1983.

The Electronic Gallery, unpaginated. Binghamton: University Art Gallery, State University of New York, Binghamton, 1983.

Video as Attitude, unpaginated. Santa Fe: Museum of Fine Arts, Museum of New Mexico and Albuquerque, New Mexico: University Art Museum, University of New Mexico, 1983.

19th Chicago International Film Festival, 51. Chicago: Chicago International Film Festival, 1983.

1983 Biennial Exhibition, 87. New York: Whitney Museum of American Art, 1983.

1983 Whitney Biennial Video Exhibition, unpaginated. New York: The American Federation of the Arts, 1983.

L’Avantguarda Catalana del Video. Mostra de Vídeos Premiats al il Festival de Vídeo de San Sebastián. Mostra de les Cintes de Producció Espanyola Seleccionades al il Festival de Vídeo de San Sebastián, unpaginated. San Sebastian: Departament de Cultura de la Generalitat de Catalunya, 1983.

XXXI Festival Internacional de Cine de San Sebastian, vii. San Sebastian, Spain: Il Festival de Vídeo de San Sebastian, 1983. Program notes.

The Fifth Fukui International Video Biennale: Winds of the Media from Asia, 102, 156.  Fukui City, Japan: Fukui Audio Visual Center, 1983.

World Wide Video Festival 1984. The Hague: Kijkhuis, 1984.

So There, Orwell 1984, unpaginated. New York: The Beard’s Fund, 1984. Program notes.

National Video Festival, 64. Los Angeles: American Film Institute, 1984.

Actes du colloque video, fiction et cie. 2e Manifestation International de Vidéo de Montbéliard, 46. Montbéliard, France: Centre d’Action Culturelle de Montbéliard, 1984.

Video: A Retrospective. 1974 – 1984, 55, 64, 68, 74, 83, 88, 91, 93, 105. Long Beach: Long Beach Museum of Art, 1984.

XLI Esposizione Internazionale d’Arte. Venice: La Biennale di Venezia, 1984.

Video 84 – International Video Conferences, Montreal, 61, 64. Montreal, 1984. Program notes.

Tokyo International Video Biennale, unpaginated. Tokyo: Video Biennale Secretariat, 1985. Program notes.

Fukui International Video Festival ’85: Video – Spirit of the Time, 92, 93. Fukui City, Japan: Fukui Audio Visual Center, 1985.

Image/Word: The Art of Reading, 21. San Francisco: New Langton Arts, 1985.

1985 Athens Video Festival, 12. Athens: Athens Center for Film and Video, 1985.

Video Art Stockholm International Festival ’85, E15. Stockholm: Kultuhuset, 1985. Program notes.

1985 National Video Festival, 34. Los Angeles: American Film Institute, 1985.

The Sixth Annual San Francisco International Video Festival, unpaginated. San Francisco: San Francisco International Video Festival, 1985. Program notes.

Film Video Performance Tage Luzern, unpaginated. Luzern: Kulturpanorama am Löwenplatz, 1985. Program notes.

1985 Biennial Exhibition, 169, 177. New York: Whitney Museum of American Art, 1985.

Video d’artistes: Robert Cahen, Gary Hill, Jacques Louis Nyst, Dan Reeves, unpaginated. Geneva: Bel Veder, 1986.

The Image of Fiction: International Videoart Infermental 5, 41 & unpaginated. Rotterdam, Germany: Con Rumore, 1986.

1986 SAW Gallery International Festival of Video Art, 6–10, 21. Ottawa, Ontario: Saw Gallery, 1986.

Rankin, Scott. Video and Language/Video as Language, unpaginated. Los Angeles: Los Angeles Contemporary Exhibitions (LACE), 1986. Program notes.

Bianchi, Lois. Video Transformations, unpaginated. New York: Independent Curators Incorporated, 1986.

1986 National Video Festival, 20, 62, 63. Los Angeles: American Film Institute, 1986.

Infermental: 1980 – 1986, 148. Cologne: Infermental, 1986.

Podesta, Patti. Resolution: A Critique of Video Art, 25. Los Angeles: Los Angeles Contemporary Exhibitions, 1986.

The Black Maria Film Festival, unpaginated. Bloomfield: Thomas A. Edison/Black Maria Film & Video Festival, 1986. Program notes.

World Wide Video Festival 1986, 65. The Hague: Kijkhuis, 1986.

Fitzsimmons, Connie. Poetic License, unpaginated. Long Beach: Long Beach Museum of Art, 1986. Program notes.

“The Sixth Annual San Francisco International Video Festival. 1985 Catalog.” Video and the Arts 11 (Winter 1986): 23–34.

Bull, Hank and Veruschka Bódy. Infermental VI: New World Edition, unpaginated.  Vancouver, British Columbia: Western Front Video Production, 1987.

2e Semaine International de Video, 2–35, 43, 44, 63–69, 83–85, 98–101. Geneva: Saint-Gervais Genève, 1987.

Electrovisions: Japan 87 Video Television Festival, 93. Tokyo: Video Gallery SCAN, 1987.

Cinq pièces avec vue, unpaginated. Geneva: Centre Genevois de Gravure Contemporaine, 1987.

1987 Biennial Exhibition, 150, 168, 201, 202, 211. New York: Whitney Museum of American Art, 1987.

Goodman, Cynthia. Digital Visions: Computers and Art, 171. New York: Harry N. Abrams, 1987.  Published in conjunction with the exhibition Computers and Art organized by the Everson Museum of Art, Syracuse, New York, 1987.

Riley, Bob. Video Currents – Mediated Narratives, unpaginated. Boston: Institute of Contemporary Art, 1987.

Lord, Chip. Parameters 11. Video Discourse: Mediated Narratives, unpaginated. La Jolla, California: La Jolla Museum of Contemporary Art, 1987. Program notes.

The Arts for Television, 51, 100. Los Angeles: Museum of Contemporary Art; Amsterdam: Stedelijk Museum, 1987.

7. Berner Poeietage 1987, 3, 4. Bern: Kunstmuseum Bern, 1987.

Documenta 8, vol. 2, 317Kassel: Documenta, 1987.

6. Erlanger Videotage, 86, 88. Erlanger, Germany: Erlanger Videotage, 1987.

The Situated Image, 4, 5, 10, 11, 18. San Diego: Mandeville Gallery, University of California, San Diego, 1987.

Feinstein, Roni. Contemporary Diptychs: Divided Visions, 10, 11. New York: Whitney Museum of American Art, 1987.

Salso Film & TV Festival. 10a edizione, 75. Parma: Comune di Salsomaggiore Terme, 1987.

The Second Australian Video Festival 1987, 15. Paddington, Australia: Australian Video Festival Ltd., 1987.

Blistène, Bernard, Catherine David, and Alfred Pacquement. L’époque, la mode, la morale, la passion: aspects de l’art d’aujourd’hui, 1977 – 1987.  Paris: Musée national d’art moderne, Centre Georges Pompidou, 1987.

Baizet, Patrice. Festival et Vidéo, 14.  Geneva: Halle Sud, October 1987.

Pixel Art – Estetica de la Generacion Animacion por Ordenador, unpaginated. Barcelona: Instituto de Estudios Norteamericanos, 1988.

Hill, Chris, Tony Conrad and Peter Weibel, eds.  Infermental 7, 14, 25. Buffalo: Hallwalls Contemporary Arts Center, 1988.

3. Videonale in Bonn, 98. Bonn: Videonale, 1988.

Art/Documents: vidéo, unpaginated. Gentilly, France: Centre Municipal d’Activités Culturelles, Ville de Gentilly, 1988. Program notes.

World Wide Video Festival 1988, iv, 15. The Hague: Kijkhuis, 1988.

Montbeliard Video al’Entrepot, unpaginated. Paris: L’Entrepot, 1988. Program notes.

Fabre, Gladys C. Art Video Americain.  Les Annees quatre-vingt, unpaginated. Paris: Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), 1988. Program notes.

Festival International du Nouveau Cinéma et de la Vidéo Montréal 1988, 74. Montreal: Festival International du Nouveau Cinéma et de la Vidéo Montréal, 1988.

World Wide Video Festival 1989. The Hague: Kijkhuis, 1989.

3e Semaine Internationale de Vidéo, 63, 71, 107. Geneva: Saint-Gervais Genève, 1989.

1989 Athens International Film and Video Festival, 8. Athens, Ohio: Athens Center for Film and Video, 1989. Program notes.

The Thirteeenth Atlanta Film & Video Festival, unpaginated. Atlanta: IMAGE Film/Video Center and High Museum of Art, 1989. Program notes.

MultiMediale Karlsruhe 30.10 – 4.11.1989. Karlsruhe: Zentrum für Kunst und Medientechnologie, 1989.

1989 Whitney Biennial Video Exhibition, unpaginated. The American Federation of Arts Film/Video Program. New York: American Federation of Arts, 1989.

Gale, Peggy. Electronic Landscapes, unpaginated. Ottawa: National Gallery of Canada, 1989. Program notes.

El Arte del Video/The Art of Video, unpaginated. Madrid: Imatco-Atanor, 1989. Program notes.

Bellour, Raymond. “Eye for I: Video Self-Portraits.” New American Film and Video Series 48, unpaginated. New York: Whitney Museum of American Art, 1989. Program notes.

1989 Biennial Exhibition, 210–211, 252. New York: Whitney Museum of American Art, 1989.

Biggs, Simon. “The Author and the Machine (The Electronic Artist in Relation to Evolving Conditions of Production and Consumption).” Machinations Festival. Geneva: St. Gervais MJC, 1989.

Riley, Robert R. Selections from the Permanent Collection: Recent Acquisitions—Video, unpaginated. San Francisco: San Francisco Museum of Modern Art, 1989.

Vidéoformes ’89: Festival de la Creation Video, 10, 12, 13. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989. Program notes.

Les Cents jours d’art contemporain de Montréal 1989. Montreal: Centre international d’art contemporain de Montréal, 1989. Program notes.

Delicate Technology: Japan ’89 Video Television Festival at Spiral, 106–114, 116. Tokyo: Treville, 1989.

XII Salso Film & TV Festival, 81, 82. Parma: Comune di Salsomaggiore Terme, 1989.

Filmer à Tout Prix No. 4 avec la collaboration de Vidéo, Réalitiés, unpaginated. Brussels: Botanique, 1989. Program notes.

The 3rd Fukui International Video Biennale: Expansion and Transformation, 54, 132, 213. Fukui City, Japan: Fukui Audio Visual Center, 1989.

Hanhardt, John G., et al. “Image World: Metamedia.” New American Film and Video Series 49, unpaginated. New York: Whitney Museum of American Art, 1989. Program notes.

Augaitis, Daina. “As Told To: Structures for Conversation.” Banff: Walter Philips Gallery, 1990. Program essay for exhibition of the same title at Walter Philips Gallery, Banff, Laberta Canada, 1988.  Also published in the book Sound by Artists.  Toronto: Art Metropole, 1990.

Vidéoformes ’90: Festival de la Création Vidéo, 18. Clermont-Ferrand, France: Festival de la Création Vidéo, 1990. Program notes.

L’Amour de Berlin, unpaginated. Cavallion: Centre Culturel de Cavallion, 1990.

Passages de l’image (Passages de l’image), 28, 51–55, 71, 73–76, 130, 158–161, 191. Paris: Musée national d’art moderne, Centre Georges Pompidou, 1990. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991. In Spanish. Essay by Jacques Derrida reprinted in Italian in Gary Hill:  Scritti / Interviste, edited by Ester Coen, 178–183. Milan: Mondadori Electa S.p.A., 2005.

Bienal de la Imagen en Movimento ’90, 19, 22, 58, 59, 180–183. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990.

Parent, Sylvie. Cent Jours D’Art Contemporain à Montreal, 9–11. Montreal: Centre International D’Art Contemporain de Montreal, 1990.

Le Temps des Machines, unpaginated. Valence, France: Centre de recherche et d’action culturelle (CRAC), 1990.

Video Poetics, 3, 10. Long Beach: Long Beach Museum of Art, 1990.

A Force of Repetition, 3, 24, 25, cat. no. 40. Trenton: New Jersey State Museum, 1990.

17th Northwest Film & Video Festival, unpaginated. Portland: Northwest Film and Video Center, 1990. Program notes.

Kucera, Greg. God & Country: 7th Anniversary Exhibition, unpaginated. Seattle: Greg Kucera Gallery, 1990. Program notes.

Athens International Film and Video Festival. Program notes. Athens, Ohio: Athens Center for Film and Video, 1990, p. 7, 16.

V.I.P. – video –image(s) – peinture, 7, 16, 17, 47. Paris: Galerie du Génie, 1990.

Dallas Video Festival ’90, unpaginated. Dallas, Texas: Video Association of Dallas, 1990. Program notes.

Energieen. Amsterdam: Stedelijk Museum, 1990.

1991 Biennial Exhibition, 102–105, 378. New York: Whitney Museum of American Art, 1991.

The Body (2). Chicago: The Renaissance Society at the University of Chicago, 1991.

Glowen, Ron and Kim Levin. Glass: Material in the Service of Meaning, 34, 35, 64. Tacoma: Tacoma Art Museum, 1991.

Joachimides, Christos M. and Norman Rosenthal, eds. Metropolis: International Art Exhibition, Berlin, 1991, 23, 154, 155, 290, 324. New York: Rizzoli, 1991.

The 2nd International Biennale in Nagoya ARTEC ’91, 30–33. Nagoya, Japan: Nagoya City Art Museum, 1991.

Topographie II: Untergrund, Videoinstallations in the Vienna Subway System, 44, 65, 66, 82–85, 105–108. Vienna: Wiener Festwochen, 1991.

IMPAKT: festival voor experimentele kunst, 15. Utrecht, The Netherlands: Cultuurcentrum Ekko, 1991. Program notes.

In Public: Seattle 1991, 12, 20. Seattle: Seattle Arts Commission, 1991. Program notes.

Videoformes1991, 9. Clermont-Ferrand, France: Festival de la Création Vidéo, 1991.

Art at the Armory: Occupied Territory, 51, 88–99. Chicago: Museum of Contemporary Art, 1992.

Cooke, Lynne, Bice Curiger and Greg Hilty. DOUBLETAKE: Collective Memory and Current Art, 19, 31, 33, 54, 156-159, 213, 225, 244–245, 254. London: Hayward Gallery, 1992.  Published in German as DOUBLETAKE: Kollektives Gedächtnis & Heutige Kunst, 21, 36–38, 61, 172–175, 231, 245, 246, 265. Vienna: Kunsthalle Wien, 1993.

Documenta IX, vol. 1, 157; vol. 2, 222–225, 308. Stuttgart: Edition Cantz; New York: H. N. Abrams, 1992.

L’Era binaire: nouvelles interactions. Bruxelles: Musée d’Ixtelles, 1992. Published in German as Bianera: 14 Interaktionen – Kunst und Technologie, 15, 45. Vienna: Kunsthalle Wien, 1992.

Het Binaire Tijdperk: nieuwe literacies.  Gemeentetijk Museum van Elsene, 1992.

Vidéo et après: la collection vidéo du Musée national d’art moderne. Paris: Musée national d’art moderne, Centre Georges Pompidou, 1992.

Shamash, Diane, ed. In Public: Seattle 1991, 13, 22, 42, 63. Seattle: Seattle Arts Commission, 1992.

Dance!, 3, 4. Riverside: California Museum of Photography, 1992. Program notes.

Videokunstfest: Open Air, 2, 3,17. Kassel: Filmladen, 1992.

“Métamorphoses.” Saint-Gervais Genève 92, 93, unpaginated. Geneva: Saint-Gervais Genève, 1992.

Nittve, Lars. Passagearbeten = Passageworks, 7, 58–69. Malmo: Rooseum – Center for Contemporary Art, 1993.

1993 Biennial Exhibition, 13, 14, 16, 17, 38, 39, 168, 169, 280. New York: Whitney Museum of American Art, 1993.

Das 21. Jahrhundert – Mit Paracelsus in die Zukunft. Basel: Kunsthalle Basel, 1993, pp. 81 – 88.

Joachimides, Christos M. and Rosenthal, Norman, eds. American Art in the 20th Century: Painting and Sculpture 1913 – 1993, 160, 161, 480, 481, cat. 247. Munich: Prestel -Verlag, 1993. Also published in German as Amerikanische Kunst im 20. Jahrhundert: Malerei und Plastik 1913 – 1993. Berlin: Martin-Gropius-Bau, 1993.

Brothers, Leslie A., Dorit Cypis and Steven S. High. Anonymity & Identity, 9, 32, 33. Richmond: Virginia Commonwealth University, 1993.

Sorensen, Jens Erik, ed. Strange Hotel International Art, 14, 82, 83, 121, 122. Aarhus: Aarhus Kunstmuseum, 1993.

Binaera:14 Interaktionen – Kunst und Technologie, 5, 45 and unpaginated. Ghent: Ludion; Vienna: Kunsthalle Wien, 1993.

Aanwinsten 1989 – 1993: een selectie, 36–39. Eindhoven: Stedelijk Van Abbemuseum, 1993.

ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite, 31, 44–48. Belo Horizonte, Brazil: Festival Internacional de Video, 1993.

Manifeste: une histoire parallèle 1960-1990, 262, 263. Paris: Editions du Centre Pompidou, 1993.

Light into Art: From Video to Virtual Reality, unpaginated. Cincinnati, Ohio: Contemporary Arts Center, 1994. Program notes.

Múltiplas Dimensões/Multiple dimensions, vol. 1, 39, 86–89; vol. 2, 26, 27, 130–133. Lisbon: Centro de Cultural de Bélem, 1994.

Video Art ’94: Nature in Motion, 5, 18, 19. Prague: Mánes, 1994.

Cocido y crudo: exposición organizada por el Museo Nacional Centro de Arte Reina Sofia, 106, 107. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1995.

Hermanns, Uwe, Gerhard Wissner, and Holger Kube Ventura, 9, 69, 95. Dekonstruktion Video.  Kassel: Filmladen, 1994.

Private/Public ARS ‘95 Helsinki, 70, 71, 276. Helsinki: Museum of Contemporary Art, 1995.

Altered States: American Art in the 90’s, 14. St. Louis: Forum for Contemporary Art, 1995.

London, Barbara J. Video Spaces: Eight Installations, 22, 23, 48–53. New York: Museum of Modern Art, 1995.  Reprinted in Gary Hill, edited by Robert C. Morgan, 17–19. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000.

Identity and Alterity: Figures of the Body 1895/1995: La Biennale di Venezia, 46. esposizione internazionale d’arte, 455, 565. Venice: La Biennale di Venezia, 1995.

David, Catherine and Corinne Diserens. Immagini in Prospettive. Siena: Comune di Rapolano Terme, 1995.

Longing and Belonging: From the Faraway Nearby, 4, 25, 144, 145, 182, 185. Santa Fe: Site Santa Fe, 1995.

Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova ’95, 223, 254, 255.  Padua: Il Poligrafo, 1995.

Klangskulpturen – Augenmusik: Grenzgange zwischen Musik und Plastik im 20. Jahrhundert, 88, 89.  Koblenz: Städtische Museen Koblenz, Ludwigmuseum im Deutschherrenhaus, 1995.

Intelligente Ambiente/Intelligent Ambience, unpaginated. Long Beach: Long Beach Museum of Art, 1995. Program notes.

3e biennale d’art cotemporain de lyon: installation, cinéma, vidéo, informatique, 22, 39, 42, 87, 172–175, 257, 435, 448, 449, 479, 522, 537. Paris: Réunion des Musées Nationaux, Biennale d’Art Contemporain, Paris, 1995.

Diserens, Corinne and Francis Gomila. Colisions: Arteluku, Donostia 14 Agosto – 16 Octobre 1995, 60–63.  San Sebastián: Diputación Foral de Gipuzkoa, 1996.  Also printed in Basque.

10ème festival video de Gentilly et du Val-de-Marne, 8. Gentilly: Son & Image de Gentilly, 1995. Program notes.

6e Semaine Internationale de Vidéo, unpaginated. Geneva: Saint-Gervais Genève, 1995. Program notes.

Carnegie International 1995, 26, 27, 94, 95, 200–202, 244. Pittsburgh: The Carnegie Museum of Art, 1995.

Mayer, Marc. Being and Time: The Emergence of Video Projection, 9, 11, 28–30, 42–49. Buffalo: Albright-Knox Art Gallery, 1996.

Klangkunst – Sonambiente festival für hören und sehen, 70, 71. Berlin: Akademie der Kunste, 1996.

De Rode Poort, 78, 79. Ghent: Museum Van Hedendaagse Kunst, 1996.

Hamburger Bahnhof / Museum für Gegenwart – Berlin, 110. Munich: Prestel-Museumfuhrer, 1996.

Die großen Sammlungen IV. Moderna Museet Stockholm zu Gast in Bonn, 320. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 1996.

FremdKörper – corps étranger – Foreign Body, 6, 16–19. Basel: Museum für Gegenwartskunst, Öffentliche Kunstsammlung Basel, 1996.

Printemps de Cahors 1996, 18, 19. Paris: Fragments, 1996. In French and English.

NowHere, vol. 1, 33, 47, 121; vol. 2, 55, 56. Humblebaek, Denmark: Louisana Museum for Modern Art, 1996.

14th World Wide Video Festival, unpaginated. The Hague: World Wide Video Festival, 1996. Program notes.

Wohl & Sein: Gemeinsame Ausstellung von Basler Museen und Institutionen, 44–47. Basel: Editiones Roche, 1996.

4e biennale d’art contemporain de lyon: l’autre, 114, 115, 207, 215. Lyon: Réunion des Musées Nationaux, 1997.

Pichler, Catherin, ed. Engel, Engel, 132–141, 260, 261, 343. Vienna: Kunsthalle Wien, 1997.

Città natura: mostra internazionale di arte contemporanea, 12, 18, 19, 37–41, 254. Roma: Fratelli Palombi Editori, 1997.

97 Kwangju Biennale: Unmapping the Earth, 64, 65, 90, 91, 449, 476.  Kwangju, Korea: Kwangju Biennale Press, 1997.

Water: The Renewable Metaphor,  5–7, 15, 24. Eugene: University of Oregon Museum of Art, 1997.

Surveying the First Decade: Video Art and Alternative Media in the United States, unpaginated. San Francisco: San Francisco Museum of Art, 1997. Program notes.

Amours, 110, 111. Paris: Fondation Cartier pour l’art contemporain, 1997.

Fonds départmental d’art contemporain de la Seine-Sainte-Denis, Acquisitions 1994 – 1997, 48, 49. Bobigny, France: Conseil Général de la Seine-Sainte-Denis, 1997.

Contemporary Art: The Collection of the ZKM Center for Art and Media, Karlsruhe, 11, 116, 117, 182, 296. Munich: Prestel, 1997.

Joachimides, Christos M. and Norman Rosenthal, eds. The Age of Modernism. Art in the 20th Century, cat. 327; 10, 603. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997.

Meg Stuart & Gary Hill. Damaged Goods. Splayed Mind Out work-in-progress, unpaginated. Brussels: Kaaitheaterstudio, 1997. Program notes.

Theaterskizzen. Documenta X, unpaginated. Kassel: Documenta, 1997. Program notes.

Octobre Marathon dance, 18–21. Rouen, France: La Conseil Général Seine-Maritime, 1997. Program notes.

Gary Hill & Meg Stuart Damaged Goods. Splayed Mind Out, unpaginated. Rotterdam: Rotterdamse Schouwburg Kleine Zaal, 1997. Program notes.

The Multimedia and Cultural Revolution, 130–135. Tokyo: NTT Intercommunication Center, 1997.

Conkelton, Sheryl.  Inside, unpaginated.  Seattle: Henry Art Gallery, University of Washington, 1997. Program notes.

Tuning up #5, unpaginated. Wolfsburg: Kunstmuseum Wolfsburg, 1998.

Phillips, Christopher. Voices = Voces = Voix, 10, 12, 20, 44–49, 158. Rotterdam: Center for Contemporary Art; Barcelona: Fundació Joan Miró; and Tourcoing: Le Fresnoy, Studio national des arts contemporain, 1998.

Crossings: Kunst zum Hören und Sehen, 166, 167. Vienna: Kunsthalle Wien, 1998.

Anos 80/The Eighties, cat. 101; 34, 42, 55, 126, 127, 144, 164. Lisbon: Culturgest, 1998.

Subjective presences: a choice from the collection of Fundacio “La Caixa.” Antwerp: MUKHA, Museum van Heedendagse Kunst, 1998.

Silent Treatment: Projecting Narrative, unpaginated. Aspen: Aspen Art Museum, 1998. Program notes.

Wiener Festwochen 1998, 20, 21. Vienna: Wiener Festwochen, 1998. Program notes.

Gary Hill, Meg Stuart/Damaged Goods. Splayed Mind Out, unpaginatedHelsinki: Kiasma, 1998. Program notes.

Memory Book. Personal Effects: The Collective Unconscious, 30, 31. Sydney: Museum of Contemporary Art, 1998.

Umedalen Skulptur 99, 12, 13, 24. Umeå, Sweden: Galleri Stefan Andersson, 1999.

With fire – Flying man: amerikanische Kunst 1959 – 1999 in Basel. Basel: Museum für Gegenwartskunst, 1999. Essays by Katharina Schmidt and Philip Ursprung.

Ramljak, Suzanne. Romancing the Brain, unpaginated. Pittsburgh: Pittsburgh Center for the Arts, 1999. Also published in Creative Nonfiction 13 (1999).

Rinder, Lawrence, ed. Searchlight: Consciousness of the Millennium, 2, 42, 43, 62, 64–72, 191. San Francisco: California College of Arts and Crafts, 1999.

Re-Structure, unpaginated. Grinnell, Iowa: Grinnell College Art Gallery, 1999.

Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art, 46–47, 120–127, 171, 172, 178. San Francisco:  San Francisco Museum of Modern Art, 1999.

Kunstmuseum Wolfsburg Gesammelte Werke 1 Zeitgenössische Kunst seit 1968, 15, 218–225.  Wolfsburg: Kunstmuseum Wolfsburg, 1999.

Rewind to the Future, 24, 78–81, 161, 182–183, 200. Bonn: Bonner Kunstverein, 1999. In German with English translations.

Making Time: Considering Time as a Material in Contemporary Video & Film, 56–57, 84, 91. Lake Worth, Florida: Palm Beach Institute of Contemporary Art, 2000.

Biennale of Sydney 2000, 12, 13, 64–65, 142–143, 211. Sydney: Biennale of Sydney Ltd., 2000.

Gamwell, Lynn, ed. Dreams 1900 – 2000: Science, Art, and the Unconscious Mind, 49, 50, 112, 240. Ithaca: Cornell University Press; Binghamton: Binghamton University Art Museum, State University of New York, 2000.

Duve, Thierry de. Voici, 100 ans d’art contemporain, 200–201, 298. Bruxelles/Brussel 2000 and Gand-Amsterdam: Ludion, 2000.

vision.ruhr, 180–185, 215. Dortmund: Museen der Stadt / Hatje Cantz Verlag, 2000.

media_city seoul 2000, 16, 36–37, 84–85, 381. Seoul: media_city seoul 2000 Organizing Committee, 2000.

The 46th Biennial Exhibition: Media/Metaphor. Washington, D.C.: The Corcoran Gallery of Art, 2001.

Between Cinema and a Hard Place, unpaginated. London: Tate Modern, 2000.

Beil, Ralf, ed. Black Box. Der Schwarzraum im der Kunst. Bern: Kunstmuseum Bern / Hatje Cantz Verlag, 2001.

Romano, Gianni.  Media Connection, 17, 34, 36–37, 41, 43, 44, 72. Milan: Libri Scheiwiller, 2001.

49. Esposizione Internazionale d’Arte, La Biennale di Venezia, .vol. 1., xxiv, 90–91, 340–341, 401, 415. Venezia:  La Biennale di Venezia, 2001.

Space Odysseys: Sensation and Immersion, 14, 30–37, 69, 78. Sydney: Art Gallery of New South Wales, 2001.

Iles, Chrissie. Into the Light. The Projected Image in American Art 1964 – 1977, 17, 60–61, 142– 143, 166–167, 181. New York: Whitney Museum of American Art, 2001.

13 Festival Internacional de Arte Eletrônica / Videobrasil,  76–123. São Paulo:  Associação Cultural Videobrasil, 2001.

Duve, Thierry de. Look, 100 Years of Contemporary Art, 208–209. Ghent-Amsterdam:  Ludion, 2001.

Grenville, Bruce, ed. The Uncanny: Experiments in Cyborg Culture, 36–37, 204–205, 274. Vancouver: Vancouver Art Gallery, 2001.

Von Zeipel, Agneta. Visitors, unpaginated. Uddevalla:  Konsthallen Bohusläns, 2002.

Maquis, 4–5, 34–39, 52–53, 56. Paris: Le Plateau / FRAC Île-de-France and Brussels: La Lettre Volée, 2002.

Ommegang Circumflexion, unpaginated. Brussels: Phidias, 2002.

Plus qu’une image, 24. Paris: Délégation aux arts plastiques et du Centre national des arts plastiques. Program notes.

Aubes, rêveries au bord de Victor Hugo, 12, 17, 73–74, 93. Paris: Paris-Musées and Maison de Victor Hugo, 2002.

Sans Commune Mesure: Image et texte dans l’art actuel, 23, 43–47, 58, 60, 91, 150–151, 175–176. Paris: Éditions Léo Scheer, 2002.

Lateral Thinking: Art of the 1990’s, 2–3, 17, 62–63. San Diego: Museum of Contemporary Art, 2002.

Wimmer, Elga. Sahte / Gerçek [Faux/Real], 2–5, 6–7. Istabul: Borusan Kültür ve Sanat Merkezi, 2002.

Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art, 4–5, 7–14, 22–37, 46–50.  Sydney: National Gallery of Australia, 2002. Texts by Jörg Zutter, George Quasha and Lynne Cooke.  Expanded and revised version of Quasha’s text reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings, 329–351. Barcelona: Ediciones Polígrafa, 2009.

Les Cahiers du FNAC #1: Multiples objets de désir, unpaginated. Puteaux: Fonds national d’art contemporain, 2002.

Kroksnes, Andrea. Body Matters, 22–23. Oslo: The National Museum of Contemporary Art, 2003.

Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, 10, 157–173. Long Island City: P.S. 1 Contemporary Art Center, 2003.

Yanomami: l’esprit de la forêt, 14, 128–133, 196. Paris:  Fondation Cartier pour l’art contemporain, 2003.

Shaw, Jeffrey and Peter Weibel, eds. Future Cinema: The Cinematic Imaginary after Film, 304–311, 608, 622. Karlsruhe: ZKM and Cambridge: MIT Press, 2003.

Goetz, Ingvild and Stephan Urbaschek. Fast Forward: Media Art Sammlung Goetz, 17, 35, 200–201, 447, 479–480. Munich: Sammlung Goetz, 2003.

Joachimides, Christos M., ed. OUTLOOK, 166–169, 348–349, 366. Athens: Hellenic Culture Organizations, 2003.

Perspectives @ 25: A Quarter Century of New Art in Houston, 67, 129, 169, 183, 192. Houston:  Contemporary Arts Museum, 2004.

Sons et Lumières, Une Histoire du son dans l’art du XXe Siècle, 244–247. Paris: Éditions du Centre Pompidou, 2004.

Les enfants terribles: The Language of Childhood in Art 1909 – 2004, 218–219, 233, 265. Lugano: Museo Cantonale d’Arte, 2004.

Kafetsi, Anna. Transcultures, 20, 118–123, 146–148, 150. Athens: EMST / The National Museum of Contemporary Art, 2004.

Contrepoint: L’Art contemporain au Louvre, 18–19. Paris: Connaissance des Arts, 2004.

Panorama 5: “jamais vu,” 56 – 57.  Tourcoing: Le Fresnoy, Studio national des arts contemporains, 2004.

Brown, Elizabeth. WOW: The Work of the Work, 10, 13, 14, 54, 56, 58, 60. Seattle: Henry Art Gallery, University of Washington, 2005.

Logical Conclusions: 40 Years of Rule-Based Art, 134–135. New York: Pace Wildenstein, 2005.

Praying for Silence, unpaginated. Ludwigsburg: Kunstverein Ludwigsburg, 2005. Brochure.

Bilanz in zwei Akten, 10, 11, 62–63, 197, 263. Hannover: Niedersachsische Sparkassenstiftung Hannover, 2005.

Guardami: Percezione del video, 62–63, 80–81, 112–113, 167–168. Siena: Palazzo delle Papesse Centro Arte Contemporanea, 2005.

Tiempos de Vídeo. 1965 – 2005. Colección nouveaux médias del Centre Pompidou con la participación de la colección de Arte Contemporaneo Fundacion “la Caixa,” 15, 16, 20, 23, 33, 35, 36, 40, 41, 88–91, 92–93, 181. Barcelona: Fundación “la Caixa,” 2005. In Spanish. Texts by Jacinto Lageira.

Kold, Anders. “Viewing Viewer.” In Sip My Ocean: Video from the Louisiana Collection, 40–45. Humlebaek: Louisiana Museum of Modern Art, 2006.

Arts: Le Havre 2006: Biennale d’art Contemporain, 66–67. Gand: Éditions Snoeck, 2006.

Beyond Cinema: The Art of Projection: Films, Videos and Installations from 1963 to 2005, 102–103, 110–113. Berlin: Staatliche Museen zu Berlin, Hamburger Bahnhof, 2006.

Vergine, Lea. D’Ombra, 30, 49, 60, 118, 147–149. Milan: Silvana Editorale Spa, 2006.

Instalaciones y Nuevos Medios en la Colección del IVAM: espacio, tiempo, espectador, 194–197, 292. Valencià: IVAM Institut Valencia d’Art Modern, 2006. In English and Spanish.

Primera generación: Arte e imagen en movimiento [1963 – 1986], 228–233, 369–370, 404–405. Madrid: Museo Nacional Centro de Arte Reina Sofia, 2006.  In Spanish.

18: Beckett, 18–19, 27, 65–66, 75. Mississauga: Blackwood Gallery University of Toronto at Mississauga, 2006.

Dieux Modes d’Emploi, 16, 137–138. Brussels: Tempora and Musee de l’Europe, 2006. Educational text.

Wrestle: Marieluise Hessel Collection, 71, 137, 212–213, 217. Annandale-on-Hudson: Center for Curatorial Studies, Bard College, Hessel Museum of Art, 2006.

Loock, Ulrich, ed. The 80s: A Topology, 48, 330–331, 339, 347, 359, 385, 397, 409. Porto: Museu de Arte Contemporânea de Serralves, 2007.

Sobre la Historia / On History, 16, 66–71. Madrid: Fundación Santander Central Hispano, 2007. In English and Spanish.

Schmerz, 19, 302. Berlin: DuMont and Nationalgalerie im Hamburger Bahnhof, 2007.

2 Moscow Biennale of Contemporary Art: Footnotes on Geopolitics, Market and Amnesia, 40– 41, 217. Moscow: Moscow Biennale Art Foundation, 2007.

Michel, Régis. L’oeil – écran ou la nouvelle image: 100 vidéos pour repenser le monde, cover, 120–122, 424. Luxembourg: Casino Luxembourg – Forum d’art contemporain, 2007.

RAUM. Orte der Kunst, 294–295, 375. Berlin: Akademie der Künste, 2007.

Surréalites: Aspekte des Surrealen in der Zeitgenössischen Kunst, 68–69. Biel:  CentrePasquArt, Verlag für moderne Kunst Nürnberg, 2007. In German and French.

Passage du Temps. Une sélection d’oeuvres autour de l’image Collection François Pinault Foundation, 31, 146–149. Milan: Skira Editore S.p.A., 2007.

Meigh-Andrews, Chris and Aneta Krzemien, eds. Digital Aesthetic 2, 8, 42–43. Preston:  Electronic and Digital Art Unit (EDAU), University of Central Lancashire, 2008.

The Cinema Effect: Illusion, Reality, and the Moving Image, 64–65, 67, 164, 167. Washington, DC:  Hirshhorn Museum and Sculpture Garden / Giles, 2008.

Mouth Open Teeth Showing: Works from the True Collection, 10, 30–31, 43. Seattle: The Henry Gallery Association, 2008.

Hu, Sean C.S. Wandering – Art Taipei 2008 Year Project – Art & Tech, 11–12, 35–40, 59. Taiwan: Council for Culture Affairs and Art Gallery Association R.O.C., 2008.

See This Sound. Versprechungen von Bild und Ton / Promises in Sound and Vision, 233. Linz: Lentos Kunstmuseum, 2009.

Flight Dreams, 40. Halifax: Art Gallery of Nova Scotia, 2009.

CUE: Artists’ Videos, 2, 40. Vancouver: Vancouver Art Gallery, 2010.  Online here.

Kopsa, Maxine. Paying a Visit to Mary: 2008 Hall Curatorial Fellowship Exhibition, unpaginated. Ridgefield: The Aldrich Contemporary Art Museum, 2010. Brochure.

Falemos de casas: Quando a arte fala arquitectura / Let’s Talk About Houses: When Art Speaks Architecture, 68–73.  Lisbon: Athena / Museu do Chiado, 2010. In Portuguese and English.

TV / ARTS / TV: La televisión tomada por los artistas, 9, 19, 20, 74–77. Barcelona: Arts Santa Mònica, 2010. In Spanish.

Unspoken Dialogues, 52–57. Lisbon: Galeria Millennium, 2017.  In Portuguese and English.