bibliography

 

WRITINGS BY THE ARTIST
MONOGRAPHS
SELECTED INTERVIEWS
SOLO EXHIBITION CATALOGUES and PROGRAM NOTES
GROUP EXHIBITION, COLLECTIONS, and MUSEUM CATALOGUES/BROCHURES
BOOKS and GENERAL REFERENCES
ARTICLES and REVIEWS
DVDs / CD-ROMs, LASERDISCS, and VIDEOTAPES
OTHER PROJECTS

 

WRITINGS BY THE ARTIST

Arranged chronologically.

Excerpt of the transcription of the spoken text from Around & About, 1980. Installation: Video. Buffalo, New York: Hallwalls Contemporary Arts Center, 1980, unpaginated.

Various statements and text excerpts from Processual Video, 1980;  Videograms, 1980 – 81; Black/White/Text, 1980; Equal Time, 1979; Picture Story, 1979; and Soundings, 1979. “Processual Video.” Video Viewpoints. Program notes. New York: Museum of Modern Art, February 1980, unpaginated.

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

Description of Videograms, 1980 – 81. Themes in Electronic Image Processing. New York: The Kitchen Center for Music, Video and Dance, December 1981, unpaginated.

Judge’s statement. The 8th Annual Ithaca Video Festival. Ithaca, New York: Ithaca Video Projects, 1982, unpaginated.

Description of Primarily Speaking, 1981 – 83. Gary Hill: Primarily Speaking, 1981-83. The New American Filmmakers Series 12. Program notes. New York: Whitney Museum of American Art, 1983, unpaginated. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 280 – 281, and in Italian in Gary Hill:  Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 109.

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

Transcriptions of the spoken texts from Around & About, 1980 and Processual Video, 1980, and the spoken and written text from Happenstance (part one of many parts), 1982 – 83. Oeuvres vidéo de Gary Hill en sa présence. Center for Media Art. Program notes. Paris: American Center, 1983, unpaginated.

Description of It’s Time to Turn the Record Over (CRUX, 1983 – 87). Video Installation 1983. Published as a special supplement to Afterimage, 1983, unpaginated.

Essay. “Notes on URA ARU: A Work in Progress.” Gary Hill/Steven Kolpan Video Works. Woodstock, New York. Program notes, 1985, unpaginated.

Essay. “URA ARU: The Acoustic Palindrome.” Video Guide, Vancouver  7, 4, 34 (1985), pp. 10, 11. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 282 – 286, and in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 110 – 114.

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

Statement and transcription of the spoken and written text of Happenstance (part one of many parts), 1982 – 83. “Happenstance (explaining it to death).” Video d’artistes. Geneva: Bel Veder, 1986, unpaginated. Transcription of work reprinted in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 107 – 108.

Transcription of the spoken text of Processual Video, 1980. 2nd International Week of Video. Geneva: St. Gervais, 1987, pp. 33 – 35.

Transcription of spoken text of Primarily Speaking, 1981 – 83. “Primarily Speaking.” Video Communications, Paris, No. 48 (1988). Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 271 – 279, and in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 99 – 106.

Paragraph and photograph in Willard Wood’s “Reordering the Hierarchy,” Reflex (May/June 1988).

Essay. “And if the Right Hand Did not Know What the Left Hand is Doing.” Illuminating Video, eds. Doug Hall and Sally Jo Fifer. New York: Aperture Press in association with the Bay Area Video Coalition, 1990, pp. 91 – 99. Reprinted in German in Noëma Art Journal 49 (October-November 1998), pp. 83 – 89, and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 533 – 539.

Essay. “BEACON (Two Versions of the Imaginary).” Energieen. Amsterdam: Stedelijk Museum, 1990. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 287 – 289; in Italian in Gary Hill: Scritti / Interviste. Milan:  Mondadori Electa S.p.A., 2005, pp. 117 – 119; and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 540 – 541.

Transcription of the spoken and written text. “BEACON (Two Versions of the Imaginary).” Bienal de la Imagen en Movimiento ’90. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990, pp. 180, 181.

Description of Inasmuch As It Is Always Already Taking Place, 1990. “Inasmuch As It Is Always Already Taking Place.” OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, p. 27.

Essay and transcription of the spoken text of Site Recite (a prologue). “Site Re:cite” Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 125 – 137. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 299 – 307, and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 556 – 559.

Description of Split Time Mystery, 1991. “Split Time Mystery.” Topographie II: Untergrund, Videoinstallations in the Vienna Subway System. Vienna: Wiener Festwochen, 1991, pp. 82, 84.

Responses to a series of questions. Vidéochroniques, Vielle Charité, Marseille 1 (September 1991), unpaginated.

Description of Between Cinema and a Hard Place, 1991. The 2nd International Biennale in Nagoya ARTEC ‘91. Nagoya, Japan: Nagoya City Art Museum, 1991, pp. 30 – 33.

Transcription of written text of CORE SERIES “Leaves,” 1991. Gary Hill – I Believe It Is an Image. Tokyo: Watari Museum of Contemporary Art, 1992, unpaginated.

Description of Between Cinema and a Hard Place, 1991. Dance! Program notes. Riverside, California: California Museum of Photography, 1992, pp. 3, 4.

Preface. “Surfing the Medium.” Chimaera Monographe No. 10 (Gary Hill).  Montbéliard: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 7 – 10. Reprinted in Italian in Gary Hill: Scritti / Interviste. Milan:  Mondadori Electa S.p.A., 2005, pp. 129 – 132, and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 560 – 562.

“Entre-vue.” Gary Hill. Paris: Musée national d’art moderne, Centre Georges Pompidou, 1992, pp. 8-13. In French. Reprinted in English (with Dutch and German translations) in Gary Hill. Amsterdam: Stedelijk Museum and Vienna: Kunsthalle Wien, 1993, pp. 13-17; in Spanish (with English translations) in Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 12-17; in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 290 – 298; in Spanish in Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 15 – 18; and in Italian in: Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 120 – 128.

Excerpts from “Inter-view.” ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, pp. 45 – 47.

“Entre 1 & 0.” Gary Hill. Paris: Musée national d’art moderne, Centre Georges Pompidou, 1992, pp. 74-76. In French. Reprinted in English (with Dutch and German translations) in Gary Hill. Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993, pp. 37-39; in Spanish (with English translations) in Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 78-80; in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 133 – 137, and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 542 – 545.

Interview and spoken text of If Two People, 1993. Das 21. Jahrhundert – Mit Paracelsus in die Zukunft. Basel: Kunsthalle Basel, 1993, pp. 84 – 87.

Description of BEACON (Two Versions of the Imaginary), 1990. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, p. 24, 25.

Transcription of the spoken text of Withershins, 1995. Colisiones: Arteluku, Donostia 14 Augosto – 16 Octobre 1995. San Sebastián: Diputación Foral de Gipuzkoa, 1995, pp. 60 – 63.

Response to the question “What is ‘Utopia’ to you?” Intercommunication 21 (Summer 1997), p. 173.

“The Electronic Gallery.”  The New York Times Magazine (Special Technology Issue), September 28, 1997, section 6, p. 93.

Transcriptions of texts from Splayed Mind Out, 1997. Gary Hill, Meg Stuart/Damaged Goods. Splayed Mind Out. Program notes. Helsinki: Kiasma, 1998, unpaginated.

“Void Still Life.” (non-textual poster design contribution) Any Magazine, No. 27 (2000), pp. 27.7B.

Withershins 1995 in Gary Hill: Around & About: A Performative View. Paris:  Éditions du Regard, 2001.

Gary Hill: Withershins. Raddle Moon 20, Canada (January 2003), pp. 5 – 31, 119 – 120 (front/back cover).

Transcriptions of the spoken texts in Soundings, 1979; Site Recite (a prologue), 1989; Reflex Chamber, 1996; and Impressions d’Afrique, 2003. Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 96 – 98; 138 – 139; 140 – 143. In Italian.

“Gary Hill: Primarily Speaking,” Infra-Mince: revue de photographie, 5. Arles: Cahiers de l’Ecole nationale supérieure de la photographie, 2009, pp. 133 – 143.

Essay. “Over Varèse 360°.” Varèse 360°. Amsterdam: Holland Festival, 2009, pp. 76 – 79, 124 – 127, 169 – 172. In Dutch, English and French. Revised version reprinted as “À propos de Varese 360°” in Edgard Varèse / Gary Hill: Edgard Varèse 360°. Paris: Salle Pleyel, 2009, pp. 8 – 10. In French.

Transcriptions of the spoken texts in 23:59:59:29 – The Storyteller’s Room, 1998; Around & About, 1980; Cut Pipe, 1992; Equal Time, 1982; Goats and Sheep, 1995/2001 and Twofold (Goats and Sheep), 1995/2002; House of Cards, 1992; Impressions d’Afrique, 2003; Midnight Crossing, 1997; Primarily Speaking, 1981 – 83; Processual Video, 1980; Reflex Chamber, 1996; Videograms, 1980 – 81; and Wall Piece, 2000. Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 54 – 55, 76 – 77, 108 – 109, 293, 354 – 355, 403, 408, 412 – 415, 419, 531 – 532, 546 – 548, 549 – 555, 563 – 565.

Transcriptions of the spoken texts in Around & About, 1980; Happenstance (part one of many parts), 1982 – 83; Mediations (towards a remake of Soundings), 1979/1986; Site Recite (a prologue), 1989, and Wall Piece, 2000. Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 32 – 33, 38 – 39, 46 – 47, 56 – 57, 64 – 65, 70 – 71, 74 – 75.

Description of Sanctuary for Reverse Engineering [R.E.S.], 2013. Gary Hill. Toulouse, France: Les Abattoirs | Museum of Modern and Contemporary Art, pp. 20–21.

“Gary Hill,” Lines from the League (Spring 2014). New York: The Art Students League of New York, 2014, p. 29.

MONOGRAPHS

Arranged chronologically.

Gilbert, Christophe. Maurice Blanchot/Gary Hill: d’une Ecriture l’Autre (et Son Double). Paris: DEA Université Paris-III, 1992. In French.

Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard: Centre International de Création Vidéo Montbéliard, Belfort, 1992. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 62 – 90, 206 – 223, and in Italian in Gary Hill:  Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 8 – 25.

Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000. Introductory text by Robert C. Morgan; reprinted texts by Gary Hill and Raymond Bellour, Lynne Cooke, Regina Cornwell, Jacques Derrida, Corinne Diserens, Lucinda Furlong, John C. Hanhardt, Jacinto Lageira, Louis-Jose Lestocart, Heinz Liesbrock, Barbara London, Arlindo Machado, Robert Mittenthal, George Quasha, Stephen Sarrazin, Charles Stein, Christine van Assche, and Willem van Weelden.

Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001. Boxed edition containing a DVD compilation by Gary Hill (entitled Performative Images and containing video excerpts from videotapes, installations and performances) and three booklets: Gary Hill, Withershins 1995; Jacinto Lageira, Des premiers mots aux derniers silences (in French); and George Quasha and Charles Stein, La performance elle-même, including “Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein” and “How Great It’s Going to Be: Liminal Performance 2: Gary Hill, George Quasha and Charles Stein in Conversation” (in French with English translations).

Gary Hill: Around & About: A Performative View. Limited Edition. Paris:  Éditions du Regard, 2001 (Edition of 100, plus 20 artist’s proofs; signed and numbered). Boxed edition containing Performative Images DVD by Gary Hill; texts by Gary Hill, Jacinto Lageira, George Quasha and Charles Stein, plus an additional DVD by Gary Hill entitled Goats and Sheep and poster designed by Gary Hill.

Broeker, Holger, ed. Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002. Texts by Gottfried Boehm, Chrissie Iles and Heinz Liesbrock. [Essay by Chrissie Iles reprinted in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 144 – 159.]

Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. Porto: Mimesis, 2003. In Portuguese, Spanish and English.

Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005. In Italian. Reprinted texts by Gary Hill and Hans Belting, Regina Cornwell, Jacques Derrida, Chrissie Iles, Louis-José Lestocart, George Quasha, Stephen Sarrazin, Charles Stein, and Christine Van Assche.

Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007. In French.

Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009. Foreword by Lynne Cooke.

An Art of Limina: Gary Hill’s Works and Writings + Figuring Grounds. Collector’s Edition. Barcelona: Ediciones Polígrafa, 2009 (Edition of 150, plus 15 artist’s proofs; signed and numbered). Boxed edition containing An Art of Limina: Gary Hill’s Works and Writings by George Quasha and Charles Stein and DVD by Gary Hill in collaboration with George Quasha and Charles Stein entitled Figuring Grounds, 1985/2008.

SELECTED INTERVIEWS

Arranged chronologically.

Furlong, Lucinda. “A Manner of Speaking: An Interview with Gary Hill.” Afterimage 10, 8 (March 1983), pp. 9 – 16. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 181 – 205.

Van Assche, Christine. “Gary Hill: The Imager of Disaster. Interview with Gary Hill.” Galeries Magazine (December 1990/January 1991), pp. 77, 140, 141.

Cornwell, Regina. “Gary Hill Interview.” Art Monthly 170 (October 1993), pp. 3 – 11. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 224 – 231, and in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 26 – 33.

Van Assche, Christine. “Six Questions to Gary Hill.” Parachute 84 (October, November, December 1996), pp. 42 – 45. Reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 240 – 242, and in Italian in Gary Hill: Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 42 – 43.

Do, Willo. “Overseas Artist: Interview with Gary Hill.” Space, Japan (April 1997), pp. 82 – 85.

“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), pp. 1- 25. Reprinted in Spanish in Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 28 – 40; in Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 33 – 53; in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 243 – 268; in Italian in Gary Hill:  Scritti / Interviste. Milan: Mondadori Electa S.p.A., 2005, pp. 44 – 67; and revised version reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 457 – 489.

Marclay, Christian and Gary Hill. “Christian Marclay / Gary Hill:  Conversation,” Annandale (Bard College), Vol. 139, No. 1 (Spring 2000), pp. 2 – 9.

“How Great It’s Going to Be: Liminal Performance 2: Gary Hill, George Quasha and Charles Stein in Conversation.” Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001. Revised version reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 493 – 528.

De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS, MAC’s Grand-Hornu (Spring 2003), pp. 142 – 153.

Daniel, Noel, ed. Broken Screen: 26 Conversations with Doug Aitken: Expanding the Image, Breaking the Narrative. New York: D.A.P./Distributed Art Publishers, 2006, pp. 154 – 161.

“Theodore Zeldin: Dialogue with Gary Hill.” Gary Hill / Gerry Judah. Paris: Somogy Publishers / LTB Holding, Ltd., 2007, pp. 8 – 17.

Gagnon, Jean. “Gary Hill à la recherche de la perte technologique / An Interview with Gary Hill.” artpress 2: Arts Technologiques – Conservation et Restauration (February/March/April 2009), pp. 10 – 21. In French and English.

Copeland, Colette. “Rooted in the Experiential: A Conversation with Gary Hill.”  Afterimage, 37, 3 (November/December 2009), pp. 19 – 22.

Kulik, Irina. “Gary Hill: I don’t work didactically most of the time – I’m looking for holes in the logic.” Gary Hill: Viewer. Moscow: GMG Gallery, 2010. In Russian and English. Reprinted in Russian in Artchronika (June 2010), pp. 54 – 61.

SOLO EXHIBITION CATALOGUES and PROGRAM NOTES

Arranged chronologically.

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

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

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

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

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

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

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

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. Texts by Lynne Cooke, Jacinto Lageira (reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 27 – 55), and Hippolyte Massardier. Translations by Alexia Walker.

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

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, California: Long Beach Museum of Art, 1993.  Texts by Harold B. Nelson, Carole Ann Klonarides, Steven Kolpan, George Quasha, and Raymond Bellour (reprinted in Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 91 – 95).

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 (reprinted in Robert C. Morgan’s Gary Hill. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000, pp. 56 – 61), Bruce W. Ferguson, and Stuart Morgan.

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

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

Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: 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. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995.  (In German: 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. [Essay by Hans Belting reprinted in Italian: Gary Hill: Scritti / Interviste. Milan:  Mondadori Electa S.p.A., 2005, pp. 160 – 177.]

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

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 Robert C. Morgan’s Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 122 – 134, and in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 209 – 233.

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

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

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 Robert C. Morgan’s Gary Hill. Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000, pp. 149 – 157, 158 – 167).

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

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. Barcelona: Ediciones Polígrafa, 2009, pp. 295 – 315).

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. Program notes.  New York: The Kitchen, 1998, unpaginated.

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

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

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. Barcelona: Ediciones Polígrafa, 2009, pp. 317 – 325.

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

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

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. Program notes. Hong Kong: Videotage, 2001.

Gary Hill: The Performative Image. Tokyo: Gary Hill Exhibition Committee, 2001, unpaginated. 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, NY: further/art and Boise: Boise Art Museum, 2002. Revised version of this text reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 353 – 371.

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. (Catalogue and DVD) 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.

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, COLLECTIONS, and MUSEUM CATALOGUES/BROCHURES

Arranged chronologically.

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

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

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

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

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

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

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

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

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

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

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

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

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

Video 80. Program notes. Published as an insert in Video Networks, San Francisco 4, 3 (October 1980), pp. 5 – 7.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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. San Sebastian: Departament de Cultura de la Generalitat de Catalunya, 1983, unpaginated.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 32 – 35, 43, 44, 63 – 69, 83 – 85, 98 – 101.

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

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

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

Goodman, Cynthia. Digital Visions: Computers and Art. New York: Harry N. Abrams, 1987, p. 171.  (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. Boston: Institute of Contemporary Art, 1987, unpaginated.

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

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

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

Documenta 8. 3 volumes. Kassel: Documenta, 1987, vol. 2, p. 317.

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

MultiMediale Karlsruhe 30.10 – 4.11.1989; veranst. vom Zentrum für Kunst- und Medientechnologie, Karlsruhe, 1989.

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

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

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

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

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

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. San Francisco: San Francisco Museum of Modern Art, 1989, unpaginated.

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

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

Delicate Technology: Japan ’89 Video Television Festival at Spiral. 2 Volumes.  Tokyo: Treville, 1989, pp. 106 – 114, 116.

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

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

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

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

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

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

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

Passages de l’image. Paris: Musée national d’art moderne, Centre Georges Pompidou, 1990, pp. 28, 51 – 55, 71, 73 – 76, 130, 158 – 161, 191.   (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, pp. 39, 41, 69, 71, 73, 97, 99, 101, 141, 145, 174 – 179, 223.) [Essay by Jacques Derrida reprinted in Italian in Gary Hill:  Scritti / Interviste. Milan:  Mondadori Electa S.p.A., 2005, pp. 178 – 183.]

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

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

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

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

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

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

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

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. Paris: Galerie du Génie, 1990, pp. 7, 16, 17, 47.

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

Energieen. Amsterdam: Stedelijk Museum, 1990.

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

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. Tacoma, Washington: Tacoma Art Museum, 1991, pp. 34, 35, 64.

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

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

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

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

In Public:1991 Artists from Seattle. Documents Northwest. Seattle, Washington: Seattle Art Museum, 1991, unpaginated.

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

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

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

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

Documenta IX. 3 volumes. Stuttgart: Edition Cantz; New York: H. N. Abrams, 1992, vol. 1, p. 157; vol. 2, pp. 222 – 225, 308.

L’Era binaire: nouvelles interactions. Bruxelles: Musée d’Ixtelles, 1992. (In German: Bianera: 14 Interaktionen – Kunst und Technologie. Vienna: Kunsthalle Wien, 1992, pp. 15, 45.)

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. Seattle, Washington: Seattle Arts Commission, 1992, pp. 13, 22, 42, 63.

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

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

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

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

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

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.  Munich: Prestel -Verlag, 1993, pp. 160, 161, 480, 481, Cat. 247. (In German: Amerikanische Kunst im 20. Jahrhundert: Malerei und Plastik 1913 – 1993.  Berlin: Martin-Gropius-Bau, 1993, pp. 160, 161, 480, 481, Cat. 247.)

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

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

Binaera:14 Interaktionen – Kunst und Technologie. Ghent: Ludion; Vienna: Kunsthalle Wien, 1993, pp. 15, 45 and unpaginated.

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

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

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

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

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

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

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

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

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

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

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

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

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

Longing and Belonging: From the Faraway Nearby. Santa Fe, New Mexico: Site Santa Fe, 1995, pp. 24, 25, 144, 145, 182, 185.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NowHere. 3 volumes. Humblebaek, Denmark: Louisana Museum for Modern Art, 1996, vol. 1: pp. 33, 47, 121; vol. 2: 55, 56.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anos 80/The Eighties. Lisbon: Culturgest, 1998, cat. no. 101, pp. 34, 42, 55, 126, 127, 144, 164.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 46th Biennial Exhibition: Media/Metaphor. Washington, D.C.: The Corcoran Gallery of Art, 2001, www.corcoran.org/biennial (on-line catalogue).

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

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

Fine Arts 2001: American Academy in Rome. Rome: American Academy in Rome, 2001.

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

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

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

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

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

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

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

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

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

Ommegang Circumflexion. Brussels: Phidias, 2002, unpaginated.

Plus qu’une image. Video program. Paris: Délégation aux arts plastiques et du Centre national des arts plastiques,  p. 24.

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

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

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

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

Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art.  Sydney: National Gallery of Australia, 2002, pp. 4 – 5, 7 – 14, 22 – 37, 46 – 50.  Texts by Jörg Zutter, George Quasha (“Gary Hill’s Art of the Threshold”) 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. Barcelona: Ediciones Polígrafa, 2009, pp. 329 – 351.

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

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

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

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

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

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

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

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

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

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

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

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

Developing the Collection: Acquisitions 2001-2004. Edited by Alistair McGhie. Canberra: The National Gallery of Australia, 2004, p. 64.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CUE: Artists’ Videos. Vancouver: Vancouver Art Gallery, 2010, pp. 2, 40 [on-line catalogue: http://issuu.com/vancouverartgallery/docs/cue_final?viewMode=magazine&mode=embed].

TV/Arts/TV: The Television Shot by Artists. Edited by Alberto Anaut. Barcelona & Madrid: Arts Santa Mònica/La Fábrica, 2010, pp. 9, 19, 20, 74 – 77. Published in conjunction with the exhibition of the same name, shown at Arts Santa Mònica, Barcelona.

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

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

Woodruff, Cate. “Living Here,” KTD Monastery, Woodstock, NY; Exhibiton Brochure, 2011, cover, pp. 22, 23

AGO: Highlights from the Collection of the Art Gallery of Ontario. Edited by Jim Shedden. Toronto: Art Gallery of Ontario, 2013, p. 314.

Gary Hill & Allan Packer: Sanctuary for Reverse Engineering [R.E.S]. Exhibition Brochure. Toulouse: Les Abattoirs | Museum of Modern and Contemporary Art, 2013.
30 Ans: Fondation Carter pour l’art contemporain, vol. 1. Fondation Cartier pour l’art contemporain, 2014, pp. 232, 238.

30 Ans: Fondation Carter pour l’art contemporain, vol. 2. Fondation Cartier pour l’art contemporain, 2014, pp. 217, 234–235, 242–246, 274.

The Collection of the Emanuel Hoffmann Foundation. Edited by Isabel Friedli and Heidi Naef, with Jasmin Sumpf, Martina Venanzoni, and Anna Francke. Basel: Laurenz Foundation, 2015, pp. 510–511.

Komm Und Sieh / Come And See. Edited by Damian Harrison. Ostfildern: Hatje Cantz Verlag, 2015, pp. 61–65. Published in conjunction with the exhibition of the same name, shown at Weserburg, Museum Für Moderne Kunst, Bremen, Germany.

Haroon Mirza/hrm199 Ltd. Edited by Catherine J. Hermes. Basel: Museum Tinguely, 2015, pp. 7, 294–295, 300–301. Published in conjunction with the exhibition of the same name, shown at Museum Tinguely, Basel, Switzerland.

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

Punto De Partida: Colección Isabel y Agustín Coppel.  Madrid: Fundacion Banco Santander, Madrid: TF Editores, 2017, p. 112.

BOOKS and GENERAL REFERENCES

Arranged chronologically.

Kelly, Joanne, ed. Video Free America Presents. San Francisco: Video Free America, 1978. Text by Fiske Smith, p. 37.

A Report on the Television Laboratory at WNET/Thirteen: 1972 – 1978. New York: The Television Laboratory at WNET/Thirteen, 1979, pp. 24, 25.

Town, Elke, ed. Video by Artists 2. Toronto: Art Metropole, 1986, pp. 52, 53.

Fifer, Sally Jo and Doug Hall, eds. Illuminating Video. New York: Aperture Press in association with the Bay Area Video Coalition, 1990, pp. 91-99.

Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 16, 77.

Aanwinsten/Acquisitions 1989 – 1993. A Selection. Eindhoven: Stedelijk Van Abbemuseum, 1993, pp. 36 – 39.

Awards 1994 for outstanding contributions to the visual arts. London: National Art Collections Fund, 1994, unpaginated.

Colisiones: Arteluku, Donostia 14 Augosto – 16 Octobre 1995. San Sebastián: Diputación Foral de Gipuzkoa, 1995, pp. 60 – 63.

Belting, Hans. Das Ende der Kunstgeschichte. Eine Revision nach nehn Jahren. Munich: Verlag C. H. Beck, 1995, pp. 19, 94, 95, 99 – 103, 111, ills. 23 a-d.

Valentini, Valentina. Video d’autore 1986 – 1995. Rome: Gangemi editore, 1995, p. 270.

Nagy, Pál. Az irodalom úm mufajai. Budapest: Magyar Muhely, 1995, pp. 330, 332, 333, 350 – 352, 360.

Brockhaus Enzyklopädie, Bd. 30. Mannheim: Bibliographisches Institut and FA Brockhaus AG, 1996, p. 344.

The Dictionary of Art. London: MacMillan Publishers, 1996.

The 20th Century Art Book. London: Phaidon Press, 1996, p. 202.

Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media, Prentice Hall College Division, 1996.

Le Thorel – Daviot, Pascale. Petit Dictionaire des Artistes Contemporains.  Paris: Bordas, 1996, pp. 119, 120.

Petho, Bertalan. Post-postmodernism: The Nineties: Opinions and Philosophical  Investigations Concerning Our Change of Era. Budapest: Platon, 1997, pp. II. 119, 120, 97, 295, 315, 316, 318 – 320, 336, 342, M. vi, vii, xx.

Marcoci, Roxana, Diana Murphy, and Eve Sinaiko, eds. New Art. New York: Harry N. Abrams, 1997, pp. 65, 66.

Archer, Michael. Art since 1960. London: Thames and Hudson, 1997.

ZKM – Center for Art and Media Karlsruhe. Munich and New York: Prestel, 1997, pp. 92, 97.

Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 146 – 59.

Walther, Ingo F., ed. Art of the Twentieth Century: Painting, Sculpture, New Media, Photography. Vol. 2. Cologne: Taschen, 1998, pp. 614, 615.

Goldberg, RoseLee. Performance: Live art since 1960. New York: Harry N. Abrams, 1998, pp. 31, 172.

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

ZOO 3 (October 1999), pp. 178, 179.

Frames of Reference: The Rockefeller Foundation Film/Video/Multimedia Fellowship Awards 1988-1999. New York: The Rockefeller Foundation, 1999, pp. 11, 13, 86, 126, 129.

Fineberg, Jonathan, ed. Art Since 1940: Strategies of Being. Second Edition.  Englewood Cliffs, NJ: Prentice Hall, 2000,  pp. 488 – 490.

Treasures from The Art Institute of Chicago. Chicago: The Art Institute of Chicago, 2000, p. 327.

Pontbriand, Chantal. Communauté et Gestes. Montréal: Les Éditions PARACHUTE, 2000, pp. 49, 68.

Mauron, Véronique. Le signe incarné: ombres et reflets dans l’art contemporain. Paris: Éditions Hazan, 2001, pp. 175 – 178, 183 – 184, 189, 191, 202 – 205, 208 – 209, 211 – 213, 217, 220, 221, 228 – 229, 230 – 231, 238, 240 – 241, 243, 256 – 257, 259, 266.

Davidson, Cynthia C., ed.  Anything. New York: Anything Corporation and Cambridge: The MIT Press, 2001, pp. 163 – 170.

Riemschneider, Burkhard and Uta Grosenick, eds. Art Now. Cologne: Taschen, 2001, pp. 68 – 69.

A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program 1966 – 1995. New York: Harry N. Abrams, 2001, pp. 21 – 22, 67.

Acquisitions 1992 – 2001. Rochechouart: Musée Départemental d’art Contemporain de Rochechouart, 2001, pp.  9, 56 – 57, 120.

American Visionaries: Selections from the Whitney Museum of American Art.  New York: Whitney Museum of American Art, 2001, p.  139.

L’image au collège. Paris: Éditions Belin, 2002, p. 72.

Commitment: The Rockefeller Foundation Media Arts Fellowships 1988 – 2002. New York: The Rockefeller Foundation, 2002, pp. 7, 106.

Bienal 50 Anos 1951 – 2001. São Paulo: Fundação Bienal de São Paulo, 2001, p. 243.

Israel, Glenis. Artwise 2: Visual Arts 7 – 10. Milton: John Wiley & Sons Australia, Ltd., 2002, pp. 20 – 23.

White Cube. Volumes I and II. Göttingen: Steidl Publishers, 2002, Volume I, unpaginated, Volume II, pp. 100 – 101.

Davinio, Caterina. Tecno-Poesia e realtà virtuali. Mantova: Commune di Mantova, 2002, pp. 195 – 198.

Breidbach, Angela. “Raumgewinn Im Netz Der Orte Das Werk CRUX von Gary Hill im bildwissenschaftlichen Labor,” in Silke Opitz and Gerhard Wiesenfeldt, eds. Die Sache Selbst. Weimar: Bauhaus-Universität, 2002, pp. 42 – 57.

Skowhegan 2003 Awards Dinner. New York: Skowhegan, 2003, unpaginated.

Conservering van de Nederlandse videokunst collectie: De houdbaarheid van videokunst.  [Preservation of Dutch video art collections:  The sustainability of video art.] Amsterdam: Stichting Behoud Moderne Kunst, 2003, pp. 70 – 71, 72 – 73, 76 –77, alphabetical artist listing (unpaginated section).

Belting, Hans. Art History After Modernism. Chicago: The University of Chicago Press, 2003, pp. 5, 91, 92 – 93, 94 – 95, 104, 201, 211 (cover photo).

Valentini, Valentina. Le Pratiche del video. Rome: Bulzoni Editore, 2003, pp. 191 – 218, 353 – 356.

Plate, Brent. “The State of the Arts and Religion: Some Thoughts on the Future of a Field,” in Ena Giuresca Heller, ed., Reluctant Partners. New York: The Gallery at the American Bible Society, 2004, pp. 48 – 65.

Traeger, Jörg. Kopfüber, Kunst am Ende des 20. Jahrhunderts. München:  Verlag C.H. Beck, 2004, pp. 141, 146 – 147, 161.

Kunstmuseum Wolfsburg, The First Ten Years. Wolfsburg: Kunstmuseum Wolfsburg, 2004, pp. 140 – 141, 201.

Blocker, Jane. What the Body Cost: Desire, History and Performance.  Minneapolis: University of Minnesota Press, 2004, pp. 36 – 39.

Fondation Cartier pour l’art contemporain. Paris:  Fondation Cartier pour l’art contemporain, 2004, pp. 155, 284 – 285, 367.

Perry, Gill and Paul Wood, eds. Themes in Contemporary Art. New Haven:  Yale University Press / The Open University, 2004, pp. 6, 34, 222 – 223, 224.

Lundgaard, Ida Braendholt, Teddy Josephsen, and Julie Blicher Trojaborg, eds.  Moderne kunst i dansk 3: ‘Man kan vel se, hvad det er.’ Copenhagen:  Gyldendalske Boghandel, 2005, pp. 24 –2 7, 69. [educational book]

Ede, Siân. Art & Science. London: I.B. Tauris, 2005, pp. 111 – 112.

Daniel, Noel, ed. Broken Screen: 26 Conversations with Doug Aitken:  Expanding the Image, Breaking the Narrative. New York: D.A.P./Distributed Art Publishers, 2006, pp. 154 – 161.

EXIT 23: Readers and Readings, Madrid (2006), pp. 10 and 22 – 23 (photos only).

Martin, Sylvia. Video Art. Cologne: Taschen, 2006, pp. 2, 19 – 20, 57 – 58.

Brockhaus Enzyklopädie in 30 Bänden, 21. Mannheim: Bibliographisches Institut and FA Brockhaus AG, 2006, p. 463.

Thorel, Benjamin. L’art contemporain et la télévision. Paris: Editions Cercle d’Art, 2006, pp. 116 – 117.

Kaye, Nick. Multi-Media: Video, Installation, Performance. London:  Routledge, 2007, pp. 26, 131 – 139, 210.

10 Jahre Sammlung: Sal. Oppenheim. Luxembourg: Sal. Oppenheim jr. & Cie, S.C.A., 2007, p. 435.

MoMA Highlights Since 1980. New York: The Museum of Modern Art, 2007, p. 110.

Dupont, Chantal. “Concept de circularité dans la structuration narrative de l’oeuvre chez Madelon Hooykaas/Elsa Stansfield et Gary Hill.” Dispositifs Audio Vidéo et Enjeux Narratifs / Cahier 3. Quebec: Éditions de l’École des arts visuels et médiatiques de l’UQAM, 2007.

Martin, F. David and Lee A. Jacobus. The Humanities Through the Arts. 7th Edition. New York: McGraw-Hill, 2007.

Claser, Sonja. Experimentelle Musik und die Videoinstallationen von Bruce Nauman und Gary Hill. Munich: Verlag Silke Schreiber, 2008, pp. 7–13, 144–209. In German.

Spielmann, Yvonne. Video: The Reflexive Medium. Cambridge: The MIT Press, 2008, pp. 101, 104 – 105, 108 – 110, 124, 191 – 197, 249 – 253.

Lissoni, Andrea.  “Video and Contemporary Art:  History of a Not Too Invisible Ghost,” in Electronic Lounge, La Donazione Halevim al Museo del Novecento.  Milan:  Carlo Cambi Editore, 2008, pp. 20 – 22.

Schürmann, Eva. Sehen als Praxis, Ethisch-ästhetische Studien zum Verhältnis von Sicht und Einsicht suhrkamp taschenbuch wissenschaft. Frankfurt:  Suhrkamp Verlag, 2008, pp. 28, 214 – 216, 219, 241. In German.

Comer, Stuart, ed. Film and Video Art. London: Tate Publishing, 2009, pp. 6 – 7, 75, 85, 101.

Douglas, Stan and Christopher Eamon, eds. Art of Projection. Ostfildern: Hatje Cantz Verlag, 2009, pp. 20, 142 – 143.

Noble Gäste: Meisterwerke der Kunsthalle Bremen in 22 deutschen Museen. Bremen: Hachmannedition, 2009, p. 204.

Bishop, Janet, Corey Keller and Sarah Roberts, eds. San Francisco Museum of Modern Art: 75 Years of Looking Forward. San Francisco: San Francisco Museum of Modern Art, 2009, pp. 288 – 289, 420.

Varese 360°. Amsterdam: Holland Festival, 2009. In Dutch, English and French.

Edgard Varèse / Gary Hill: Edgard Varèse 360°. Paris: Salle Pleyel, 2009. In French.

Art and Text. London: Black Dog Publishing, 2009, pp. 186, 228 – 299.

Quasha, George. “Electronic Linguistics,” in Thomas Bartscherer and Roderick Coover’s (eds.) Switching Codes: Thinking Through New Technology in the Humanities and the Arts. Chicago: University of Chicago Press, 2010.  Revised version reprinted in George Quasha and Charles Stein’s An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 65 – 95.

100 Video Artists. Madrid: EXIT Publicaciones – Rosa Olivares y Asociados S.L., 2010, pp. 30, 218 – 221, 459. Text by George Quasha.

L’OR dans l’art contemporain. Paris: Flammarion, 2010, pp. 194 – 196. In French.

Israel, Glenis. Artwise 2: Visual Arts 9 – 10. Second Edition. Milton: John Wiley & Sons Australia, Ltd., 2011, pp. 69 – 71.

Bartscherer, Thomas, and Roderick Coover, eds. Switching Codes: Thinking Through Digital Technology In The Humanities and The Arts. Chicago: University of Chicago Press, 2011, pp. 5, 8, 249–74, 300.

Giannachi, Gabriella, and Nick Kaye. Performing Presence: Between the live and the simulated. Manchester: Manchester University Press, 2011, pp. 11, 21–23, 61–92, 148, 167–168, 219, 237.

Bellour, Raymond. Between-the-Images. Zurich: JRP|Ringier, 2013 (1990), pp. 73, 181, 268–273, 344, 392.

Derrida, Jacques. Penser à ne pas voir: Écrits sur les arts du visible 1979-2004. Paris: Essais/ Éditions De La Différence, 2013, pp. 9, 11, 299–306. In French.

Wagner, Ethan, and Thea Westreich Wagner. Collecting Art for Love, Money, and More. London: Phaidon Press, 2013, p. 179.

High, Kathy, Sherry Miller Hocking, and Mona Jimenez, eds. The Emergence of Video Processing Tools: Television Becoming Unglued, vol. 1. Bristol: Intellect, 2014, pp. 19–20, 22–23, 162, 356, 469, 519, 521, 532–534, 540, 572–574.

Videobrasil: Three Decades of Video, Art, Encounters, and Transformations, organized by Teté Martinho and Solange O. Farkas with Eduardo de Jesus, Gabriel Priolli, Moacir dos Anjos, and Paula Alzugaray (São Paulo: Edições Sesc São Paulo and Associação Cultural Videobrasil, 2014-2015), 91, 116, 134, 166, 167, 170, 171, 193, 249, 278, 283, 288, 300, 310, 327. In English and Portuguese.

Robertson, Larry. The Language of Man: Learning to Speak Creativity (Arlington: Daymark Press, 2016)), pp. 28, 59, 241, 381.

ARTICLES and REVIEWS

Arranged alphabetically.

“Video installations at Biennale add verve to art.” The Hindu (January 02, 2017).

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

Alcala, Bruno. “Arret sur images.” Beaux Arts (August 22, 1990), pp. 97 – 99.

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

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

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

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

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

Ancona, Victor. “Ithaca Video: Margin Notes on A Movable Feast.”  Videography, pp. 60 – 62.

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

Aquin, Stephanie. “Gary Hill – Vague de fond.” Voir, Montreal (February 12, 1998), p. 25.

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

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

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

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

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

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 (May 27, 1998).

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

Baker, Kenneth. “Unlimited ‘Time’.” San Francisco Sunday Examiner and Chronicle (January 2, 2000), p. 25.

Baizet, Patrice. “Festival et Vidéo.” Halle Sud 16, Geneva (October 1987), p. 14.

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

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

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

Baqué, Dominique. “Gary Hill.” art press 269 (June 2001), pp. 3, 80 – 82 (French and English).

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

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

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

Barcott, Bruce. “I was a camera. Art: Gary Hill straps on his video equipment and takes us for a walk.” Seattle Weekly (June 22, 1994) p. 30.

Barlow, Melinda. “Studio as Study:  A Selection of Drawings by American Video Artists.” PAJ No. 71, Vol. 24, No. 2 (May 2002), pp. 1 – 4, 16 – 17.

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

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

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

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

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

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

“BEACON (two versions of the imaginary).” Sculpture, Washington, D.C. 13 (July/August 1994), p. 33.

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

Becker, Bart. “The 39ers. Seattle shakers and makers 39 and under.” Seattle Weekly (July 4, 1990), pp. 39 – 45.

Beckmann, Angelika. “Gary Hill.” European Photography 58, 16, 2 (Fall 1995), pp. 60 – 67.

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

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

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

Bellemare-Brière, Véronique. “Gary Hill – La vidéo reine au MAC.” Séquences, Montreal 196 (May – June 1998), p. 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, Montreal 6, 2 (Winter 1990), pp. 29 – 34.

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

Bensley, Lis. “Site Santa Fe.” Artnews (November 1995), p. 249.

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

Berk, Amy. “Searching for a Tunafish Sandwich at the End of the Millennium.” http://art.nextmonet.com/newsevents/n19991104/news2.html.

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

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

“Beunruhigende blick.” Art – das Kunstmagazin. (January 1999), p. 67.

Bevan, Roger. “Very moving art experience: Hirshhorn Museum and Sculpture Garden, Washington, D.C.” Art Newspaper 5 (February 1994), p. 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 (July 5, 1999), p. 3.

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

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

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

“Boise Art Museum begins “Genius” show.” SkyWest Magazine (Winter 2003), p. 27.

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

Bonnin, Anne. “Maquis.” art press (December 2002).

Borum, Poul. “Fraværets Film.” Tusinoe Øjne116 (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. “Re-runs on channel Documenta.” Flash Art (October 1992), pp. 131, 132.

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

Bouruet-Aubertot, Veronique. “Art et son en phase de resonance.” Beaux Arts Magazine, No. 178 (March 1999), p. 33.

Bousteau, Fabrice and Bérenice Geoffroy-Schneiter. “Yanomami, le monde sans images.” Beaux Arts 228 (May 2003), pp. 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), pp. 26, 27.

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

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

Breerette, Geneviève. “Produire des oeuvres avec les Indiens Yanomamis.”  Le Monde (May 30, 2003), p. 18.

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

Brown, Gerald. “Sound Bite A-Go-Go.” Philadelphia Weekly (March 6, 1996), p. 24.

Brown, L. Halsey. “media(tion); fragmentation and acceleration.” Photography Quarterly #80, Vol. 20, No. 1 (2001), pp. 16 – 19.

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

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

“Brussels. New Interactions in the Binary Era.” Flash Art (October 1992), p. 115.

Buck, Louisa. “Hand it to the scientists.” Evening Standard, London (July 18, 2001), p. 31.

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

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

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

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

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

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

Camper, Fred. “Split Images. Gary Hill at the Museum of Contemporary Art.” Chicago Reader (November 4, 1994), Section 1, p. 28.

“CAPS Video Festival: 1978 – 79.” Media Study/Buffalo (June-August 1979), p. 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 (February 24, 1997).

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

Casavecchia, Barbara. “Gary Hill.” Frieze (June 1, 2015). Online.

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

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

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

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

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

Chamecki, Rosane. “Portuguese Festival ‘Dancas na Cidade’ Exemplifies Curation at its Best.” Dance Online (March 12, 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.

Collins, Gina Cavallo. “Projection Artist.” Phoenix New Times (November 13, 2003).

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).

Fredericksen, Eric. “Perf Shorts.” The Stranger, Seattle (September 26, 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.

Gompertz, Will, ed. Zoo 3 (October 1999): 179.

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

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. “Gary Hill Drops a Bomb (My That’s a Pretty Explosion You Have There).” The Stranger SLOG (Feb 14, 2014). Online.

Graves, Jen. “The Matter of Where You Drop a Symbolic Bomb.” The Stranger SLOG, (March 6, 2014). Online.

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).

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

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“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).

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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.

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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).

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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.

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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.

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

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

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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).

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

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Pincus, Robert L. “Watching Machines Ignore Us.” San Diego Union (May 28, 1987).

Pittolo, Véronique. “L’image contemporain du Printemps de Cahors.” Beaux Arts 146 (June 1996), p. 41.

Pizzirani, Alessandra. “Steiner a Berlino:  La collezione e il collezionista.” Arte, Italy, No. 309 (May 1999), p. 66.

Plate, S. Brent. “Between Cinema and a Hard Place:  Gary Hill’s Video Art Between Words and Images.” Criticism 45, 1 (Winter 2003), pp. 109 – 127.

Podesta, Patty. “The Lower Depths. Notes from L.A.” 1982.

Prats Rivelles, Rafael. “Gary Hill: imagen y sonido.” Qué y Donde (March 22 – 28, 1993), p. 6.

Preisner, Brenda. “Sound, Images Conflict in Video ‘War Zone’.” Buffalo Evening News (May 15, 1980).

“Primera Bienal De La Imagen En Movimiento.” RTV Magazine di los Mercados Audiovisuales, No. 20 (January 1991).

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).

Rodrigues, Jorge Viera. “Gary Hill: Cutting Corners Creates More Sides.” Arte Capital (October, 2012).

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.

Salmeron, François. “Gary Hill: Cutting Corners Creates More Sides.” Paris-Art (2012).

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): 192.

Tagliafierro, Marco. “Critics’ Picks_Gary Hill: Lia Rumma, Milan.” Art Forum (March, 2015). Online.

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

Upchurch, Michael. “Gary Hill at James Harris: Fun with glass fragments, words.” The Seattle Times (February 5, 2014).

Upchurch, Michael. “The Henry’s Gary Hill retrospective continues to challenge eyes and ears.” The Seattle Times (August 20, 2012).

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

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’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.

DVDs / CD-ROMs, LASERDISCS, and VIDEOTAPES

Arranged chronologically.

Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993. VHS.

Gary Hill: An Index of Possibilities. London: Film and Video Umbrella, 1993. Texts by Steven Bode and Lori Zippay. Laserdisc.

Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994. Three-volume laserdiscs.

3e biennale d’art contemporain de Lyon: cinéma, vidéo, informatique propos, et documents interactifs. Lyon: Réunion des musées nationaux, 1995. CD-ROM.

Video-Skulptur-retrospectiv und aktuell 1963 – 1989: der Videokatalog zur Ausstellung des Kölnischen Kunstvereins.  Köln: DuMont, 1995. (DuMont Creativ Video), Dauer: 60 min.

Private/Public: ARS ’95. Helsinki: Museum of Contemporary Art, 1995. CD-ROM.

Surveying the First Decade: Video Art and Alternative Media in the United States. Chicago: Video Data Bank, The School of the Art Institute of Chicago, 1996. VHS.

Documenta 1-9: 1955-1992. Kassel: documenta Archiv, 1997. CD-ROM.

Nationalgalerie Berlin: Gesamtverzeichnis der Gemälde und Skulpturen [Catalogue of Paintings and Sculptures].  Berlin:  Staatliche Museen zu Berlin and Munich:  K. G. Saur, 2000. CD-ROM.

13 Festival Internacional de Arte Eletrônica / Videobrasil. São Paulo:  Associação Cultural Videobrasil, 2001. CD-ROM.

Gary Hill: I Believe It Is an Image / Black Performance (Gary Hill and Paulina Wallenberg-Olsson in Paris). Cologne: Westdeutscher Rundfunk (in collaboration with Kunstmuseum Wolfsburg), 2001. Documentary film by Maria Anna Tappeiner and Reinhard Wulf. Reissued as Gary Hill: Transcending the Senses. VHS / DVD.

Recontres & Préparatifs. Montreuil: Atypik Productions and Paris: Centre Georges Pompidou, 2002. Documentary film by Sébastien Bretagne on the exhibition “Voici, 100 ans d’art contemporain.”

Point of View: An Anthology of the Moving Image. New York: Bick Productions and New Museum of Contemporary Art, 2003. DVD anthology with Gary Hill’s Blind Spot, 2003; 12:27 min.

Talents: The Art Video Collection #1: Daniel Askill, Camille Henrot, Gary Hill, Tim White Sobieski, Sabine Massenet. Paris: Talents, 2005. DVD compilation with Happenstance (part one of many parts); 42 min.

Gary Hill: Strange Trajectories. Dusseldorf: Institut fur Kunstdokumentation und Szenografie (in collaboration with IMAI), 2007. Film by Ralph Goertz. DVD; 25 min.

ETC: Experimental Television Center, 1969 – 2009. Newark Valley: Experimental Television Center, 2009. 5-DVD set (with Earth Pulse and Mirror Road) and 132-page catalogue.

OTHER PROJECTS

Arranged chronologically.

Mac Low, Jackson. Asymmetries 1-260. Printed Editions, 1980. (book cover)

Davis, Christine, ed. Public 7 (Sacred Technologies). Toronto: Public Access Press, 1993, pp. 38 – 44. (project for journal; drawings by Anastasia Hill)

Open universiteit (OU). Volumes 1 – 4: “Inleiding in de filosofie.” 1994. Heerlen: Open universiteit, 1994. (Works reproduced on front and back covers:  I: I Believe It Is an Image in Light of the Other, II: Beacon (Two Versions of the Imaginary), III: Suspension of Disbelief (for Marine), IV: I Believe It Is an Image in Light of the Other)

Marranca, Bonnie and Gautam Dasgupta, eds. Conversations on Art and Performance. Baltimore and London: PAJ Books, The Johns Hopkins University Press, 1999. (book cover)

São Luís Castro and Inês Gomes. Dificuldades de Aprendizagem da Língua Materna. Lisboa: Universidade Aberta, 2000. (book cover)

Moraru, Christian. Rewriting: Postmodern Narrative and Cultural Critique in the Age of Cloning. Albany: State University of New York, 2001. (book cover)

Pitchford, Nicola. Tactical Readings: Feminist Postmodernism in the Novels of Kathy Acker and Angela Carter. Lewisburg: Bucknell University Press, 2002.  (book cover)

Fries, Peter H., Michael Cummings, David Lockwood, and William Spruiell, eds. Relations and Functions within and around Language. London:  Continuum, 2002. (book cover)

Mittenthal, Robert. Wax World. Tucson: Chax Press, 2011. (book cover)