Why Do Things Get in a Muddle? (Come on Petunia), 1984
Video (color, stereo sound); 32:00 min.
This tape is the first of Hill’s works for which he deliberately wrote a screenplay. The title defines the piece’s starting point: Alice in Wonderland asks her omniscient father why things get in a muddle. They then talk on a metalinguistic level (i.e. about language using language). A glimpse through the looking glass reveals an inversion of the customary order of things. The father ingests the smoke from his pipe, Alice does not so much blink her eyelids momentarily open as stare wide-eyed, and the playing cards fall out of the air in an orderly manner into the girl’s hand. The language of the two protagonists is strangely slurred and partially incomprehensible. Gradually the reason for these phenomena becomes clear. Almost all the passages are being played and spoken backwards, and the tape can likewise be played backwards, with the result that at first sight the action appears plausible. This also explains why at second glance the movements of the protagonists’ bodies look strangely mechanical. Hill made phonetic notes of the texts spoken backwards by Alice and her father. At the end of the tape, when Alice is standing in front of the looking glass, the letters of the subtitle (“Come on Petunia”) logically regroup as “once upon a time.”
Broeker, Holger, ed. Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 50, pp. 113 – 115.
With Kathy [Katherine] Bourbonais and Charles Stein.
Hill considered making this work the first in a trilogy of metalogues. A second work, titled Why Do Things Have Outlines (or A Cut Along a Dotted Line), was partially realized in a workshop in France. The proposed title for the third work was Why Do French Men?
World Wide Video Festival, Kijkhuis, The Hague, The Netherlands, September 15 – October 10, 1984.
National Video Festival, American Film Institute, Los Angeles, California, September 20 – 23, 1984.
Whitney Biennial, Whitney Museum of American Art, New York, New York, March 13 – June 2, 1985.
“A Video Sampler: Realities,” American Museum of the Moving Image, Astoria, New York, March 14, 15, 1985.
Solo exhibition. Video Gallery SCAN, Tokyo, Japan, March 15 – 17, 1985.
Solo exhibition. American Center, Kyoto, Japan, April 1985.
Solo exhibition. American Center, Sapporo, Japan, April 1985.
Solo exhibition. International House of Japan, Tokyo, Japan, April 18, 1985.
Gary Hill/Stephen Kolpan Video Works, Byrdcliffe Barn, Woodstock, New York, July 29, 1985.
San Francisco International Video Festival, San Francisco Art Institute, San Francisco, California, September 27 – 30, 1985. Traveled.
“Video: Recent Acquisitions,” Museum of Modern Art, New York, New York, October 17 – 27, 1985.
1985 Athens Video Festival, Ohio University, Athens, Ohio, November 6 – 9, 1985.
Video Culture International Competition, Don Mills, Ontario, Canada, November 7 – November 10, 1985.
Solo screening. 911 Contemporary Arts Center, Seattle, Washington, November 9, 1985.
“Video: Works from the 1985 Whitney Biennial,” First Street Forum, St. Louis, Missouri, November 12 – November 16, 1985.
“Whitney Biennial Exhibition,” 6. Film Video Performance Tage, Kulturpanorama am Löwenplatz, Lucerne, Switzerland, November 26 – December 1, 1985.
“The Electronic Image: An Exhibition Series,” University Community Video, Minneapolis, Minnesota, December 6, 1985.
"Video d’artistes: Robert Cahen, Gary Hill, Jacques Louis Nyst, Dan Reeves,” Salle Patino, Geneva, Switzerland, January 31 and February 1, 1986.
Solo screening. Port Washington Public Library, Port Washington, New York, May 22, 1986.
Solo exhibition. Whitney Museum of American Art, New York, New York, May 24 – June 15, 1986.
International Festival of Video Art, Saw Gallery, Ottawa, Ontario, Canada. Traveled to: Centre for Art Tapes, Halifax, Nova Scotia, Canada, October 6 – 13, 1986; Forest City Gallery, London, Ontario, Canada, October 8 – 17, 1986; EM Media, Calgary, Alberta, Canada, October 15 – 26, 1986; A Space, Toronto, Ontario, Canada, October 7 – 16, 1986; Video Pool, Winnipeg, Manitoba, Canada, October 14 – 22, 1986; Monitor North, Thunder Bay, Ontario, Canada, October 20 – 30, 1986; PRIM Video, Montreal, Quebec, Canada, November 5 – 15, 1986.
“Mediaworks: Gary Hill,” Nexus Gallery, Philadelphia, Pennsylvania, October 16, 1986.
Centre national d’art contemporain de Grenoble, Grenoble, France, January 6, 1987.
"Video Discourse: Mediated Narratives,” La Jolla Museum of Contemporary Art, La Jolla, California, February 6 – April 5, 1987.
Athens International Video Festival, Ohio University, Athens, Ohio, March 5 – March 7, 1987.
“Video as Art: Channel 3,” First Street Forum, St. Louis, Missouri, March 14 – 21, 1987.
7. Berner Poesietage, Kunstmuseum Bern, Bern, Switzerland, April 4 – 12, 1987.
Japan 87 – The First Video Television Festival: “Private Visions and Media Crossover,” Spiral, Tokyo, Japan, July 29 – August 11, 1987.
“An Evening with Gary Hill,” Northwest Film & Video Center, Oregon Art Institute, Portland, Oregon, October 1, 1987.
2e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.
Solo screening. Western Front, Vancouver, British Columbia, Canada, April 16, 1988.
Solo screening. Espace lyonnais d’art contemporain (ELAC), Lyon, France, July 26 and September 27, 1988.
“AS TOLD TO: structures for conversation,” Walter Phillips Gallery, Banff Centre, Banff, Alberta, Canada, July 28 – August 28, 1988.
“Between the Silences: The Videoworks of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 19, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.
Second Japan Video Television Festival: “Delicate Technology,” Spiral, Aoyama, Tokyo, Japan, July 31 – August 7, 1989.
"Video and Language,” Museum of Modern Art, New York, New York, September 7 – October 31, 1989.
“Image World: Mediamedia,” Whitney Museum of American Art, New York, New York, November 9, 1989 – February 18, 1990.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
“NON%*@#&?!SENSE,” Whitney Museum of American Art, New York, New York, November 17 – December 9, 1990.
Solo exhibition. Moderna Museet, Stockholm, Sweden, November 26 – December 16, 1990. Travelled to: Museum of Contemporary Art, Helsinki, Finland, July 24 – 27, 1991.
"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, May 23 – 26, 1991.
Japan 92 Video and Television Festival: “Prospectus for a TV Art Channel,” Spiral, Tokyo, Japan, February 1 – 11, 1992.
"Gary Hill,” (traveling exhibition organized by the Musée national d’art moderne, Centre Georges Pompidou, Paris, France), Musée national d’art moderne, Centre Georges Pompidou, Paris, France, November 25, 1992 – January 24, 1993; Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, Valencia, Spain, February 26 – May 2, 1993; Stedelijk Museum, Amsterdam, The Netherlands, August 28 – October 10, 1993; Kunsthalle Wien, Vienna, Austria, November 17, 1993 – January 9, 1994.
Solo screening. Establissements Phonographiques de l’Est, Paris, France, November 25, 1992.
“Passageworks,” Rooseum, Malmö, Sweden, April 27 – July 25, 1993.
“Video to Expand Your Mind,” Dayton Visual Arts Center, Dayton, Ohio, June 3, 1993.
“Video Time Shifts,” Forum for Contemporary Art, St. Louis, Missouri, June 4 – July 31, 1993.
37th London Film Festival, London, England, November 4 – 21, 1993.
Solo screening. London Film Festival, Museum of the Moving Image, London, England, November 5, 1993.
"Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 25 – May 2, 1994.
ForumBHZvideo, Festival Internacional de Video, Belo Horizonte, Brazil, November 10 – 15, 1993.
"Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.
“Gary Hill,” Musée d’art contemporain, Lyon, France, May 26 – September 19, 1994.
“Gary Hill: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 1994.
911 Media Arts Center, Seattle, Washington, July 8, 1994.
“Gary Hill,” Museum of Contemporary Art, Los Angeles, California, December 19, 1994 – March 12, 1995.
“Gary Hill,” (travelling exhibition organized by Riksutställningar, Stockholm, Sweden) Moderna Museet, Spårvagnshallarna, Stockholm, Sweden, February 4 – April 17, 1995; Museet for samtidskunst, Oslo, Norway, April 26 - May 21, 1995; Helsingin Taidehalli, Helsinki, Finland, June 29 - July 30, 1995; Bildmuseet, Umeå, Sweden, September 3 - October 15, 1995, Jönköpings läns museum, Jönköping, Sweden, October 22 - November 15, 1995; Göteborgs Konstmuseum, Göteborg, Sweden, November 15, 1995 - January 14, 1996.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
“Gary Hill,” (travelling exhibition organized by the Henry Art Gallery, University of Washington, Seattle, Washington), Kemper Museum of Contemporary Art and Design, Kansas City, Missouri, October 14, 1995 – January 14, 1996.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
“Continuity & Contradiction, A New Look at the Permanent Collection from the Museum of Contemporary Art, San Diego,” Miami Art Museum, Miami, Florida, December 19, 1996 – February 23, 1997.
“Gary Hill: O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 1 – 6, 1997 (not the full run of the exhibition); Museu de Arte Moderna de São Paulo, São Paulo, Brazil, October 3 – November 2, 1997.
“Gary Hill,” Musée d’art contemporain de Montréal, Montreal, Quebec, Canada, January 30 – May 3, 1998.
"Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.
"Video Library,” David Zwirner Gallery, New York, New York, March 18 – April 18, 1998.
Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.
Solo exhibition. Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.
“Searchlight,” California College of Arts and Crafts, San Francisco, California, September 11 – December 11, 1999.
Solo exhibition. Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 26, 2000 screening).
Solo exhibition. Museo Caraffa, Córdoba, Argentina, July 7 – 30, 2000 (July 22, 2000 screening).
“Hill(scape),” Extra Microwave Media Art Festival (organized by Videotage), Hong Kong Space Museum Lecture Hall, Hong Kong, January 14 – 31, 2001 (January 20 – 21 screenings).
“l’écriture vidéophage – les bandes vidéo de Gary Hill.” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 15 and 17 screenings).
“Gary Hill: Selected Works,” Kunstmuseum Wolfsburg, Wolfsburg, Germany, November 10, 2001 – March 10, 2002. Traveled to: Centro Cultural de Belém, Lisbon, Portugal, October 10, 2002 – January 12, 2003.
Rose Art Museum, Brandeis University, Waltham, Massachusetts, February 28 – March 6, 2002 (entire program February 28 - March 24, 2002).
“Say Hello to Peace and Tranquility,” Netherlands Media Art Institute, Montevideo/Time Based Arts, Amsterdam, The Netherlands, March 22 – April 27, 2002. Traveled to: Nicolaj Center for Contemporary Art, Copenhagen, Denmark, April 26 – June 2, 2002; hARTware, Dortmund, Germany, early 2003; Butler Institute of American Art, Youngstown, Ohio, March 16 – April 19, 2003.
“Standby: No Technical Difficulties,” (organized by MoMA, New York, and Pacific Film Archive) Gramercy Theatre, New York, New York, October 10, 2003 (screening program October 9 – 18).
“Hypnose,” Les Laboratoires d’Aubervilliers, France, December 4, 5, 6, 2003.
“Gary Hill: A Personal Anthology / Video Works,” (video screenings) The Ossolinski National Institute, Wroclaw, Poland, December 1 / 2 and FAMU, Prague, Czech Republic, December 9, 2004.
“Outer Ear Festival of Sound,” Experimental Sound Studio, Chicago, Illinois, December 4 and 8, 2005.
“Os Anos 80s,” Museu de Serralves, Porto, Portugal, November 10, 2006 – February 4, 2007.
“Gary Hill: Strange Trajectories,” NRW-Forum / IMAI (Inter-Media Art Institute), Dusseldorf, Germany, September 15 – October 28, 2007.
“Gary Hill: Voice Grounds,” St Paul Street Gallery, Auckland University of Technology, Auckland, New Zealand, March 12 - April 25, 2009.
“Art of Limina: Gary Hill,” Slought Foundation, Philadelphia, Pennsylvania, March 21 – May 1, 2009.
“Paying a Visit to Mary,” The Aldrich Contemporary Art Museum, Aldrich, Connecticut, January 31 – June 2010.
“Kunstmuseum Wolfsburg at The Hunter Museum,” The Hunter Museum of American Art, Chattanooga, TN, May 26 – October 4, 2011.
"Why do things get in a muddle?," Fotogalleriet, Oslo, Norway, November 11 — December 17, 2016.
"Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.World Wide Video Festival 1984. The Hague: Kijkhuis, 1984.
National Video Festival. Los Angeles: American Film Institute, 1984, p. 64.
Tamblyn, Christine. “Designer video: the AFI National Video Festival: Hollywood, California.” Afterimage 12 (December 1984), p. 5.
Sei, Keiko. “URA ARU.” Gendaishi techó, Japan 4 (1984 – 85), p. 103.
Hill, Gary. “Notes on URA ARU: A Work in Progress.” Program notes.
Gary Hill/Steven Kolpan Video Works. Woodstock, New York, 1985, unpaginated.
Hill, Gary. Focus: Why Do Things Get in a Muddle? Program notes. Tokyo: Video Gallery Scan, 1985.
The Sixth Annual San Francisco International Video Festival. Program notes. San Francisco: San Francisco Video Festival, 1985, unpaginated.
Film Video Performance Tage Luzern. Program notes. Luzern: Kulturpanorama am Löwenplatz, 1985, unpaginated.
1985 Athens Video Festival. Athens, Ohio: Athens Center for Film and Video, 1985, p. 12.
1985 Biennial Exhibition. New York: Whitney Museum of American Art, 1985, p. 169.
Millner, Sherry and Ernest Larsen. "The Problems of Pluralism: AFI Video Festival." The Independent (January/February 1985), p. 26.
“Video as Art.” Pia, Japan (February 22, 1985).
Hagen, Charles. "Tube Art (Take Out)." The Village Voice (May 14, 1985), pp. 46, 47.
Sato, Yoshiaki. “The Progression of Video Art and Spirituality. Looking at Gary Hill’s Work.” Image Forum 6, 57 (June 1985), p. 137.
Wooster, Ann-Sargent. "Manhattan Short Cuts." Afterimage (Summer 1985), pp. 34, 35.
“Film and Video. Whitney Biennial.” Flash Art (1985), p. 54.
Goldberg, Michael. “Video Criticism No. 14.” Video Com, Japan 22 (1985), pp. 154, 155.
1986 SAW Gallery International Festival of Video Art. Ottawa, Ontario: Saw Gallery, 1986, pp. 7 – 10, 21.
Hanhardt, John G. and Gary Hill. Gary Hill. The New American Filmmakers Series 30. New York: Whitney Museum of American Art, 1986, unpaginated.
The Image of Fiction: International Videoart Infermental 5. Rotterdam, Germany: Con Rumore, 1986, p. 41 & unpaginated.
The Black Maria Film Festival. Program notes. Bloomfield, New Jersey: Thomas A. Edison/Black Maria Film & Video Festival, 1986, unpaginated.
Pelty, Julian. “Visions off the mainstream.” The Listener (January 2, 1986), p. 26.
“Video’s New Wave.” Dial Thirteen (May 1986).
Fifer, Sally Jo. “Phelan Winners Announced.” Video Networks, San Francisco 11, 1 (December 1986/January 1987), pp. 3, 4.
Kolpan, Steven. "Bateson Through the Looking Glass." Video and the Arts (Winter 1986), pp. 20 – 22, 35, 56.
Electrovisions: Japan 87 Video Television Festival. Tokyo: Video Gallery SCAN, 1987, p. 93.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 66 – 68, 127.
The Situated Image. San Diego: Mandeville Gallery, University of California, San Diego, 1987, p. 4.
Lord, Chip. Parameters 11. Video Discourse: Mediated Narratives. Program notes. La Jolla, California: La Jolla Museum of Contemporary Art, 1987, unpaginated.
“The Southern Circuit… Explained.” IMAGE News, Atlanta (February/March 1987), p. 5.
Bogan, Neill. “Backwards and Forwards with Gary Hill.” IMAGE News, Atlanta (February/March 1987), p. 6.
McManus, Michael. “Video and the Literary Imagination.” Artweek (March 1987).
Berland, Jody. "International Video." Vanguard (April/May 1987), pp. 26, 27.
De Moffarts, Eric. “Télévision: le dernier carré?: La 2ème Semaine Internationale de Vidéo à Genève.” Gen Lock 7 (December 1987), p. 12.
Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.
Delicate Technology: Japan ’89 Video Television Festival at Spiral. 2 Volumes. Tokyo: Treville, 1989, pp. 108 – 110, 116.
Mittenthal, Robert. “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), pp. 10, 11.
Hanhardt, John G., et al. “Image World: Metamedia.” 49. Program notes. New York: Whitney Museum of American Art, 1989, unpaginated.
New American Film and Video Series Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990, unpaginated.
OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 5, 12 – 14.
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), p. 54.
Van Assche, Christine. "Gary Hill: The Imager of Disaster. Interview with Gary Hill." Galeries Magazine (December 1990/January 1991), p. 77.
IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.
Nash, Michael. "What Time is Television? or The Importance of Being Boring." Art Issues 16 (February/March 1991), pp. 23, 24.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), pp. 6 – 8.
Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.” Andere Sinema 104 (July-August 1991), p. 24.
Hill, Gary. Responses to a series of questions. Vidéochroniques 1 (September 1991), unpaginated.
Pencenat, Corinne. "L'Experience Limite de Gary Hill." Beaux Arts (October 1991), p. 113.
Hill, Gary. "Site Re:cite." Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 125, 136.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 77.
Romano, Gianni. “Inasmuch as it is always already taking place.” Lapiz 80 (October 1991), p. 40.
Watari, Shizuko. Gary Hill – I Believe It Is an Image. Tokyo: WATARI-UM, The Watari Museum of Contemporary Art, 1992, unpaginated.
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 9, 58, 87 – 94, 101, 103, 104. (Including an excerpt from Gary Hill, “Inter-view”).
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 16, 20, 32 – 35, 39, 49, 77, 79, 80, 81. (Including excerpts from an interview with Gary Hill).
Sonoda, Keiko. “Gary Hill. Video Installation Exhibition.” The Sun, Japan 374 (August 1992).
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), pp. 17, 18.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 13, 49 – 53, 70, 73, 77, 112. (Including an excerpt from Gary Hill, “Inter-view”).
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 13, 62, 91 – 98, 105 – 108. (Including an excerpt from Gary Hill, “Inter-view”).
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, pp. 6 – 13, 25.
ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, p. 48.
Cooke, Lynne, Bice Curiger and Greg Hilty. DOUBLETAKE: Collective Memory and Current Art. London: Hayward Gallery, 1992, p. 54. (In German: DOUBLETAKE: Kollektives Gedächtnis & Heutige Kunst. Vienna: Kunsthalle Wien, 1993, pp. 61, 265.)
Sarrazin, Stephen. “Gary Hill. Dai un senso a ciò che muovi.” Flash Art XXVI, 174 (April 1993), p. 35. (In English: “Gary Hill: mean what you move.” Flash Art (International Edition) 173 (November/December 1993), p. 86.)
Murin, Preložil Michal. “Gary Hill.” Profil. Súcasného Výtvarného Umenia (December 1993), p. 28.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 35, 48, 82, 83, 97.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2, 3, 10, 15.
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), p. 21.
Thériault, Michèle. Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.
Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), p. 45.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 20, 70 – 72, 112, 120, 123. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 21, 78, 118, 119, 125.)
Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995, pp. 14, 16, 17, 23, 48, 54, 58.
3e biennale d’art cotemporain de lyon: installation, cinéma, vidéo, informatique. Paris: Réunion des musées nationaux, Biennale d’art contemporain, Paris, 1995, p. 87.
Kandel, Susan. “Gary Hill: Museum of Contemporary Art, Los Angeles.” Artforum 33, 8 (April 1995), pp. 86, 87.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), p. 72.
Quasha, George and Charles Stein. Gary Hill: HanD HearD/liminal objects. Paris: Galerie des Archives; Barrytown, New York: Station Hill Arts, 1996, unpaginated.
Shartin, Anastasia. Museum Barrytown. Annandale-on-Hudson, New York: Center for Curatorial Studies, Bard College, 1996, unpaginated.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), pp. 20 – 24.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997, p. 94.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 10, 20, 69, 73.
“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).
Hürzeler, Catherine. “Kann man auf abstrakte Weise surfen? Ein Gespräch mit dem Videokünstler Gary Hill.” Das Kunst-Bulletin 9 (September 1997), pp. 18, 19.
Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998, pp. 24, 35, 55.
Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 151, 155.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
“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. 7 – 9.
Campeau, Sylvain. “Epistémologie de la réalité visuelle: Musée d’Art Contemporain, Montréal.” Vie des Arts, Montreal 42, 170 (Spring 1998), p. 82.
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), pp. 12, 14.
Sarrazin, Stephen. “Things Fall Apart: Gary Hill & Meg Stuart (with Damaged Goods) ‘Splayed Mind Out’/Gary Hill: Installations and Videotapes.” Intercommunication 25 (Summer 1998), p. 83.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 7, 34 – 36.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 95 – 99, 114.
Rinder, Lawrence, ed. Searchlight: Consciousness of the Millennium. San Francisco: California College of Arts and Crafts, 1999, pp. 62, 64 – 72, 191.
Marclay, Christian and Gary Hill. “Christian Marclay / Gary Hill: Conversation,” Annandale (Bard College), Vol. 139, No. 1 (Spring 2000), p. 3.
Slyce, John and Matthew Collings. “Video Art: A Top Twenty.” Modern Painters. Vol. 13, No. 2 (Summer 2000), pp. 30 – 33.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 45 – 46, 65, 75, 76 – 78, 82, 138, 161 – 162, 216, 218, 219 – 220, 233, 234, 236 – 237, 248 – 251, 252, 291, 303, 306.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 10, 24, 25, 31, 32, 43.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 13, 14, 22, 27 – 28, 38 – 40, 41, 55, 75, 76.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, p. 6, 8.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 14, 78 – 69.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 27, 35, 48 – 51, 54, 101.
Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” ARTnews 100, 5 (May 2001), p. 178.
Pytlinski, Deanne. “Liminality and Ritual in the Art of Gary Hill.” Chicago Art Journal 11 (Spring 2001), pp. 63 - 64.
Sans Commune Mesure: Image et texte dans l’art actuel. (Paris: Éditions Léo Scheer, 2002), pp. 23, 60.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 22, 41, 113 – 115, 176.
Rush, Michael. “A Résumé of Surfing and Philosophy as Well as Art.” The New York Times (September 15, 2002), pp. 31 – 32.
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
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. 164 – 165, 173.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 12, 18 – 19, 33 – 34, 55 – 56.
Unfolding Vision: Gary Hill, Selected Works 1976 – 2003. Taipei: Museum of Contemporary Art, 2003, pp. 16, 114 – 117.
Kern, Kristine. “Ud over det saevanlige.” Politiken, Copenhagen (May 5, 2002).
Jalving, Camilla. “Uorden.” Kristeligt Dagblad, Copenhagen (May 13, 2002).
Shaw, Jeffrey and Peter Weibel, eds. Future Cinema: The Cinematic Imaginary after Film. Karlsruhe: ZKM and Cambridge: MIT Press, 2003, pp. 307.
Mind on the Line: Gary Hill, George Quasha, Charles Stein, Aaron Miller and Dorota Czerner. In English and Polish. Wroclaw: WRO Art Center, 2004, pp. 20 – 21.
Zwingenberger, Jeanette. “Gary Hill, quand penser c’est voir.” L’Oeil 555 (February 2004), pp. 24 – 25.
Samaniego, Alberto Ruiz de. “Gary Hill and Maurice Blanchot: Dialogues at the Threshold.” Dardo magazine, 2 (June – September 2006), pp. 146 – 179.
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.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 111 – 124.
Spielmann, Yvonne. Video: The Reflexive Medium. Cambridge: The MIT Press, 2008, pp. 101, 104 – 105, 108 – 110, 124, 191 – 197, 253 (photo only).
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 27, 133 – 151, 172, 183, 310, 374, 418, 427, 445, 457, 464 – 466, 468, 591, 594, 598, 624, 627.
Ramos, María Elena. Gary Hill. Caracas: Centro Cultural Chacao, 2009 (in Spanish), pp. 9 – 10.
Comer, Stuart, ed. Film and Video Art. London: Tate Publishing, 2009, p. 101.
Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.
Copeland, Colette. “Rooted in the Experiential: A Conversation with Gary Hill.” Afterimage, 37, 3 (November/December 2009), pp. 22.
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/]
Kopsa, Maxine. Paying a Visit to Mary: 2008 Hall Curatorial Fellowship Exhibition. Ridgefield: The Aldrich Contemporary Art Museum, 2010, unpaginated. Brochure.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 36, 37, 76 – 77.