Arranged chronologically.
Smith, Fiske. “Gary Hill.” In Video Free America Presents, edited by Joanne Kelly, 37. San Francisco: Video Free America, 1978. Online here.
A Report on the Television Laboratory at WNET/Thirteen: 1972 – 1978, 24, 25. New York: The Television Laboratory at WNET/Thirteen, 1979.
Town, Elke, ed. Video by Artists 2, 52, 53. Toronto: Art Metropole, 1986.
Fifer, Sally Jo and Doug Hall, eds. Illuminating Video, 91–99. New York: Aperture Press in association with the Bay Area Video Coalition, 1990.
Video Forum Berlin Bestandskatalog, 16, 77. Berlin: Neuer Berliner Kunstverein, 1991.
Aanwinsten/Acquisitions 1989–1993: A Selection, 36–39. Eindhoven: Stedelijk Van Abbemuseum, 1993.
Awards 1994 for outstanding contributions to the visual arts, unpaginated. London: National Art Collections Fund, 1994.
Colisiones: Arteluku, Donostia 14 Augosto–16 Octobre 1995, 60–63. San Sebastián: Diputación Foral de Gipuzkoa, 1995.
Belting, Hans. Das Ende der Kunstgeschichte. Eine Revision nach nehn Jahren, 19, 94, 95, 99–103, 111, ills. 23 a-d. Munich: Verlag C. H. Beck, 1995.
Valentini, Valentina. Video d’autore 1986–1995, 270. Rome: Gangemi editore, 1995.
Nagy, Pál. Az irodalom úm mufajai, 330, 332, 333, 350–352, 360. Budapest: Magyar Muhely, 1995.
Brockhaus Enzyklopädie, Bd. 30, 344. Mannheim: Bibliographisches Institut and FA Brockhaus AG, 1996.
Jane Turner, ed. The Dictionary of Art, 428. London: MacMillan Publishers, 1996.
The 20th Century Art Book, 202. London: Phaidon Press, 1996.
Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall College Division, 1996.
Le Thorel-Daviot, Pascale. Petit Dictionaire des Artistes Contemporains, 119, 120. Paris: Bordas, 1996.
Petho, Bertalan. Post-postmodernism: The Nineties: Opinions and Philosophical Investigations Concerning Our Change of Era, 119, 120, 97, 295, 315, 316, 318–320, 336, 342, M. vi, vii, xx. Budapest: Platon, 1997.
Marcoci, Roxana, Diana Murphy, and Eve Sinaiko, eds. New Art, 65, 66. New York: Harry N. Abrams, 1997.
Archer, Michael. Art since 1960. London: Thames and Hudson, 1997.
ZKM–Center for Art and Media Karlsruhe, 92, 97. Munich and New York: Prestel, 1997.
Der elektronische Raum: 15 Positionen zur Medienkunst, 146–59. Bonn: Kunst-und Ausstellungshalle der Bundesrepublik Dueuschland, 1998.
Walther, Ingo F., ed. Vol. 2 of Art of the Twentieth Century: Painting, Sculpture, New Media, Photography, 614, 615. Cologne: Taschen, 1998.
Goldberg, RoseLee. Performance: Live art since 1960, 31, 172. New York: Harry N. Abrams, 1998.
Kunstmuseum Wolfsburg Gesammelte Werke 1 Zeitgenössische Kunst seit 1968, 218–225. Wolfsburg: Kunstmuseum Wolfsburg, 1999.
Frames of Reference: The Rockefeller Foundation Film/Video/Multimedia Fellowship Awards 1988–1999, 11, 13, 86, 126, 129. New York: The Rockefeller Foundation, 1999.
Fineberg, Jonathan, ed. Art Since 1940: Strategies of Being, Second Edition, 488–490. New Jersey: Prentice Hall, 2000.
Treasures from The Art Institute of Chicago, 327. Chicago: The Art Institute of Chicago, 2000.
Pontbriand, Chantal. Communauté et Gestes, 49, 68. Montréal: Les Éditions PARACHUTE, 2000 .
Mauron, Véronique. Le signe incarné: ombres et reflets dans l’art contemporain, 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. Paris: Éditions Hazan, 2001.
Davidson, Cynthia C., ed. Anything, 163–170. New York: Anything Corporation; and Cambridge: The MIT Press, 2001.
Riemschneider, Burkhard and Uta Grosenick, eds. Art Now, 68–69. Cologne: Taschen, 2001.
A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program 1966–1995, 21–22, 67. New York: Harry N. Abrams, 2001.
Acquisitions 1992–2001, 9, 56–57, 120. Rochechouart: Musée Départemental d’art Contemporain de Rochechouart, 2001.
American Visionaries: Selections from the Whitney Museum of American Art, 139. New York: Whitney Museum of American Art, 2001.
L’image au collège, 72. Paris: Éditions Belin, 2002.
Commitment: The Rockefeller Foundation Media Arts Fellowships 1988–2002, 7, 106. New York: The Rockefeller Foundation, 2002.
Bienal 50 Anos 1951–2001, 243. São Paulo: Fundação Bienal de São Paulo, 2001.
Israel, Glenis. Artwise 2: Visual Arts 7–10, 20–23. Milton: John Wiley & Sons Australia, Ltd., 2002.
White Cube, Vol. I., unpaginated. Göttingen: Steidl Publishers, 2002.
White Cube, Vol. II., 100–101. Göttingen: Steidl Publishers, 2002.
Davinio, Caterina. Tecno-Poesia e realtà virtuali, 195–198. Mantova: Commune di Mantova, 2002.
Breidbach, Angela. “Raumgewinn Im Netz Der Orte Das Werk CRUX von Gary Hill im bildwissenschaftlichen Labor.” In Die Sache Selbst, edited by Silke Opitz and Gerhard Wiesenfeldt, 42–57. Weimar: Bauhaus-Universität, 2002.
Skowhegan 2003 Awards Dinner, unpaginated. New York: Skowhegan, 2003.
Conservering van de Nederlandse videokunst collectie: De houdbaarheid van videokunst [Preservation of Dutch video art collections: The sustainability of video art], 70–71, 72–73, 76–77, alphabetical artist listing (unpaginated section). Amsterdam: Stichting Behoud Moderne Kunst, 2003.
Belting, Hans. Art History After Modernism, 5, 91, 92–93, 94–95, 104, 201, 211 (cover photo). Chicago: The University of Chicago Press, 2003.
Valentini, Valentina. Le Pratiche del video, 191–218, 353–356. Rome: Bulzoni Editore, 2003.
Blocker, Jane. What the Body Cost: Desire, History and Performance, 36–39. Minneapolis: University of Minnesota Press, 2004.
Fondation Cartier pour l’art contemporain, 155, 284–285, 367. Paris: Fondation Cartier pour l’art contemporain, 2004.
Kunstmuseum Wolfsburg, The First Ten Years, 140–141, 201. Wolfsburg: Kunstmuseum Wolfsburg, 2004.
Perry, Gill and Paul Wood, eds. Themes in Contemporary Art, 6, 34, 222–223, 224. New Haven: Yale University Press/The Open University, 2004.
Plate, Brent. “The State of the Arts and Religion: Some Thoughts on the Future of a Field.” In Reluctant Partners, edited by Ena Giuresca Heller, 48–65. New York: The Gallery at the American Bible Society, 2004.
Tomas, David. Beyond The Image Machine: A History of Visual Technologies, 46. London: Bloomsbury Academic, 2004.
Traeger, Jörg. Kopfüber, Kunst am Ende des 20. Jahrhunderts, 141, 146–147, 161. München: Verlag C.H. Beck, 2004.
Lundgaard, Ida Braendholt, Teddy Josephsen, and Julie Blicher Trojaborg, eds. Moderne kunst i dansk 3: ‘Man kan vel se, hvad det er,’ 24–27, 69. Copenhagen: Gyldendalske Boghandel, 2005. Educational book.
Ede, Siân. Art & Science, 111–112. London: I.B. Tauris, 2005.
Daniel, Noel, ed. Broken Screen: 26 Conversations with Doug Aitken: Expanding the Image, Breaking the Narrative, 154–161. New York: D.A.P./Distributed Art Publishers, 2006.
Martin, Sylvia. Video Art, 2, 19–20, 57–58. Cologne: Taschen, 2006.
Brockhaus Enzyklopädie in 30 Bänden, 21, 463. Mannheim: Bibliographisches Institut and FA Brockhaus AG, 2006.
Thorel, Benjamin. L’art contemporain et la télévision, 116–117. Paris: Editions Cercle d’Art, 2006.
Kaye, Nick. Multi-Media: Video, Installation, Performance, 26, 131–139, 210. London: Routledge, 2007.
10 Jahre Sammlung: Sal. Oppenheim, 435. Luxembourg: Sal. Oppenheim jr. & Cie, S.C.A., 2007.
MoMA Highlights Since 1980, 110. New York: The Museum of Modern Art, 2007.
Dupont, Chantal. “Concept de circularité dans la structuration narrative de l’oeuvre chez Madelon Hooykaas/Elsa Stansfield et Gary Hill.” In 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.
Spielmann, Yvonne. Video: The Reflexive Medium, 101, 104–105, 108–110, 124, 191–197, 249–253. Cambridge: The MIT Press, 2008.
Lissoni, Andrea. “Video and Contemporary Art: History of a Not Too Invisible Ghost.” In Electronic Lounge, La Donazione Halevim al Museo del Novecento, edited by Edoardo Gnemmi and Iolanda Ratti, 20–22. Milan: Carlo Cambi Editore, 2008.
Schürmann, Eva. Sehen als Praxis, Ethisch-ästhetische Studien zum Verhältnis von Sicht und Einsicht suhrkamp taschenbuch wissenschaft, 28, 214–216, 219, 241. Frankfurt: Suhrkamp Verlag, 2008. In German.
Comer, Stuart, ed. Film and Video Art, 6–7, 75, 85, 101. London: Tate Publishing, 2009.
Douglas, Stan and Christopher Eamon, eds. Art of Projection, 20, 142–143. Ostfildern: Hatje Cantz Verlag, 2009.
Noble Gäste: Meisterwerke der Kunsthalle Bremen in 22 deutschen Museen, 204. Bremen: Hachmannedition, 2009.
Bishop, Janet, Corey Keller and Sarah Roberts, eds. San Francisco Museum of Modern Art: 75 Years of Looking Forward, 288–289, 420. San Francisco: San Francisco Museum of Modern Art, 2009.
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, 186, 228–299. London: Black Dog Publishing, 2009.
Quasha, George. “Gary Hill.” In 100 Video Artists, edited by Rosa Olivares y Asociados, 30, 218–221, 459. Madrid: EXIT Publicaciones, 2010. In Spanish and English.
Quasha, George. “Electronic Linguistics.” In Switching Codes: Thinking Through New Technology in the Humanities and the Arts, edited by Thomas Bartscherer and Roderick Coover, 249–274. Chicago: University of Chicago Press, 2010. Revised version reprinted in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 65–95. Barcelona: Ediciones Polígrafa, 2009.
L’OR dans l’art contemporain, 194–196. Paris: Flammarion, 2010. In French.
Israel, Glenis. Artwise 2: Visual Arts 9–10. Second Edition, 69–71. Milton: John Wiley & Sons Australia, Ltd., 2011.
Wagner, Ethan and Thea Westreich. Collecting Art for Love, Money, and More, 179. London: Phaidon Press, 2013.
Derrida, Jacques. Penser à ne pas voir: Écrits sur les arts du visible 1979–2004, 9, 11, 299–306. Paris: Essais/Éditions De La Différence, 2013. In French.
Bellour, Raymond. Between-the-Images, 73, 181, 268–273, 344, 392. Zurich: JRPI Ringier, 2013.
High, Kathy, Sherry Miller Hocking, and Mona Jimenez. Vol. 1 of The Emergence of Video Processing Tools: Television Becoming Unglued, 19–20, 22–23, 162, 356, 469, 519, 521, 532–534, 540, 572–574. Bristol: Intellect, 2014.
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, 91, 116, 134, 166, 167, 170, 171, 193, 249, 278, 283, 288, 300, 310, 327. São Paulo: Edições Sesc São Paulo and Associação Cultural Videobrasil, 2014-2015. In English and Portuguese.
Robertson, Larry. The Language of Man: Learning to Speak Creatively, 28, 59, 241, 381. Arlington: Daymark Press, 2016.