JOHN MILLER


Exhibitions  

1980-1985

1986-1989

1990-1995

1996-1999

2000-2005

2006-2009

2010-2015

2016-Present



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© 2005-2016

Born 1954, Cleveland, Ohio, lives and works in New York City and Berlin. Attended Rhode Island School of Design, Providence, Rhode Island, 1977, BFA; Whitney Museum of American Art Independent Study Program, New York, 1978; California Institute of the Arts, Valencia, California, 1979, MFA



Solo Exhibitions | Group Exhibitions | Periodicals | Catalogs

Abject Art: Repulsion and Desire in American Art. New York: the Whitney Museum of American Art, 1993, curated by Craig Houser, Leslie C. Jones and Simon Taylor with texts by the curators and Jack BenLevi.

After the Observatory. New York: Paula Cooper Gallery, 2003, curated with text by Robert Nickas.

All You Can Eat.  Leipzig: Galerie für Zeitgenössische Kunst, 2000, curated by Stephanie Sembill with texts by Jan Winkelmann, Stephanie Sembill, Helen Molesworth and John Miller.

Altered States: American Art in the 90s. St. Louis: Forum for Contemporary Art, 1995, curated with text by Jeanne Greenberg and Robert Nickas.

American Art Today: Fantasies & Curiousities.  The Art Museum at Florida International University, 2000, curated by Dahlia Morgan with text by Dominique Nahas.

American Exuberance. Miami: The Rubell Family Collection, 2011, Juan Roselione-Valadez, ed. with texts by Kathryn Andrews, Frank Benson, Hannah Greely, Thomas Houseago, Richard Jackson, Rashid Johnson,Nate Lowman, John Miller, Richard Prince, Sterling Ruby, Haim Steinbach, Ryan Trecartin and Kaari Upson.

Amerikana.  Realismus Studio NBGK, Neue Gesellschaft für Bildende Kunst e.v., 2009, curated with text by Frank Wagner.

Anni Novanta. Bologna: Galleria Communale d'Arte Moderna, Musei Communali (Rimini) and ex colonia "Le Navi" (Cattolica), 1991, curated by Renato Barilli, Dede Auregli and Carlo Gentili with texts by Renato Barilli, Jan Avgikos, Jose Lebrero Stals, Francoise Claire Prodhon, Dede Auregli and Roberto Daolio.

Art - a Sex Book.  London: Thames & Hudson, 2003, by John Waters and Bruce Hainley.

Art at the End of the 20th Century: Selections from the Whitney Museum of American Art.  New York: the Whitney Museum of American Art, 1996, curated by David A.  Ross and Eugenie Tsai with text by Johanna Drucker.

Art Dealers: the Power Behind the Scenes, New York: Crown Books, 1987, edited by Laura de Coppet and Alan Jones.

Art Focus 4. Jerusalem: International Biennial of Contemporary Art, Museum of the Underground Prisoners, 2004, curated by Suzanne Landau and Yigal Zalmona.

Art Meets Ads.  Düsseldorf: Kunsthalle Düsseldorf and Edition Cantz, 1992, curated by Jurgen Harten and Michael Schirner, texts by Jurgen Harten and Thomas Schütte.

Art Supplies and Utopia. Stuttgart: Galerie Ralph Wernicke, 1990, text by John Miller.

Artists'  Books. Barcelona: Metronom, 1982.

Artist/Author: Contemporary Artists' Books. New York: Distributed Art Press, 1997, by Cornelia Lauf and Clive Phillpot. (ill.)

 Autoportraits Contemporains: Here's Looking at Me. Lyon: Espace Lyonnais d'Art Contemporain, 1993, text by Bernard Brunon.

Avant Garde and After.  New York: Harry Abrams, 1995, by Brendon Taylor.

Avant 1989. Lyon: Frac RhoneAlpes, 1989, curated by Haim Steinbach, text by Ronald Jones.

Bad Bad: That Is a Good Excuse. Staatliche Kunsthalle Baden-Baden, 1999, curated with text by Margrit Brehm.

Bad New Days. London: Verso Books, 2015 by Hal Foster.

Benefit Exhibition for AIDs Research, New York: Loughelton, Metro Pictures et al. and Jay Chiat, 1987.

Between Two Deaths. Karlsruhe, Germany: ZKM, Center for Art and Media, 2007, curated by Ellen Blumenstein and Felix Ensslin, texts by the curators and André Rottmann, Doreet LeVitte Harten, Alain Ehrenberg, Eva Illouz, Snoia Arribas, Howard Rouse, Slavoj Zizek, Laurence A. Rickels, Mika Hannula, John Miller, Dan Graham and Robin Hurst.

The Big Nothing. Philadelphia: the Institute of Contemporary Art, University of Pennsylvania, 2004, curated by Tanya Leighton, Ingrid Schaffner and Bennett Simpson, texts by the curators and Paula Marincola.

CalArts: Skeptical Belief(s). Chicago: the Renaissance Society and the Newport Harbor Art Museum (Newport Harbor), 1987, curated by Suzanne Ghez, texts by Susan Davis,Catherine Lord, John Miller et al.

Boogie Woogie Wonderland

Candy Factory Projects: Boogie-Woogie Wonderland. Yamaguchi, Japan: Akiyoshidai International Art Village, 2003, curated by Takuji Kogo.

Le Capital : tableaux, diagrammes & bureaux d'etudes.  Sete: Centre Régional d'Art Contemporain Languedoc-Roussillon, 1999 curated with text by Nicolas Bourriaud.

Catalog of the Exhibition: 1984 - 2011. Los Angeles: 2nd Canon Publications, 2011, by Robert Nickas.

Correspondences: New York Art Now. Tokyo: La foret Museum, 1985, essay by Alan Jones.

A Climate of Site. Amsterdam: Galerie Barbara Farber, 1989, curated and text by Robert Nickas.

Cloaca Maxima. Zurich: Cantz Verlag, 1994, curated by Hans Ulrich Obrist, texts by Peter Fend, Paul Armand Gette, Leon Golub, Al Hansen, Ilya Kabakov, Mike Kelley, John Miller and Hans Ulrich Obrist.

A Collection: Made in the U.S.A. Rotterdam: Caldic Chemie, B.V.,1993, essay  by Yvette van Caldenborgh and Macha Roesink.

Consolation Prize: Mike Kelley & John Miller. Vancouver: the Morris and Helen Belkin Art Gallery, curated by Roy Arden with texts by Roy Arden, John Miller, Shep Steiner and William Wood.

Critical Mass. New Haven: Yale University and Dallas: Dallas Artists Research and Exhibition, 1994, essay by Charles Long.

Dark Places. Santa Monica: Santa Monica Museum of Art, 2006, curated and text by Joshua Decter.

Der Spiegel des Narziss: vom mythologischen Halbgott zum Massenphänomen. Innsbruck: Galerie im Taxispalais, 2012, curated by Jrgen Tabor with texts by Beate Ermacora, Publius Ovidius Naso, Maren Welsch, Sylvia Zwettler-Otte, Christian Hartard, Markus Neuwirth, Silvia Höller, Lotte Dinse, Peter Weiermair, Susanne Petersen, Julia Brannacher and Dieter Ronte.

Das Jahrhundert des Multiple: von Duchamp bis zur Gegenwart. Hamburg: Oktagon Verlag, 1994, with texts by Zdenek Felix, Stefan Germer, Claus Pias and Katerina Vatsela.

Dirty Data. Aachen: Forum Ludwig, 1992, curated by Wilhelm Schurmann, texts by John Miller, Hirsch Perlman and Jeanne Dunning.

Disappearances. New York: Nahan Contemporary Arts, 1989, curated and text by Robert Morgan.

Display.  Copenhagen: Charlottenborg Exhibition Hall, 1997, curated by Mikael Andersen with texts by Lars Bang Larsen, Malene la Cour Rasmussen, Mai Misfeldt and Kristine Kern.

Do It: the Compendium. New York: Independent Curators International/D.A.P., 2013, curated by Hans- Ulrich Obrist with texts by Kate Fowle, Frances Wu Giarratano, Bruce Altschuler, Virginia Prez- Ratton, Hu Fang and Elizabeth Presa.

Do It.  Reykjavik: Museum in Progress, 1996, curated with text by Hans-Ulrich Obrist.

Don't Look Now. New York: Thread Waxing Space, 1994, curated and text by Joshua Decter.

Parallel Economies

Economies Paralleles/Parallel Economies. Grenoble: Le Magasin, 1999, curated by Yves Aupettitalot and Lionel Bovier with texts by Yves Aupettitalot, Lionel Bovier, Mike Kelley, John Miller, Robert Nickas and Nancy Specter.

Expérience de la durée, Lyon: La Biennale d'Art Contemporain, 2005, curated by Nicolas Bourriard and Jérôme Sans with texts by Thierry Raspail, Nicolas Bourriard and Jérôme Sans.

Empire State: New York Art Now!. Rome: Palazzo delle Esposizioni, 2013, curated by Alex Gartenfeld and Norman Rosenthal with texts by Tom McDonough, John Miller, Eileen Myles, Alex Gartenfeld and Norman Rosenthal.

For Which It Stands: Americana in Contemporary Art. New York, New York, Faramah Media, 2012, curated with text by Carla Sakamoto.

From the Pandemonium of the Studio to the Order of the Showroom: the Dangers of Tourism. New York:

The Turon Travel Agency and New Observations, No. 63 (December 1988) curated by Jan Avgikos and Michael Corris with texts by Michael Corris, Silvia Kolbowski, Cornelia Lauf, Pat McCoy, John Miller, Robert Nickas et al.

Get Together: Kunst als Teamwork, Vienna: Kunsthalle Wien, 1999, curated by Marion Piffer Damiani, Paolo Bianchi, Wolfgang Fetz and Gerald Matt with texts by Marion Piffer Damiani, Michel Onfray, Julio Velasco, Karin Knoor-Cetina, Angela Vettese, Sabine B. Vogel, Peter Lewis and Craig Saper.

getting to kNOw you. Berlin: Kunstlerhaus Bethanien, 1992, curated by Dean McNeil and Christoph Tannert, texts by Thomas Kruger, Manfred Hermes, Kirby Gookin, Ingrid Wagner Kantusser, Frank Wagner, Barbara Straka and Lukas Duwenhogger.

Gullivers Reisen/Gulliver's Travels. Koln: Galerie Sophia Ungers and DuMont Buchverlag, 1991.

The Human Factor: the Figure in Contempoary Sculpture. London: Southbank Centre, Hayward Publishing, 2014. Curated by Ralph Rugoff with texts by Penelope Curtis, Martin Herbert, Lisa Lee, James Lingwood and Ralph Rugoff.

Infinitesimal Eternity – Images Made in the Face of the Spectacle.  New Haven Connecticut: Yale University
  School of Art, 2009, curated with texts by Nathan Azhderian, Amy Beecher, Erik Gonzalez, George Rush
   and Natalie Westbrook.

Inside/Outside. Milwaukee, Wisconsin, 2012, curated with texts by Polly Morris, Linda Wervey Vitamvas, Kevin Giese, Eddee Daniel Philip Krejcarek, Shana McCaw, Brent Budsberg, Kevin Schlei, Lynn Tomaszewski, Amy Cropper, Stuart Morris, Piper Marshall and John Riepenhoff.

Intervention.  Berlin: Stiftung Stärke, curated with text by Thomas Büsch, 1996.

Jet Lag. Frankfurt: Galerie Martina Detterer, 1994, curated with text by Gert Rappenecker.

John Miller, Christina Frey, Photographien aus der Sammlung Allan Porter. Liestal, Switzerland: Kunsthalle Liestal, 1994, curated by Hedy Grabber, Niggi Messerli and Philip Ursprung with texts by Hedy Grabber and Philip Ursprung.

John Miller: Wolfgang-Hahn-Preis 2011. Köln: Gesellschaft für Moderne Kunst am Museum Ludwig, 2011 with texts by Dr. Wolfgang Bornheim, Hanspeter Sauter, Ann Goldstein, and John Miller.

Just Pathetic. Los Angeles: Rosamund Felsen Gallery, 1990, curated and text by Ralph Rugoff.                

Kitakyushu Biennial '07. Moji-Ko, Kitakyushu, Japan, the Kitakyushu Art Institute, 2007, curated by Takuji Kogo with text by Yoshitaka Mouri.

LACE: 10 Years Documented. Los Angeles: Los Angeles Contemporary Exhibitions, 1988, with texts by Nancy Drew, Karen Moss, William Olander and Renny Pritikin.

(Landschaft) mit dem Blick der 90er Jahre. Koln: Walther Konig, 1995, curated with texts by Klara Wallner and Kathrin Becker and additional texts by Beat Wyss, Bojana Pejic, Eva & Adele and Schulze.

Larger Than Life; Stranger Than Fiction. 11th Triennale Kleinplastick Fellbach, Fellbach, Germany: 2010, curated by Ulrike Groos and Heike van den Valentyn with texts by Sabine Becker, Maurizio Cattelan, Jennifer Crowley, Sandra Dichtl, Ulike Groos, Nina Gülicher, Alexandra Horn, Georg Imdahl, Heinz-Norbert Jocks, Katharina Koppenwallner, Magdalena Kröner, Gertrud Peters, Sarah Sondernkamp, Dagmar Streckel and Heike Valentyn.

Laying Low. Oslo: Kunstnernes Hus Oslo, 1997, curated with essay by Ǻsmund Thorkildsen.

Let' s Talk About Art. Kitakyushu and Kyoto, Japan, 1999, edited by Nobuo Nakamura and Akiko Miyake.

Live in Your Head. Wien: Hochschule fur Angewandte Kunst and Galerie Metropole, 1993, curated and text by Robert Nickas.

L'object. Annemasse and Lyons, France: Villa due Parc and F.R.A.C. RhoneAlpes, 1995, curated by Thierry Chivrac with texts by Jeanne-Pierre Keller, Francois Bazzoli, Marie-Jose Muller-Lloreq, Thierry Chivrac et al.

The Louis Comfort Tiffany Foundation 1989 Awards. New York: the Louise Comfort Tiffany Foundation, 1989.

Lost Illusions. Vancouver: Vancouver Art Gallery, 1991, curated and text by Denise Oleksijezuk.

Magasin 1986-2006. Grenoble and Zurich: Magasin CNAC and JRP Ringier, 2006, cuarated and text by Yves Aupetitallot.

Manifest-O. Brooklyn, New York: Concrete Utopia, 2010, curated by Melanie Kress and Rosie DuPont with foreword by Melanie Kress.

Mapping. New York: Museum of Modern Art, 1994, curated and text by Robert Storr.

Middle Man. New York: Three’s Company, 2010, curated by Alex Gartenfeld and Piper Marshall with texts by the curators and Dan Graham, Nicolás Guagnini and John Miller.

Mixed Use Manhattan: Photography and Related Practices, 1970s to Present. Cambridge, Massachusetts: The MIT Press and Madrid: Museo Nacional Centro de Arte Reina Sofia, 2010, curated by Lynne Cooke, Douglas Crimp and Kristin Poor with texts by Danny Lyon, Lynne Cooke, Shunk-Kender, Dourglas Crimp, Juan A. Suárez, David Wojnarowicz, Emily Roysdon, Johanna Burton, Lytle Shaw, Glenn Ligon and Lena Sze.

The Mutated Paintingsi  Frankfurt: Galerie Martina Detterer, 1995, curated and text by Martina Detterer.

Nachschub: the Koln Show. Koln: Galeries Daniel Buchholz, Gisela Capitain, Tanja Grunnert, Max Hetzler, Jablonka, Isabella Kacprzak, Esther Schipper, Monika Spruth, Sophia Ungers and Spex Magazine, 1990, texts by Diedrich Deiderichsen, Isabelle Graw, Jutta Koether, John Miller et al.

Nachtschattengewasche. Kassel: Museum Fridericianum, 1993, curated by Veit Loers with texts by Jan Avgikos, Diedrich Diedrichsen and Veit Loers.

The Naming of the Colors. New York: White Columns, 1993, curated by Bill Arning and Kirby Gookin with text by Kirby Gookin.

New Dystopia. Berlin: Sternberg Press and Bordeaux: capc Musée d'Art Contemporain de Bordeaux, 2011, curated by Alexis Vallient with novel by Mark von Schlegell.

Nine Painters. Buffalo, New York: Hallwalls, 1983, curated by Claudia Gould.

No. 1: First Works by 362 Artists. New York: DAP, 2006, ed. Francisca Richer and Matthew Rosenzweig.

Now Entering Brooklyn. New York, New York: Public Art Fund, 2003, "Sandwiched," curated with interviews by Jacob Fabricius et al.

of EverEver land i speak. New York: Stux Gallery, 1987, curated with essay by Christian Leigh.

Der Offentliche Blick. Jahresring 38. Munchen: Verlag Silke Schreiber, 1991, edited by Kasper Konig and Hans-Ulrich Obrist.

Olaf Breuning, Tony Matelli, John Miller, Moscow, Gary Tatintsian Gallery, 2015.

Open Air. Bremen: Galerie Gruppe Grun and Zitty Verlag, 1993, curated by Andreas Wegner with texts by  Marius Babias, Buro Bert, John Miller, Minimal Club, Heino Stover, Andreas Wegner et al.

Performative Installation

Performative Installation.  Vienna: and Köln the Secession and Snoeck Verlagsgesellschaft GmbH, 2003, curated by Silvia Eiblmayr, Kasper König, Barbara Engelbach, Eva Maria Stadler and Barbara Steiner, edited by Angelika Nollert.

Pittura Immedia: Malerei in den 90er Jahren. Graz: Neue Galerie am Landesmuseum Joanneum Graz and Klagenfurt: Verlag Ritter, 1995, curated and text by Peter Weibel.

Pl@ytimes.  Grenoble: Le Magasin, 1999, curated by Charles Barachon, Keren Detton, Reiko Setsuda and karine vonna with texts by Charles Barachon, Christophe Chérix, Cynthia Delbart, Keren Detton, Liam Gillick, Pierre Joseph,  Milos Manetas, Philippe Parreno, Julien Prévieux, Reiko Setsuda, karine vonna and Eric Zimmerman

Positionen Hedendaagse Oostenrijkse Kunst.  Knokke-Heist, Belgium: vzw Cultureel Centrum Knokke-Heist and Vienna: Kunst Stiftung Ludwig, 1998, curated and edited by Lóránd Hegyi.

Precise Models.  Belgrade, Serbia: Gallery Remont, 2003, curated by Marko Lulic with text by Thomas Trummer.

Prise directe. Dijon: les presses du réel, 2002, Lionel Bovier and Christophe Cherix, eds.

The Promise of Photography: the DG Bank Collection.  Munich: Prestel Verlag, 1998, edited by Luminita Sabau with essays by Boris Groys, Rosalind E. Krauss and Paul Virilio.

Radikale Bilder

Radikale Bilder. Volume 1. Graz: Neue Galerie am Landesmuseum Joanneum, Graz. Graz: Neue Galerie and Camera Austria, 1996, curated by Dr. Werner Fenz and Reinhard Braun with texts by Paolo Bianchi, Reinhard Braun, Andreas Broeckmann, Werner Fenz, Frits Gierstberg, Justin Hoffmann, Andreas Spiegl and Janka Vukmir. 

A Refusal to Accept Limits. Zürich, Switzerland: Kunsthalle Zürich and JRP/Ringier Kunstverlag AG, 2010, curated by Beatrix Ruf with texts by Alexander Alberro and Norra Alter, Branden W. Joseph and Jutta Koether.

The Return of the Real: the Avant-Garde at the End of the Century.  Cambridge, Massachusetts: The MIT Press, 1996, by Hal Foster.

Road Atlas: Street Photography from Helen Levitt to Pieter Hugo. Munich: Hirmer Verlag GmBH and Frankfurt: DZ Bank Kunstsammlung, 2011, edited by Beate Kemfert and Christina Leber with texts by Freddy Langer, Hubert Beck, Adrian Giacomelli, Felix Hoffmann and Janina Vitale.

Robert Walser and the Visual Arts: Pro Helvetia Swiss Lecturship 9. New York: The Graduate School and University Center, The City University of New York, 1996, edited by Tamara S.  Evans. 

Rock Sucks Disko Sucks

Rock Sucks/Disko Sucks. Berlin: daadgalerie, 1992, texts by Dennis Cooper, Isabelle Graw and Nancy Spector.

Romantik Kunst in der Gegenwart: Sammlung Murken. Koln: Wienand Verlag, 1993, curated by Axel and Christa Murken with texts by Raimund Girke, Alice Stepanek and Steve Maslin, Johannes Muggenthaler, Anne Lock, Thomas Kohl, Peter Bommels, Holger Bonk, Robert Rosenblum, Christa Murken, Axel Murken, Margot Klutsch, Gabriele Uelsberg and Wolfgang Becker.

Sam Durant. Dusseldorf: Hatje Cantz Verlag, 2002, curated by _____ with texts by _______.

Scream.  Karlskrona, Sweden: Farbfabriken, 2004, curated by Ola Pehrson and Takuji Kogo.

Selections. New York: Artists' Space, 1983, curated by Linda Shearer.

Self Evidence. Los Angeles: Los Angeles Contemporary Exhibitions, 1989, curated and text by Larry Rinder.

Sendezeit: a Space Without Art. Berlin: Klara Wallner, 1993, curated by Klara Wallner with texts by Klara Wallner, Adib Fricke, Maria Eichhorn, Ulrich Giersch, Silvia Ziranek, Bettina Allamoda, Richard Wilson, John Miller and Perdita von Kraft.

Sex and Language. Toronto: Garnet Press, 1990, curated and text by Chrysanne Stathakos.

Sie traumt von ihrem Lieblingsstar; Er spricht it einer fremden Sprache. Dusseldorf: K21, Kunstsammlung Nordrhein-Westfalen, 2002, curated by Wilhelm Schurmann, with a foreword by Armin Zweite and texts by Julian Heynen, Doris Krystof, Mel Chin, Morgan Fisher, Jack Goldstein, Mike Kelley, Zoe Leonard, T. Kelly Mason

Smart Art. New York: Point, No. 1, 1984, edited and texts by Joseph Masheck.

The Sociographic View. Köln: Verlag der Buchhandlung Walther König, 2006, edited by Stefan Bindner.

Someone Else With My Fingerprints.  Köln: Salon Verlag 1997, curated by Wilhelm Schurmann with text by Hanjo Berressem.

Spur, No. 4, the Cheap Champagne Issue.  Hamburg: Material Verlag and Frankfurt: Revolver, Archiv fur aktuelle Kunst, 2004, edited by Christoph Keller.

Suture  Phantasmen der Volkommenheit. Salzburg: Salzburger Kunstverein, 1994, curated by Silvia Eiblmayr with texts by Parveen Adams, Silvia Eiblmayr and Kaja Silverman.

Symposium: Suture  Phantasmen der Volkommenheit. Salzburg: Salzburger Kunstverein, 1995, texts by Parveen Adams, Valie Export, John Miller, Orlan, August Ruhs and Kaja Silverman.

synSERVICE. Chicago: Robin Lockett Gallery, 1988.

Take It or Leave It: Institution, Image, Ideology.  Los Angeles: Hammer Museum, 2014, curated by Anne Ellegood and Johanna Burton with texts by George Baker, Johanna Burton, Julia Bryan-Wilson, Ann Butler, Gavin Butt, Anne Ellegod, Ruth Erickson, Leora Morris, Corrina Peipon and Marvin J. Taylor.

Tell Me a Story.  Grenoble: Le Magasin, Centre National d'Art Contemorain, 1998, curated with text by Yves Aupetitallot.

temporary translations. Hamburg: Deichtorhallen Hamburg, 199495 with introduction by Zdenek Felix.

The Uncanny, Sonsbeek '93, Arnhem, the Netherlands: Geementemuseum Arnhem and Los Angeles: Fred Hoffman, 1993, curated with text by Mike Kelley.

The Use of Pleasure. San Francisco: Terrain Gallery, 1994, curated by Robert Nickas with texts by Dan Graham, Peter Halley, Jutta Koether, John Miller, David Robbins and Joan Wallace.

Television(s): Kunst Seiht Fern. Vienna: Kunsthalle Wien, 2001, curated by Joshua Decter with texts by Jose Luis Brea, Joshua Decter, Justin Hoffmann, Gabriele Mackert and Robert Riley.

Thirty Three Women: Three Poems by Pablo Picasso. Zurich: Thomas Ammann Fine Art, 2003.

Trade: Waren, Wege und Werte in Welthandel Heute.  Winterthur, Switzerland: Fototmuseum Winterthur and Zurich: Scalo, 2001, curated by Thomas Seelig and Urs Stahel with texts by Martin Jaeggi Thomas Seelig and Urs Stahel.

Viewpoints Towards the 90s: Three Artists from Metro Pictures, Part II. Tokyo: Seibu Department Store, 1990, text by Ronald Jones.

With Reference To: Hans Haacke. Köln: Verlag der Buchhandlung Walther König, 2011, ed. Hans Dickel. (ill.)

1991 Biennial Exhibition. New York: Whitney Museum of American Art, 1991, curated and texts by Richard Armstrong, John G. Hanhardt, Richard Marshall and Lisa Phillips.