“Critic’s Page on Nicolas Poussin,” BROOKLYN RAIL (September 2025), with contributions by ALI BANISADR, JOHN CURRIN, DAVID CARRIER, JULIA OSCHATZ, RICHARD SHIFF, MATVEY LEVENSTEIN, ELIZABETH CROPPER, HENRY KEAZOR, DOROTHY KOSINSKI, RACHEL FEINSTEIN, STEPHEN DEAN, TODD OLSON, JAMES HYDE, and ALEKSANDER DURAVCEVIC.
YOUR VERY HUMBLE AND VERY AFFECTIONATE SERVANT: THE LETTERS OF NICOLAS POUSSIN (1630–1665), translated, annotated, and with an introduction by Klaus Ottmann (Spring Publications, 2025).
YVES KLEIN/SHUNK-KENDER: Der Sprung in die Leere. Ein Bild und seine Geschichte. Text by Klaus Ottmann (SchirmerMosel, 2026).
THOUGHT THROUGH MY EYES. Writings on Art, vol. 1: 1977–1999; IN AND OUT OF THE MUSEUM. Writings on Art, vol. 2: 2000–2012. Text and photographs by Klaus Ottmann (Spring Publications, Fall 2025).
Photo: Witold Riedel
Klaus Ottmann is an independent curator, writer, and translator based in New York City and Chief Curator Emeritus of THE PHILLIPS COLLECTION in Washington, D.C. He is also the publisher and editor of SPRING PUBLICATIONS, a small publishing press specializing in books on psychology, philosophy, religion, the history of ideas, mythology, classics, comparative literature, art, and ecology. From 1991 to 1995 he was the publisher and editor of the JOURNAL OF CONTEMPORARY ART. In 2016, Dr. Ottmann was conferred the insignia of Chevalier of France’s Order of Arts and Letters by the French ministry of culture and communication. In 2023, he received the Extraordinary Contribution to The Phillips Collection Award.
At the Phillips he curated the exhibitions Nordic Impressions: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018; George Condo: The Way I Think; Arlene Shechet: From Here On Now; Karel Appel: A Gesture of Color; Hiroshi Sugimoto: Conceptual Forms and Mathematical Models; Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet; and Per Kirkeby: Paintings and Sculpture. He also oversaw the installation of a second permanent installation at the Phillips, a Wax Room created by Wolfgang Laib. Dr. Ottmann has curated more than 50 international exhibitions, including Jennifer Bartlett: History of the Universe. Works 1970–2011; Still Points of the Turning World: SITE Santa Fe’s Sixth International Biennial; Life, Love, and Death: The Work of James Lee Byars; Wolfgang Laib: A Retrospective; and Strange Attractors: The Spectacle of Chaos.
His publications include Yves Klein by Himself: His Life and Thought; The Genius Decision: The Extraordinary and the Postmodern Condition; and The Essential Mark Rothko. In 2006, he translated and edited Yves Klein's complete writings from French into English, Overcoming the Problematics of Art: The Writings of Yves Klein. In 2010, he edited and translated F.W.J. Schelling’s Philosophy and Religion (1804) and in 2020, he edited and translated Schelling’s Philosophy of Revelation (1842–42) and related texts from German into English. In 2022, he translated the first part of Christian Wolff’s 1730 First Philosophy, or Ontology from Latin into English. He is currently working on the first complete translation of Nicolas Poussin’s correspondence from French and Italian into English and German.
contact:
ko at nyc.rr.com
With GEORGE CONDO at The Phillips Collection, Washington, D.C., 2017 (Photo: Rhiannon Newman)
With ARLENE SHECHET at The Phillips Collection, October 2016 (Photo: Rhiannon Newman)
A NEW SUBJECTIVITY 1979/2024
Works by Balthus, Jordan Casteel, Martí Cormand, Peter Doig, Rackstraw Downes, Robert Guinan, Jenna Gribbon, Jane Freilicher, David Hockney, Alex Katz, Howard Kanovitz, R. B. Kitaj, Danielle Mckinney, Raymond Mason, Arcmanoro Niles, Philippe Roman, and Sam Szafran
Parrish Art Museum, Water Mill, N.Y.
(October 2024 – April 2025)
Installation view; left to right: Arcmanoro Niles, Philippe Roman
CHARLOTTE PARK: THE LIFE OF FORMS IN COLOR
Works from the Collection 1950–1985
Parrish Art Museum, Water Mill, N.Y.
(October 2024 – March 2025)
Installation view
JENNIFER BARLETT:
IN AND OUT OF THE GARDEN
The Phillips Collection, Washington, D.C.
(February – April 2024)
Installation view, The Phillips Collection
One on One:
UGO RONDINONE/LOUIS EILSHEMIUS
The Phillips Collection, Washington, D.C.
(November 2023 – January 2024)
Installation view, The Phillips Collection; left to right: Ugo Rondinone, Louis Eilshemius
JAMES BROOKS:
A PAINTING IS A REAL THING
Parrish Art Museum, Water Mill, N.Y.
(August – October 2023)
Installation view, Parrish Art Museum
TOBI KAHN:
Works from the Permanent Collection
The Phillips Collection, Washington, D.C.
(February – July 2022)
Installation view, The Phillips Collection
One on One:
BRIDGET RILEY/PIERRE-AUGUSTE RENOIR
The Phillips Collection, Washington, D.C.
(February – May 2022)
Installation view, The Phillips Collection; left to right: Pierre-Auguste Renoir, Bridget Riley
CONVERSATIONS
Works from the permanent collection by Mequita Ahuja, Bruce Davidson, Edgar Degas, Philip Guston, Paul Gauguin, Ralph Gibson, Frank Lobdell, Aaron Maier-Carretero, Malerie Marder, John Sloane, Andrea Way, and others.
The Phillips Collection, Washington, D.C.
(February – June 2022)
Installation view, The Phillips Collection; left to right: Philip Guston, Aaron Maier-Carretero, Paul Gauguin
NATURE UNFRAMED
Unframed paintings from the permanent collection by Paul Cezanne, Vincent van Gogh, Gustave Courbet, Claude Monet, Augustus Vincent Tack, and Julian Alden Weir.
The Phillips Collection, Washington, D.C.
(Spring 2021)
Installation view, The Phillips Collection; left to right: Julian Alden Weir, Vincent van Gogh, Claude Monet
One on One:
MAGGIE MICHAELS/ARTHUR DOVE—DEPTH OF FIELD
The Phillips Collection, Washington, D.C.
(February – May 2019)
Installation view, The Phillips Collection
NORTHERN EXPOSURE: CONTEMPORARY NORDIC ARTS REVEALED
National Nordic Museum, Seattle
(May – September 2018)
Installation view, National Nordic Museum; front to back: Outi Pieski, Ólufar Elíasson
NORDIC IMPRESSIONS: ART FROM ÅLAND, DENMARK,
THE FAROE ISLANDS, FINLAND, GREENLAND, ICELAND, NORWAY, AND SWEDEN, 1821–2018
The Phillips Collection, Washington, D.C.
(October 2018 – January 2019);
Scandinavia House, New York (February – June 2019)
Installation view, The Phillips Collection; left to right: Tori Wrånes, Akseli Gallen-Kallela
THE GIFTS OF TONY PODESTA
(co-curated with Jennifer Sakai)
Katzen Arts Center, American University Museum, Washington, D.C.
(January – March 2019)

Installation view, Katzen Arts Center; left to right: Margi Geerlinks, Jone Kvie
REGINA PILAWUK WILSON: NANGI/YERRDAGARRI
Two courtyard murals
The Phillips Collection, Washington, D.C. (since 2018)
Installation view, The Phillips Collection
GEORGE CONDO: THE WAY I THINK
The Phillips Collection, Washington, D.C.
(March – June 2017);
Louisiana Museum of Modern Art, Humlebæk,
(November 2017 – February 2018)
Installation view, The Phillips Collection
ARLENE SHECHET: FROM HERE ON NOW
The Phillips Collection, Washington, D.C.
(October 2016 – May 2017)
Installation view, The Phillips Collection
JAKE BERTHOT: FROM THE COLLECTION AND PROMISED GIFTS
The Phillips Collection, Washington, D.C.
(November 2016 – April 2017)
Installation view, The Phillips Collection
One on One:
ENRIQUE MARTÍNEZ CELAYA/ALBERT PINKHAM RYDER
The Phillips Collection, Washington, D.C.
(October 2016 – April 2017)
Installation view, The Phillips Collection; left to right: Enrique Martínez Celaya, Albert Pinkham Ryder
KAREL APPEL: A GESTURE OF COLOR
The Phillips Collection, Washington, D.C.
(June – September 2016)
Installation view, The Phillips Collection
POSTWAR GERMANIC EXPRESSIONS: GIFTS FROM MICHAEL WERNER
Works by Markus Lüpertz, Jörg Immendorff, A. R. Penck, Georg Baselitz, and Per Kirkeby
The Phillips Collection, Washington, D.C.
(September 2015 – April 2016)
Installation view, The Phillips Collection; front to back: Markus Lüpertz, Per Kirkeby
One on One:
CAROL BROWN GOLDBERG/HENRI MATISSE
The Phillips Collection, Washington, D.C.
(June 2015 – September 2015)
Installation view, The Phillips Collection; front to back: Carol Brown Goldberg, Pierre Matisse
HIROSHI SUGIMOTO: CONCEPTUAL FORMS AND MATHEMATICAL MODELS
The Phillips Collection, Washington, D.C.
(February – May 2015)
Installation view, The Phillips Collection
FELLOWS CONVERGE
THE MORAL OF THE STORY: SHARING INSPIRATION
Works by Amy Boone-McCreesh, Milana Braslavsky, Lisa Dillin, Billy Friebele, Annette Isham, Joshua Haycraft, Eric Gottesman, and Will Schneider-White
Hamiltonian Gallery, Washington, D.C.
(November – December 2014)
MUHSANA ALI, FODÉ CAMARA, VIYÉ DIBA, AND PINIANG (IBRAHIMA NIANG): DIOCCO
Courtyard mural
The Phillips Collection, Washington, D.C.
(2014 – 2021)
Senegalese artists Muhsana Ali, Fodé Camara, Viyé Diba, and Piniang (Ibrahima Niang) in front of their mural at The Phillips Collection, 2014
ANGELS, DEMONS, AND SAVAGES: POLLOCK, OSSORIO, DUBUFFET
(co-curated with Dorothy Kosinski)
The Phillips Collection, Washington, D.C. (February – May 2013);
Parrish Art Museum, Water Mill, N.Y.
July – October 2013)
Installation view, Parrish Art Museum
JENNIFER BARTLETT: HISTORY OF THE UNIVERSE (WORKS 1970–2011)
Pennsylvania Academy of Fine Arts, Philadelphia (June – October 2013);
Parrish Art Museum, Water Mill, N.Y. (Summer 2014)
Installation view, Parrish Art Museum
WOLFGANG LAIB WAX ROOM
”Wohin bist Du gegangen—Wohin gehst Du?
(Where Have You Gone—Where Are You Going?)”
Permanent Beeswax Room
The Phillips Collection, Washington, D.C.
(since 2013)
Installation view, The Phillips Collection
PER KIRKEBY: PAINTINGS AND SCULPTURE
(co-curated with Dorothy Kosinski)
The Phillips Collection, Washington, D.C. (October 2012 – January 2013);
Bowdoin College Museum of Art, Brunswick, Maine (March – July 2013)
Installation view, The Phillips Collection
CONTROLLED CHAOS
Works from the permanent collection
Georges Braque, Anthony Caro, Robert Courtright, Morris Graves, Fairfield Porter, Robert Mangold, Brice Marden, Catherine Murphy, Nicolas de Stael, Myron Stout, Brett Weston, and others
The Phillips Collection, Washington, D.C.
(Summer 2012)
Installation view, The Phillips Collection; front to back: Morris Graves; Anthony Caro, Myron Stout, Brice Marden
SELECT 2012: WPA EXHIBITION & AUCTION (co-curator). Works by Kate Boone, Michael Borek, Mia Feuer, James Hyde, Dale Loy, Jean Maisel, and Margot McLean. Washington Projects for the Arts, Washington, D.C. (February 2012)
One on One:
PETER DOIG/GEORGES BRAQUE
The Phillips Collection, Washington, D.C.
(March– April 2011)
With PETER DOIG at The Phillips Collection, March 2011 (Photo: Patti Favero)
FAIRFIELD PORTER: RAW –
THE CREATIVE PROCESS OF AN AMERICAN MASTER
Parrish Art Museum, Southampton, N.Y.
(April – June 2010)
Installation view, Parrish Art Museum
RACKSTRAW DOWNES:
ONSITE PAINTINGS, 1972–2008
Parrish Art Museum, Southampton, N.Y.
(June – August 2010)
Installation view, Parrish Art Museum
EVA INTERNATIONAL 2007: A SENSE OF PLACE
Works by Shelley Corcoran, Patrick Corcoran, David Dunne, Melissa Earley, Barry Foley, Eric Glavin, Tony Gunning, Amy Hauft, Ashley Holmes, Ronnie Hughes, Eithna Joyce, Jesper Just, Orla Keeshan, Miriam Lohan, Sean Lynch, Enrique Martínez Celaya, Vanessa Marsh, Anthony McCall, Conor McGarrigle, Margot McLean, Marie Louise O’Dwyer, Eamon O’Kane, Alix Pearlstein, Christopher Reid, Andrei Roiter, Aura Rosenberg, Matthew Schenning, Wolfgang Staehle, Siobhán Tattan, Thorns Ltd., Suzannah Vaughan
Limerick, Ireland (March – June 2007).
Installation view, St. Mary’s Cathedral, Limerick; front: Enrique Martínez Celaya
BODIES OF DESIRE:
WORKS ON PAPER BY WILLEM DE KOONING AND CHLOE PIENE
Locks Gallery, Philadelphia
(January – February 2007)
Installation view; Locks Gallery; foreground: Willem de Kooning
THE MATERIALIZATION OF SENSIBILITY: ART & ALCHEMY
Works by Edgar Arceneaux, Lynda Benglis, James Lee Byars, Dean Byington, John Chamberlain, Walter de Maria, Teresita Fernández, Spencer Finch, Roni Horn, Yves Klein, Larry Miller, Man Ray, Dario Robleto, Beverly Semmes, Andy Warhol, Robert Watts, Lawrence Weiner, James Welling
Leslie Tonkonow Artworks + Projects, New York
(September – October 2006)
Installation view, Leslie Tonkonow Artworks + Projects; left to right: John Chamberlain, Yves Klein, Roni Horn, Dean Byington, James Lee Byars
STILL POINTS OF THE TURNING WORLD:
SITE SANTA FE'S SIXTH INTERNATIONAL BIENNIAL
Works by Miroslaw Balka, Jennifer Bartlett, Patty Chang, Stephen Dean, Peter Doig, Robert Grosvenor, Cristina Iglesias, Jonathan Meese, Wangechi Mutu, Carsten Nicolai, Wolfgang Laib, Catherine Opie, and Thorns Ltd.
SITE Santa Fe
(July 2006 – January 2007).
Installation view, SITE Sante Fe: Carsten Nicolai
THE REST IS SILENCE:
JAMES LEE BYARS
Mary Boone, Perry Rubenstein, and Michael Werner Galleries, New York
(April – June 2006)
Installation view, Mary Boone Gallery
LIFE, LOVE, AND DEATH:
THE WORKS OF JAMES LEE BYARS
Schirn Kunsthalle, Frankfurt am Main, Germany (May – July 2004);
Musée d’art moderne et contemporain, Strasbourg, France (December 2004 – March 2005)
Installation view, Schirn Kunsthalle
SOCIAL STRATEGIES: REDEFINING SOCIAL REALISM
(co-curated with Pamela Auchincloss)
Works by Edgar Arceneaux, Richard Billingham, Jeremy Blake, Tracy Emin, Rainer Ganahl, Gilbert & George, Nan Goldin, Felix Gonzalez-Torres, Jenny Holzer, Mary Kelly, Barbara Kruger, Wolfgang Laib, Julie Mehretu, Glexis Novoa, Paul Pfeiffer, Jack Pierson, Thomas Ruff, Paul Shambroom, Kim Sooja, Beat Streuli, Sam Taylor-Wood, and Sue Williams
University Art Museum, University of California at Santa Barbara (March – May 2003);
University Galleries, Illinois State University, Normal, Ill. (August – October 2003);
The Richard E. Peeler Art Center, DePauw
University, Greencastle, Ind. (November 2003 – February 2004);
The Schick Gallery, Skidmore College, Saratoga Springs, N.Y. (March – April 2004);
The Newcomb Art Gallery, Tulane University, New Orleans (August – October 2004).
Installation view, University Art Museum, Santa Barbara; front to back: Felix Gonzalez-Torres, Barbara Kruger
EXTREME EXISTENCE
Works by Bill Viola, Chantal Akerman, Marc Quinn, Patty Chang, Tania Bruguera, Andrei Roiter, Hirsch Perlman, Lucy Gunning, William Kentridge, and Lotte Konow Lund
Pratt Manhattan Gallery, Pratt Institute, New York
(September – November 2002).
Live performance by Tania Bruguera, Pratt Manhattan Gallery
WOLFGANG LAIB: A RETROSPECTIVE
Hirshhorn Museum and Sculpture Garden, Washington, D.C. (October 2000 – January 2001);
Henry Art Gallery, Seattle (February 2001);
Dallas Museum of Art (May – September 2001);
Scottsdale Museum of Contemporary Art (October – December 2001);
Museum of Contemporary Art San Diego, La Jolla (January – April 2002);
Haus der Kunst, Munich, Germany (October 2002 – January 2003)
Installation view, Haus der Kunst, Munich
MARK MORRISROE: MY LIFE. POLAROIDS 1977–1989
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September – October 1996);
Museum of Contemporary Art, Los Angeles (1997);
Neue Gesellschaft für Bildende Kunst, Berlin, Germany (1997)
ANDREI ROITER
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(January – March 1995)
SHOOTING BLIND
(co-curated with Vik Muniz)br
Works by Paul Strand, Nicholas Nixon, Sophie Calle, Evgen Bavcar, Barbara Bloom, Joel Sternfeld, Adam Fuss, Tim Maul, Mary Frey, Michael Scott, Eileen Hohmuth-Lemonick, Gaylen Gerber, and Ariane Lopez Huici
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(January – March 1994)
KUNIÉ SUGIURA / TOM FRIEDMAN
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(August – October 1993)
JAMES HYDE
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(May – June 1993)
Installation view, Ezra and Cecile Zilkha Gallery
CONCRETE JUNGLE
Works by Mark Dion, Alexis Rockman, and Bob Braine
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(October – December 1993.
Installation view, Ezra and Cecile Zilkha Gallery: Mark Dion
IRONY & ECSTASY: CONTEMPORARY AMERICAN PAINTINGS AND DRAWINGS
Works by Mary Beyt, Jessica Diamond, Peter Hopkins, Catherine Howe, James Hyde, Fabian Marcaccio, Suzanne McClelland, Carl Ostendarp, Raymond Pettibon, Jack Pierson, Jim Shaw, Megan Williams, and Adrian Piper
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(September – October 1992).
An extended version traveled to the Salama-Caro Gallery, London, in April 1993
GEGEN DEN STRICH/AGAINST THE GRAIN (co-curated with Josef Ramaseder)
Works by Mary Beyt, Suzanne McClelland, David Diao, Glenn Goldberg, Peter Hopkins, Carl Ostendarp, and others
Galerie Theuretzbacher, Vienna, Austria
(December 1992 – January 1993)
OTTO KÜNZLI: OH SAY
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(May – June 1992)
Installation views, Ezra and Cecile Zilkha Gallery
MARY KELLY: GLORIA PATRI
Herbert F. Johnson Museum of Art at Cornell University, Ithaca, N.Y. (March – April 1992);
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (October – December 1992)
With MARY KELLY at the Ezra and Cecile Zilkha Gallery, Wesleyan University, March 1992
ASTRID KLEIN
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(May – June 1991)
Installation view, Ezra and Cecile Zilkha Gallery
THE GOOD, THE BAD & THE UGLY:
KNOWLEDGE AND VIOLENCE IN RECENT AMERICAN ART
Works by Nayland Blake, Larry Clark, John Currin, Lydia Dona, Kenneth Goldsmith, Cady Noland, and Andres Serrano
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(September – October 1991)
Installation view, Ezra and Cecile Zilkha Gallery; front to back: Cady Noland, John Currin
EXOTISM
Works by Carlos Ginsburg, David Hammons, Ana Mendieta, Gerry Morehead, Blinky Palermo, Adrian Piper, Elaine Reichek, and Robert Watts
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(January – March 1990)
Installation view, Ezra and Cecile Zilkha Gallery; front to back: David Hammons
THE BROKEN MIRROR
Three site-specific installations by Amy Hauft, Eve Andrée Laramée, and Jessica Stockholder
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(September 1990 – March 1991).
Installation views, Ezra and Cecile Zilkha Gallery;
top to bottom: Jessica Stockholder, Amy Hauft, Eve Andrée Laramee
DAVID DEUTSCH
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(November – December 1989)
KIKI SMITH
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(May – June 1989)
Installation view, Ezra and Cecile Zilkha Gallery
ARDELE LISTER: SPLIT (1981) / IT HAPPENS TO THE BEST OF US (1989)
Two single-channel videos
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(May – June 1989)
ROTRAUT, UECKER, KLEIN
Works by Yves Klein, Günther Uecker, and Rotraut (Klein-Moquay)
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(August 30 through – October 1989)
Installation view, Ezra and Cecile Zilkha Gallery; front to back: Günther Uecker, Rotraut
CARY SMITH: WHAT CAN I TELL YOU
WOLFGANG STAEHLE: REQUIEM
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(January – March 1989)
STRANGE ATTRACTORS:
THE SPECTACLE OF CHAOS (co-curated with Suzan Rezac)
Works by Richard Artschwager, Hirsch Perlman, Ellen Carey, Tony Robbin, Holt Quentel, Otto Künzli, Joyce Kozloff, Nachume Miller, and others
1440 N. Dayton, Chicago
In association with the New Museum of Contemporary Art, New York (September 1989)
installation views, 1440 N. Dayton, Chicago;
top: Holt Quentel, Tony Robbin; bottom: Eve Andrée Laramée
FISCHLI & WEISS: THE WAY THINGS GO
Single-channel video
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(September – October 1988)
ALVIN LUCIER
Sound installations
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(November 1988)
FRANZ ERHARD WALTHER
Cloth sculptures and drawings
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn.
(August – October 1988)
Installation view, Ezra and Cecile Zilkha Gallery
FATAL STRATEGIES
(co-curated with Leslie Tonkonow)
Works by Judith Barry, Glenn Branca, Hanne Darboven, Holt Quentel, Dena Shottenkirk, Wolfgang Staehle, William Stone, Mark Tansey, and others
Stux Gallery, New York
(January – February 1988)
Installation view, Stux Gallery; left to right: William Stone, Mark Tansey, Holt Quentel
HYPERSPACES
(co-curated with Leslie Tonkonow)
Works by John Dogg, Louise Lawler, Lawrence Weiner, Michele Zalopany, and others
Art City, New York
(April 1987)
Installation views, Art City; top: Michele Zalopany; bottom: John Dogg, Lawrence Weiner
TRUE PICTURES
Works by Moira Dryer, Daniel Faust, Peter Hopkins, Jeff Koons, Wolfgang Laib, John Lamka, and Richard Prince
John Good Gallery, New York
(January – February 1987)
Installation views, John Good Gallery;
top: Wolfgang Laib; bottom (from left to right): Moira Dryer, Peter Hopkins
PHOTOMANNERISMS
Works by Marina Abramović and Ulay, Mac Adams, Jennifer Bolande, Ellen Brooks, Ellen Carey, Dan Devine, John Lamka, Ange Leccia, Tim Maul, Hirsch Perlman, Josef Ramaseder, Mike and Doug Starn, and James Welling, and others
Lawrence Oliver Gallery, Philadelphia (1987)
Installation view, Lawrence Oliver Gallery
SUPERMANNERISM
Works by Mike Bidlo, Nina Beaty, Moira Dryer, John Dogg, Hal Meltzer, and Peter Hopkins
Davies Long Gallery, Los Angeles (1986)
JAMES BROOKS: A PAINTING IS A REAL THING, exh. cat. (Parrish Art Museum; DelMonico Books, 2023)
JENNIFER BARTLETT & PIERRE BONNARD: IN AND OUT OF THE GARDEN, exh. cat. (The Phillips Collection; D Giles Ltd., 2020)
NORDIC IMPRESSIONS: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018, exh. cat. (The Phillips Collection, 2017)
GEORGE CONDO: THE WAY I THINK, exh. cat. (The Phillips Collection; Louisiana Museum of Modern Art, 2017)
KAREL APPEL: A GESTURE OF COLOR — PAINTINGS AND SCULPTURES, 1947–2004, exh. cat. (The Phillips Collection; Sieveking, 2016)
HIROSHI SUGIMOTO: CONCEPTUAL FORMS AND MATHEMATICAL MODELS, exh. cat. (The Phillips Collection; Hatje Cantz, 2015)
JENNIFER BARTLETT: HISTORY OF THE UNIVERSE. WORKS 1970–2011, exh. cat. (Parrish Art Museum; Yale University Press, 2013)
ANGELS, DEMONS, AND SAVAGES: POLLOCK, OSSORIO, DUBUFFET, exh. cat. (The Phillips Collection; Yale University Press, 2013) (with Dorothy Kosinski)
PER KIRKEBY: PAINTINGS AND SCULPTURE, exh. cat. (The Phillips Collection; Yale University Press, 2012) (with Dorothy Kosinski)
CHARLES ROSS: THE SUBSTANCE OF LIGHT (Radius Books, 2012) (with Thomas McEvilley)
YVES KLEIN BY HIMSELF: HIS LIFE AND THOUGHT (Éditions Dilecta, 2010)
YVES KLEIN: WORKS, WRITINGS (Ediciones Polígrafa, 2010)
RACKSTRAW DOWNES: ONSITE PAINTINGS, 1972–2008, exh. cat. (Parrish Art Museum; D Giles Ltd., 2010)
FAIRFIELD PORTER: RAW—THE CREATIVE PROCESS OF AN AMERICAN MASTER, exh. cat. (Parrish Art Museum; D Giles Ltd., 2010)
F.W.J. Schelling, PHILOSOPHY AND RELIGION (1804), translated, annotated, and with an introduction by KLAUS OTTMANN (Spring Publications, 2010)
THE HUMAN ARGUMENT: THE WRITINGS OF AGNES DENES, edited and with an introduction by KLAUS OTTMANN (Spring Publications, 2008)
OVERCOMING THE PROBLEMATICS OF ART: THE WRITINGS OF YVES KLEIN, translated and with an introduction by KLAUS OTTMANN (Spring Publications, 2007)
OPEN EV+A 2007: A SENSE OF PLACE, exh. cat. (Limerick, Ireland: Limerick City Gallery of Art, 2007)
STILL POINTS OF THE TURNING WORLD: SITE SANTA FE’S SIXTH INTERNATIONAL BIENNIAL, exh. cat. (SSITE Santa Fe, 2006)
THOUGHT THROUGH MY EYES: WRITINGS ON ART, 1977–2005 (Spring Publications, 2006)
THE REST IS SILENCE: JAMES LEE BYARS, exh. cat. (Mary Boone, Perry Rubenstein, and Michael Werner, 2006)
Gershom Scholem, ALCHEMY AND KABBALAH, translated and with an introduction by KLAUS OTTMANN (Spring Publications, 2006)
COLOR SYMBOLISM: THE ERANOS LECTURES, edited, translated, and with an introduction by KLAUS OTTMANN (Spring Publications, 2005)
THE GENIUS DECISION: THE EXTRAORDINARY AND THE POSTMODERN CONDITION (Spring Publications, 2004)
JAMES LEE BYARS: LIFE, LOVE, AND DEATH, exh. cat. (Schirn Kunsthalle; Hatje Cantz, 2004) (English/German)
THE ESSENTIAL MARK ROTHKO (Harry N. Abrams/The Wonderland Press, 2003)
WOLFGANG LAIB: A RETROSPECTIVE, exh. cat. (American Federation of Arts; Hatje Cantz, 2000)
THE ESSENTIAL MICHELANGELO (Harry N. Abrams/The Wonderland Press, 2000)
MARK MORRISROE (Twin Palms Publishing, 1999)
“Charlotte Park,” in CHARLOTTE PARK: THE LIFE OF FORMS IN COLOR. WORKS FROM THE COLLECTION, 1952–1998,”exh. broch. (Parrish Art Museum, 2024)
“A New Subjectivity 1979/2024,” in A NEW SUBJECTIVITY 1979/2024, exh. broch. (Parrish Art Museum, 2024)
“A Painter Amongst Painters, in JAMES BROOKS: A PAINTING IS A REAL THING, exh. cat. (Parrish Art Museum; DelMonico Books, 2023)
”Yves Kleins tilegnelse af rum og tid/Yves Klein’s Co-Optation of Space and Time” (in Danish and English), in YVES KLEIN: DET UENDELIGE RUM/THE INFINITE SPACE, exh. cat. (Museum Jorn, 2023)
“New York: Die 1980er Jahre und das Journal of Contemporary Art. Ein persönlicher Bericht (New York: The Eighties and the Journal of Contemporary Art. A Personal Account” (in German), in KUNSTFORUM INTERNATIONAL 288 (April 2023): 182–89
“Honor Titus’s Moral Imaginations,” in HONOR TITUS: BOURGEOISIE IN BLOOM, exh. cat. (Timothy Taylor, 2022)
“Milton Falling,” in MILTON RESNICK: HAWKEYE, exh. cat. (Van Doren Waxter, 2022)
“It is the Color of Course”; “Franz Erhard Walther: ‘Roter Gesang’ ”; Enrique Martínez Celaya: ‘The First Kierkegaard’ ”; Wolfgang Laib: ‘Wax Room: Wohin bist Du gegangen—wohin gehst Du?’ ”; in SEEING DIFFERENTLY: THE PHILLIPS COLLECTS FOR A NEW CENTURY (The Phillips Collection; Giles, 2021).
“Prométhée délivré/Prometheus Unbound” (in French and English), in YVES KLEIN: LES ÉLÉMENTS ET LES COULEURS/ELEMENTS AND COLORS, exh. cat. (Éditions ARTEOS; Domaine des Étangs, 2020)
In and Out of the Garden,” in JENNIFER BARTLETT & PIERRE BONNARD: IN AND OUT OF THE GARDEN, exh. cat. (The Phillips Collection; D Giles Ltd., 2020)
“Yves Klein e la sua idea di azzurro dell’acqua e dell’aria” (in Italian), in GNOSIS: RIVISTA ITALIANA DI INTELLIGENCE 3 (2020): 30–37
“Agnes Denes’s Visual Philosophy,” in AGNES DENES: ABSOLUTES AND INTERMEDIATES, exh. cat. (The Shed, 2019)
“The Life of Words,” in BRIAN DAILEY: WORDS, exh. broch. (Katzen Arts Center, American University Museum, 2018)
”Material Presences,” in THE GIFTS OF TONY PODESTA, exh. cat. (Katzen Arts Center, American University Museum, 2018)
“The Attended Moment: Arlene Shechet’s Mindful Installation at The Phillips Collection,” in ARLENE SHECHET: FROM HERE ON NOW, exh. cat. (The Phillips Collection, 2017)
“The Cloud of Unknowing: Jake Berthot's Paintings,” in JAKE BERTHOT: FROM THE COLLECTION AND PROMISED GIFTS, exh. cat. (The Phillips Collection, 2017)
“Peindre le corps électrique” (in French), in KAREL APPEL: L’ART EST UNE FÊTE!, exh. cat. (Musée d’Art moderne de la Ville de Paris, 2017)
“Whitfield Lovell’s Non-Portraits,” in WHITFIELD LOVELL: KIN (Skira Rizzoli, 2016)
“Yves Klein’s Utopia of Enthusiasm,” in YVES KLEIN, exh. cat. (Tate Liverpool, 2016)
“The Museum as a Contemplative Space,” in CHANGING VIEWS: ART, CONTEMPLATION & WELLNESS, edited by Lindsey Helper (OpenGrounds/University of Virginia, 2015)
“The Appel Effect,” in KAREL APPEL: RETROSPECTIVE, exh. cat. (Gemeentemuseum, The Hague, 2015)
“No Ethics Without Aesthetics,” in CONVERSATIONS WITH JAMES HILLMAN: CITY & SOUL, edited by Robert Sardello (The Dallas Institute of Humanities & Culture, 2015)
“Yves Klein’s Ethics of Immateriality,” in YVES KLEIN/DAVID HAMMONS, exh. cat. (Aspen Art Museum, 2014).
“Schelling’s Fragile God,” in MODELS OF GOD AND ALTERNATIVE ULTIMATE REALITIES, edited by Jeanine Diller and Asa Kasher (Springer, 2013)
“Tirar a Renda e Soprar na Flor,” in JULIÃO SARMENTO: WHITE NIGHTS, exh. cat. (Hatje Cantz/Fundação de Serralves, 2013)
“Yves Klein: FC 1 (1962),” in FC 1, broch. (Christie’s New York, 2012)
“Action and Spatial Engagement: A Conversation with Frank Stella,” SCULPTURE (April 2011): 24–29
“Charles Burchfield”; “Stuart Davis”; “Helen Frankenthaler”; “Morris Graves”; “Alfonso Ossorio”; “Guy Pène du Bois”; “Jackson Pollock”; “Mark Rothko”; “Kurt Schwitters,” in MASTER PAINTINGS FROM THE PHILLIPS COLLECTION (The Phillips Collection; D Giles Ltd., 2011)
“In the Zero of Form: Klein, Byars, Kapoor,” in KLEIN BYARS KAPOOR, exh. cat. (Musée d'Art Moderne et d'Art Contemporain, Nice/Cudemo Editore, 2012)
Entries on “James Lee Byars, Janine Antoni, Roni Horn, Ann Hamilton, Christian Marclay, Agnes Martin, Larry Poons, Richard Prince, Mike and Doug Starn, Rackstraw Downes, Peter Voulkos, David Wojnarowicz, Neil Jenney, Dorothy Miller, and the American Federation of Arts,” in GROVE ENCYCLOPEDIA OF AMERICAN ART (Oxford University Press, 2011)
“The Verity of Art: Rackstraw Downes’s Onsite Paintings,” in RACKSTRAW DOWNES: ONSITE PAINTINGS, 1972–2008, exh. cat. (Parrish Art Museum; D Giles Ltd., 2010)
“The Human Form Divine: Wangechi Mutu’s ‘Enceptual’ Art/Götter in Menschengestalt: Wangechi Mutus ‘enzeptionelle’ Kunst” (in German and English), in WANGECHI MUTU, exh. cat. (Deutsche Guggenheim, Berlin, 2010)
“A Conversation with Wolfgang Laib,” in WOLFGANG LAIB, exh. cat. (Fondazione Merz, 2010)
“YVES le philosophe,” in YVES KLEIN: WITH THE VOID, FULL POWERS, exh. cat. (Hirshhorn Museum and Sculpture Garden, Washington; Walker Art Center, Minneapolis, 2010)
“An Unfinished Quality”: Fairfield Porter’s Creative Process,” in FAIRFIELD PORTER: RAW—THE CREATIVE PROCESS OF AN AMERICAN MASTER, exh. cat. (Parrish Art Museum; D Giles Ltd., 2010)
“Turin Goes Vedic,” ART IN AMERICA (November 2009): 166–69
“The Ethos of Tobi Kahn’s Sacred Spaces,” in TOBI KAHN: SACRED SPACES FOR THE 21ST CENTURY, exh. cat. (Museum of Biblical Art, New York, 2009)
“A Sense of Place,” in SPRING: A JOURNAL OF ARCHETYPE AND CULTURE 79 (2008): 219–28
“Cristina Iglesias’s Metaphysical Forests,“ in THE ARCHITECTURE OF DESIRE, exh. cat. (Colorado College, 2008)
“From Grief to Spring,” in JOAN SNYDER: . . . AND SEEKING THE SUBLIME, exh. cat. (Nielsen Gallery, Boston, 2008)
“A Sense of Place,” SPRING: A JOURNAL OF ARCHETYPE AND CULTURE 79 (2008): 219–228
“From the Other Side (De l’autre côte),” in CHANTAL AKERMAN: MOVING THROUGH TIME AND SPACE, exh. cat. (Blaffer Gallery, University of Houston, 2008)
“(Un)Holy Grounds: The Floor Sculptures of Carl Andre and Wolfgang Laib,” SCULPTURE (March 2008): 30–35
“Sundry Pragmatic Thoughts on Lawrence Weiner’s A MEANS TO AN END,” in SUMMER 2007, exh. cat. (Salomon Contemporary, East Hampton, 2007)
“Somewhere in the 20th Century” (in German and English), in CARSTEN NICOLAI: STATIC FADES, exh. cat. (Haus Konstruktiv, Zurich, 2007)
“Experience or Interpretation: What You See Is Not What You Read,” THE JOURNAL OF AESTHETIC EDUCATION, vol. 41, no. 2 (Summer 2007)
“Robert Grosvenor in His Own Place,” SCULPTURE (October 2005): 38–43
“Painting Heads,” in TONY BEVAN, exh. cat. (IVAM Valencia, 2005)
“Turning Banality into Magic,” in ANDREI ROITER, exh. cat. (Galerie Anhava, 2005)
“Robert Grosvenor as an American,” in ROBERT GROSVENOR, exh. cat. (Museu Serralves, 2005)
“Gateways of the Now: Remarks on the Drawings of Wolfgang Laib,” in THE ESSENCE OF THE REAL: WOLFGANG LAIB—DRAWINGS AND PHOTOGRAPHS, exh. cat. (Kunstmuseum Bonn, 2005)
“James Lee Byars: A Lifetime’s Death in Love,” in JAMES LEE BYARS: THE PERFECT SILENCE, exh. broch. (Whitney Museum of American Art, 2004)
“The Strange Life of Andrei Roiter’s Objects/Das kuriose Leben der Objekte von Andrei Roiter” (in German and English), in ANDREI ROITER: INSCAPES, exh. cat. (Kunsthalle Recklinghausen, 2004)
“Frank Stella’s Prince of Ambiguity,” SCULPTURE (June 2004): 35–39
“The Art of Happenstance: The Performative Sculptures of James Lee Byars,” SCULPTURE (November 2002): 32–37
“Spiritual Materiality: Contemporary Sculpture and the Responsibility of Forms,” SCULPTURE (April 2002): 36–41
“Beyond Transcendence,” in THE INWARD EYE: TRANSCENDENCE IN CONTEMPORARY ART, exh. cat. (Contemporary Arts Museum, Houston, 2001)
“Rotraut’s Miraculous Life-Forms,” in ROTRAUT, exh. cat. (Galerie Gmurzynska, Cologne, 2001)
“ ‘Certitude is the Imaginary’: The Drawings of Wolfgang Laib,” ART ON PAPER (November–December 2000); 61–65
“L’uomo e il suo ambiente alla Biennale di Kwangju/Man and his Environment at the Kwangju Biennial” (in Italian and English), DOMUS 827 (June 2000): 91–96
“Io Sono: un’nuovo umanesimo nell’arte e nel design americani / I am: A New Humanism in American Art and Design” (in Italian and English), DOMUS 816 (June 1999): 108–9
“The World As Picture: Image Production at the End of the Twentieth Century,” POIESIS: A JOURNAL OF THE ARTS AND COMMUNICATION (1999): 14–15
“The Polaroids of Mark Morrisroe,” in MARK MORRISROE: MY LIFE. POLAROIDS 1977–1989, exh. broch. (Ezra and Cecile Zilkha Gallery, Wesleyan University, 1997). Expanded version published in the catalogue for the exhibition at the Neue Gesellschaft für Bildende Kunst, Berlin
“Effetto Chelsea/The Chelsea Effect” (in Italian and English), DOMUS 791 (March 1997): 96–97
“Peter Hopkins” (in German), in POSITIONEN, exh. cat. (Museum Folkwang, 1996)
“James Hyde, Serge Spitzer, Peter Hopkins,” in 44th BIENNIAL EXHIBITION OF CONTEMPORARY AMERICAN PAINTING, exh. cat. (The Corcoran Gallery of Art, 1995)
“Deceiving Appearances/Trügerische Erscheinungen” (in English and German), in JOAN FONTCUBERTA: WUNDERGARTEN DER NATUR, exh. cat. (Rupertinum, 1995)
“A. R. Penck" (Interview), JOURNAL OF CONTEMPORARY ART 7, no. 1 (Summer 1994): 80–88
“Evgen Bavcar‘s Mnemonic Images,” THE PRINT COLLECTOR‘S NEWSLETTER 25, no. 4 (September–October 1994)
”Lydia Dona,” in LYDIA DONA, exh. cat. ( arbara Farber, 1993)
“Leon Golub, Catherine Howe, David Humphrey,” in 43RD BIENNIAL EXHIBITION OF CONTEMPORARY AMERICAN PAINTING, exh. cat. (The Corcoran Gallery of Art, 1993)
”Mary Kelly” (Interview), JOURNAL OF CONTEMPORARY ART 5, no. 2 (Fall/Winter 1992): 15–22. Reprinted in Margaret Iversen, Douglas Crimp, Homi K. Bhabha, MARY KELLY (Phaidon Press, 1997)
”Photography and the Common Consciousness," in MULTIPLE EXPOSURE: THE GROUP PORTRAIT IN PHOTOGRAPHY, exh. cat. (Ezra and Cecile Zilkha Gallery, Wesleyan University, 1992)
”Jewelry and its Relation to the Unconscious,” in OTTO KÜNZLI: OH SAY, exh. cat. (Ezra and Cecile Zilkha Gallery, Wesleyan University, 1992)
“Criticism and the Common Consciousness,” ACME JOURNAL 1, no. 1 (Spring 1992): 61–67
“Juan Uslé: The Absolute of Passage,” in JUAN USLÉ, exh. cat. (Soledad Lorenzo, 1991)
”Joe Andoe” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 2 (Fall/Winter 1991): 5–8
”Lydia Dona” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 2 (Fall/Winter 1991): 26–36
“Astrid Klein’s Phenomenology of Absence,” in ASTRID KLEIN, exh. cat. (Ezra and Cecile Zilkha Gallery, Wesleyan University, 1991)
“Mimmo Rotella” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 1 (Spring/Summer 1991): 101–106
“Jessica Stockholder” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 1 (Spring/Summer 1991): 96–100
“Heidegger, Beuys, and the Consequences,” FLASH ART 154 (October 1990): 123–24
“Mike & Doug Starn: Entretien avec Klaus Ottmann,” in MIKE & DOUG STARN (Éditions Antoine Candau, 1990)
“Cady Noland. La mort en action,” ART PRESS 148 (June 1990): 48–50
“L’activité fractaliste,” ART PRESS 144 (February 1990): 31–33
“Cady Noland” (in Japanese), THE FABULOUS 1, no. 0 (May 1990): 86–87
“Wolfgang Staehle” (Interview), JOURNAL OF CONTEMPORARY ART 3, no. 2 (Fall/Winter 1990): 55–62
”Mike and Doug Starn” (Interview), JOURNAL OF CONTEMPORARY ART 3, no. 1 (Spring/Summer 1990): 66–78
“The Dialectic of Modernism,” in HELLENIKON, exh. cat. (City Gallery New York, 1990)
“De Natura Rerum,” in JOE ANDOE, exh. broch. (Blum Helman, 1989)/p>
”Domes of the World," in DAVID DEUTSCH: NEW WORK, exh. cat. (Blum Helman, 1989)
“The New Spiritual,” ARTS (October 1989): 44–46
“Moira Dryer" (Interview), JOURNAL OF CONTEMPORARY ART 2, no. 1 (Spring 1989): 50n.57. Reprinted in MOIRA DRYER: PAINTINGS 1989–1992, exh. cat. (Art Gallery of York University, Toronto, 2000)
“Günther Förg" (Interview), JOURNAL OF CONTEMPORARY ART 2, no. 1 (Spring 1989)
“The Re-Invention of Painting,” ARTS Magazine (January 1989): 40–42
“Foreword,” in RANDOLFO ROCHA, exh. cat. (Stux Gallery, Boston, 1988)
“The Gaze of Orpheus,” FLASH ART 143 (November/December 1988): 74–75
“The Art of the Deal,” FLASH ART 140 (May/June 1988): 86–87
”Jeff Koons” (Interview), JOURNAL OF CONTEMPORARY ART 1, no. 1 (Spring/Summer 1988): 18–23
“Wolfgang Laib” (Interview), JOURNAL OF CONTEMPORARY ART 1, no. 1 (Spring/Summer 1988): 90–96. Reprinted in FLASH ART 138 (January/February 1988): 100–101
”Sturtevant’s Paradox,” in STURTEVANT 1987, exh. cat. (Stux Gallery, 1987)
“Neo-Geo” (in Japanese), BIJUTSU TECHO 588 (December 1987): 30–31; 34–37
“Photomannerisms,” FLASH ART 137 (November/December 1987): 70–72
“The Spectacle of Chaos,” FLASH ART 135 (Summer 1987): 60–61
“Berlin: A Place for Painting,” HARPER’S BAZAAR (June 1987): 136–37; 158
“Rosemarie Trockel,” FLASH ART 134 (May 1987): 38–39
”True Pictures,” FLASH ART 132 (February/March 1987): 90–91
“Mannerism Anti-Mannerism,” FLASH ART 131 (December 1986/January 1987): 64–65
”Supermannerism,” FLASH ART 127 (April 1986): 59–61
”Who Paints Abstractly?” FLASH ART 126 (February/March 1986): 47
“The World According to … Byars, Beuys, Dokoupil,” FLASH ART 125 (December 1985/January 1986): 55–56
“Die Malerei im Zeitalter der Angst: Die Kunst der Achtziger Jahre—Eine Beschreibung” (in German), KUNSTFORUM INTERNATIONAL 80 (July – September 1985): 46–49
”Art and Masquerade,” ART & TEXT 19 (1985): 47–55
“The Solid and the Fluid: Bartlett, Laib, Kiefer,” FLASH ART 123 (Summer 1985): 48–49
”Artists in Exile,” FLASH ART 122 (April/May 1985): 26–29
“Painting in an Age of Anxiety,” FLASH ART 118 (Summer 1984): 32–35. Reprinted in THE HUMAN CONDITION, exh. cat. (San Francisco Museum of Modern Art, 1984)
“Transformer Salomé” (in German), INZEIT (September 1977)
“Über die Verweigerung eines Künstlers” (in German), INZEIT (August 1977)
“Lova Rimini” (in German), INZEIT (July 1977): 41–43
“Bill Seaman” ARTUS 3 (June–August 2004): 52
“Glexis Novoa,” ARTUS 2 (April–May 2004): 23
“Douglas R. Weathersby,” ARTUS 2 (April–May 2004): 28
“Mark Tansey,” ARTNEWS (June 2000): 144
“Works On Paper,” ARTNEWS (May 2000): 232
“Kwangju Biennale 2000,” ARTNEWS (June 2000): 154
“Robert Grosvenor,” ARTNEWS (May 2000): 228
“Renée Green,” C MAGAZINE (Summer 2000)
“Jackson Pollock at The Museum of Modern Art,” C MAGAZINE (February-April 1999): 47.
“Michael Schmidt,” C MAGAZINE (July–September 1996): 50
“Marcel Broodthaers,” C MAGAZINE (January–March 1996): 58
“Larry Clark,” FLASH ART 156 (January/February 1991): 130–31
“Georg Baselitz,” FLASH ART 156 (January/February 1991): 122
“Betsy Kaufman,” FLASH ART 150 (January/February 1990): 136–37
“Edward Kienholz and Nancy Reddin Kienholz,” FLASH ART 150 (January/February 1990): 125
“Inge Mahn,” FLASH ART 149 (November/December 1989): 141
“Lorna Simpson,” FLASH ART 149 (November/December 1989): 142
“Louise Bourgeois,” FLASH ART 148 (October 1989): 130
“Gerhard Hoehme,” FLASH ART 148 (October 1989): 133
“James Lee Byars,”FLASH ART 147 (Summer 1989): 141
“Dreamings: The Art of Aboriginal Australia,” FLASH ART 145 (March/April 1989): 116–17
“Anselm Kiefer,” FLASH ART 144 (January/February 1989): 107
“Joe Andoe,” FLASH ART 144 (January/February 1989): 124
“Sol LeWitt,” FLASH ART 142 (October 1988): 133
“Tony Tasset/James Welling,” FLASH ART 141 (Summer 1988): 138
“European Sculpture—Made in USA,” FLASH ART 141 (Summer 1988): 136
“William Stone,” FLASH ART 141 (Summer 1988): 136–37
“Thomas Locher/Thomas Grünfeld,” Flash Art 140 (May/June 1988): 104–5
“Peter Halley,” FLASH ART 138 (January/February 1988): 123
“Doug and Mike Starn,” FLASH ART 138 (January/February 1988): 126
“John Lamka” FLASH ART 137 (November/December 1987): 105–6
“Europe, Europe,” FLASH ART 136 (October 1987): 74
“Gerhard Richter,” FLASH ART 136 (October 1987): 98
“Lydia Dona,” FLASH ART 136 (October 1987): 100
“Sandro Chia,” FLASH ART 136 (October 1987): 102
“Heavenly Embrace,” FLASH ART 136 (October 1987): 107
”Peter Hopkins,” FLASH ART 136 (October 1987): 108.
“James Van Der Zee,” FLASH ART 136 (October 1987): 107–8
“Donald Judd,” FLASH ART 136 (October 1987): 108
“The Art of the Real,” FLASH ART 136 (October 1987): 117
“Gerhard Merz,” FLASH ART 135 (Summer 1987): 96
“Jennifer Bartlett,” FLASH ART 134 (May 1987): 83
“Vito Acconci,” FLASH ART 134 (May 1987): 88
”Modern Sleep,” FLASH ART 133 (April 1987): 92–93.
”Bill Jones,” FLASH ART 133 (April 1987): 93–94.
“Jennifer Bolande/Moira Dryer/Annette Lemieux,” FLASH ART 133 (April 1987): 94
“Francis Bacon,” FLASH ART 119 (November 1984): 40–41
“Wake Up, Kynaston McShine!” FLASH ART 118 (Summer 1984): 63
“Maler in Kreuzberg: Zu einer Ausstellung von Bildern Rainer Fettings” (in German), BERLIN-TELEGRAMM 21 (November 7–11, 1977): 6–7