ZOE LEONARD
Born 1961 Liberty, New York
Lives and works in New York
Solo Exhibitions
| 2013 | 100 North Nevill Street, Chinati Foundation, Marfa, TX Sun Photographs, Micheline Szwajczer Gallery, Antwerp, Belgium |
| 2012 | Murray Guy, New York Sun Photographs, Raffaella Cortese, Milan Zoe Leonard. Observation Point, Camden Arts Centre, London |
| 2011 | Available Light, Galerie Gisela Capitain, Cologne |
| 2009 | Photographs, Museum Moderner Kunst Stiftung Ludwig, Vienna Photographs, Pinakothek der Moderne, Munich |
| 2008 | You See I am here after all, Dia:Beacon, New York Derrotero, Dia at the Hispanic Society of America, New York Photographs, Museo Nacional Centro de Arte Reina Sofia, Madrid Galería Pepe Cobo, Madrid |
| 2007 | Zoe Leonard, Photographs, Fotomuseum Winterthur, Winterthur, Switzerland Analogue, Villa Arson, Nice, France Analogue, Wexner Center for the Arts, Columbus, OH |
| 2006 | Project: Zoe Leonard, Galerie Gisela Capitain, Cologne |
| 2003 | New Work, Paula Cooper Gallery, New York Galerie Giti Nourbakhsch, Berlin |
| 2002 | The Agency for Contemporary Art, London |
| 2001 | Anthony Meier Fine Arts, San Francisco, CA Galerie Gisela Capitain, Cologne Raffaella Cortese, Milan |
| 2000 | Paula Cooper Gallery, New York |
| 1999 | Micheline Szwajczer Gallery, Antwerp, Belgium Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland Gallery Anadiel, Jerusalem Recent Photographs, Paula Cooper Gallery, New York |
| 1998 | Centre National de la Photographie, Paris Galerie Gisela Capitain, Cologne Strange Fruit, Philadelphia Museum of Art, Philadelphia, PA Jan Weiner Gallery, Kansas City, MO |
| 1997 | Galerie Jennifer Flay, Paris Paula Cooper Gallery, New York Galerija Dante, Umag, Croatia Wiener Secession, Vienna Kunsthalle Basel, Basel, Switzerland Strange Fruit, Museum of Contemporary Art, North Miami, FL Kunsthaus Glarus, Glarus, Switzerland |
| 1995 | Le Casa d’Arte, Milan Photographs and Objects, presented by Paula Cooper at the artist’s studio, New York Galerie Jennifer Flay, Paris Galerija Dante Marino Cettina, Umag, Croatia |
| 1993 | The Renaissance Society at The University of Chicago, Chicago |
| 1992 | Paula Cooper Gallery, New York |
| 1991 | Luhring Augustine Hetzler, Los Angeles University Art Museum / Pacific Film Archives, University of California, Berkeley, Berkeley, CA Trans Avant-Garde Gallery, San Francisco, CA Richard Foncke Gallery, Ghent, Belgium |
| 1990 | Zoe Leonard. Photographien, Galerie Gisela Capitain, Cologne |
| 1985 | Greathouse, New York |
| 1983 | Hogarth Gallery, Sydney |
| 1979 | Fourth Street Photo Gallery, New York |
Selected Group Exhibitions
| 2014 | (Mis)Understanding Photography, Works and Manifestos, Museum Folkwang, Essen Matthew Buckingham, Zoe Leonard, Gordon Matta-Clark, Murray Guy, New York 2014 Whitney Biennial, Whitney Museum of American Art, New York Staring at The Sun, Blind Spot Griffin Editions Project Space, Brooklyn, NY Take It or Leave It: Institution, Image, Ideology, UCLA Hammer Museum, Los Angeles From Speaker to Receiver, Des Moines Art Center, IA Readykeulous by Ridykeulous, This is What Liberation Feels like, Contemporary Art Museum, St. Louis |
| 2013 | Hair! Das Haar in der Kunst von der Antike bis Warhol – von Tilman Riemenschneider bis Cindy Sherman, Ludwig Galerie – Schloß Oberhausen, Oberhausen, Germany Masculine / Masculine, Musee d’Orsay, Paris L’Image Papillon, MUDAM, Luxembourg NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York Looking back – The Seventh White Columns Annual (curated by Richard Birkett), White Columns, New York Expo 1: New York, MoMA PS1, New York; Expo 1: Rio, Museu de Arte Moderna, Rio de Janeiro, Brazil Views from Above, Centre Pompidou-Metz, Metz, France White Petals Surround Your Heart, Institute for Contemporary Art, Philadelphia, PA Love and Death, Bergen Museum of Art, Bergen, Norway A Preface, Frac Ile-de-France/Le Plateau, Paris Something about a Tree, Flag Art Foundation, New York Photography Now and Forever, Mathew, Berlin Alchemical, Steven Kasher Gallery, New York Glory Hole, LLS 387 Ruimte voor Actuele Kunst, Antwerp, Belgium Vanity. Fashion/Photography from then F.C. Grundlach Collection / Vanity. Fotografia mody z kolekcji F. C. Gundlacha, National Museum Krakow Von Beckmann bis Warhol. Kunst des 20. und 21. Jahrhunderts. Die Sammlung Bayer, Martin-Gropius-Bau, Berlin Make an effort to remember. Or, failing that, invent., Bétonsalon, Paris |
| 2012 | Blues for Smoke, The Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York Ein Wunsch bleibt immer übrig. Kasper König zieht Bilanz, Museum Ludwig, Cologne Ändere dich, Situation!, Stadtgalerie Schwaz, Schwaz/Tirol, Austria Le Feuillagisme, Hôtel de Région (in collaboration with Le Pôle Image Haute-Normandie), Rouen, France True Stories. Amerikanische Fotografie aus der Sammlung Moderne Kunst, Pinakothek der Moderne, Munich Circus Wols. Eine Hommage, Weserburg Museum für Moderne Kunst, Bremen Heart to Hand (curated by Pati Hertling), Swiss Institute Contemporary Art, New York “Out-of-_________” (organized by Leila Khastoo), Michael Benevento, Los Angeles Viral Research, Whitechapel Gallery, London Vollmilch. Der Bart als Zeichen, Lentos Kunstmuseum Linz, Austria Printed, Mai 36 Galerie, Zurich |
| 2011 | Vanity. Fashion Photography from the F.C. Grundlach Collection, KUNSTHALLE wien, Vienna PHOTOGRAPHY CALLING!, Sammlung Wilhelm und Gaby Schürmann, Sprengel Museum Hannover, Hannover, Germany You have been there – departures, bifurcations (a proposition by Marie Muracciole), Marian Goodman, New York Vor dem Gesetz. Skulpturen der Nachkriegsmoderne und Räume der Gegenwartskunst, Museum Ludwig, Cologne He disappeared into complete silence: re-reading a single artwork by Louise Bourgeois, De Hallen Haarlem, Haarlem, Netherlands Heterotopien und Wissensräume in der Kunst, Kunsthaus Graz, Graz, Austria Vision is elastic. Thought is elastic. (curated by Moyra Davey & Zoe Leonard), Murray Guy, New York Agitated Histories, SITE, Santa Fe |
| 2010 | Wunschzettel, im Rahmen der Ausstellung: Nur Papier, und doch die ganze Welt, Staatsgalerie Stuttgart, Stuttgart, Germany Atlas. How to Carry the World on One’s Back, Museo Nacional Centro de Arte Reina Sofía, Madrid; ZKM, Karlsruhe; Sammlung Falckenberg, Hamburg, Germany False Divide: representations of abstraction in a few photographic works, Miguel Abreu Gallery, New York Contagious! Reports against normality, Centre d’ Art Contemporain Genève, Geneva, Switzerland 50 Artists Photograph the Future, Higher Pictures, New York In Full Bloom, Galleria Raffaella Cortese, Milan Artworks from the Enea Righi Collection, Museion Bolzano, Bolzano-Bozen, Italy Collecting Biennials, Whitney Museum of American Art, New York Self-Fulfilling Prophecies, Leo Koenig, New York Augenschmaus – Vom Essen im Stillleben, Bank Austria Forum, Vienna Mixed Use: Manhattan (curated by Lynne Cooke and Douglas Crimp), Museo Nacional Centro de Arte Reina Sofia, Madrid MOCA’s first 30 Years, Museum of Contemporary Art, Los Angeles Deutsche Börse Photography Prize, Photographers Gallery, London; traveling to Frankfurter Kunstverein, Frankfurt The Surreal House, Barbican Gallery, London |
| 2009 | Photography, Paula Cooper Gallery, New York Pivot Points 3, Museum of Contemporary Art, Miami Locus Solus, Yvon Lambert, Paris Fashion Room (photographs from the F.C. Gundlach collection), Museum für Angewandte Kunst, Frankfurt Das Gespinst, Museum Abteiberg, Mönchengladbach, Germany The Female Gaze. Women Look At Women, Cheim & Read, New York Elles @ Centrepompidou. Artists in the Collections of the Centre Pompidou, Centre Pompidou, Paris Espèces d’espaces, Yvon Lambert, New York En todas partes. Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain Galaxy, BAM/PFA, Berkeley, CA out of the blue, Gallery Bergen, Paramus, NJ Nouvelles Collections III, Sammlung Jocelyne & Fabrice Petignat, Centre PasquArt, Kunsthaus Centre d’art, Biel/Vienne, Switzerland |
| 2008 | Ad Adsurdum – Energien des Absurden von der klassischen Moderne zur Gegenwart, MARTa, Herford, Germany Kunst im Heim, Capitain Petzel, Berlin Drawing a Tension – Works from the Deutsche Bank Collection, Calouste Gulbenkian Cultural Centre, Lisbon After Nature, New Museum, New York listen darling… the world is yours (curated by Lisa Phillips), Art Centre, Cascais, Portugal Soziale Diagramme/Planning Reconsidered, Künstlerhaus Stuttgart, Stuttgart, Germany Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York L’Argent, Le Plateau, Paris Eminent Domain: Contemporary Photography and the City, New York Public Library, New York Reality Check, Statens Museum for Kunst, Copenhagen, Denmark Versus Inversus, Galleria Raffaella Cortese, Milan |
| 2007 | Blind Date, Deutsche Bank Kunst und Sakip Sabanci Museum, Istanbul documenta XII, Kassel, GermanyDolls, Galleria Raffaella Cortese, Milan KISS KISS BANG BANG. 45 Years of Art and Feminism, Bilbao Fine Arts Museum, Bilbao, Spain Mouth Open, Teeth Showing: Works from the True Collection, Henry Art Gallery, Seattle, WA Oh Girl, it’s a Boy!, Kunstverein München, Munich Normal love: Precarious sex, precarious work, Künstlerhaus Bethanien, Berlin BODYPOLITCX, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands |
| 2006 | Around the Corner: Zoe Leonard and Peter Wunderlich, Orchard, New York The Heartbeat of Fashion. F.C. Grundlach Collection,Haus der Photographie, Deichtorhallen Hamburg, Hamburg, Germany Das Achte Feld, Museum Ludwig, Cologne Full House, Whitney Museum of American Art, New York Fliegende Kühe und andere Kometen – nicht nur komische Dinge in der Kunst, Villa Merkel und Bahnwärterhaus, Esslingen, Gemrany Vija Celmins, Liz Deschenes, Zoe Leonard, Tracy Williams, Ltd., New York out of the blue, Abington Art Center, Jenkintown, PA |
| 2005 | Zoe Leonard, Christopher Williams, Mai 36, Zürich The New City: Sub/urbia in Recent Photography, Whitney Museum of American Art, New York Femme(s), Musee de Carouge, Geneva |
| 2004 | Inside Out Loud: Visualizing Women’s Health in Contemporary Art, Mildred Lane Kemper Art Museum, St. Louis, MO Infinitely Specific, Montserrat College of Art Galleries, Beverly, MA Open Proposition: Artists for the Bill of Rights, The Proposition Gallery, New York Cave Birds, Raffaella Cortese, Milan Marilyn: From Anastasi to Weegee, Sean Kelly Gallery, New York Possessed: the things we own and the things that own us, Western Bridge, Seattle, WA Les enfants terribles – The Language of Childhood in Art – 1909-2004 (curated by Marco Franciolli, Helmut Friedel, Giovanni Iovane), Museo Cantonale d’Arte, Lugano, Italy |
| 2003 | Eric Hattan, Zoe Leonard, Michel Francois, Swiss Institute, New York Recent Acquisitions – Photography, The Museum of Fine Arts, Houston Works from the Sammlung Schurmann, Museum für Gegenwartskunst Siegen, Germany Phantom of Desire, Neue Galerie am Landesmuseum, Graz, Austria Yankee Remix, Mass MoCA, North Adams, MA The tale of the thread: Embroidery and sewing in contemporary art, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy Gelijk het leven is, S.M.A.K., Ghent, The Netherlands Hot Summer in the City, Sean Kelly Gallery, New York In Nature: 10th International Biennial of Photography, The Italian Foundation of Photography and Palazzo Bricherasio, Turin, Italy A Clear Vision: Photographic works from the F.C. Gundlach collection, International House of Photography, Deichtorhallen Hamburg, Hamburg, Germany Lei. Donne nelle collezioni italiane (curated by Francesco Bonami), Fondazione Sandretto Re Rebaudengo, Turin, Italy |
| 2002 | RE: ACTION 2002, Jan Weiner Gallery, Kansas City, MO Recent Accessions: Photography, Museum of Fine Arts Houston American Academy Invitational Exhibition of Painting & Sculpture, American Academy of Arts and Letters, New York De Gustibus (curated by Achille Bonito Oliva and Sergio Risaliti), Palazzo delle Papesse, Siena, Italy Prophets of Boom: Werke aus der Sammlung Schürman, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany Mask & Metamorphosis, Art Gallery of Hamilton, Ontario, Canada Sie träumt von Ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus der Sammlung Schürmann, K21 Kunstsammlung im Ständehaus, Dusseldorf Cadavre Exquis, Galerie Georges-Philippe & Nathalie Vallois, Paris Le Regard de l’Autre, Musée des Beaux-Arts de Rouen, Rouen, France Photographier – to Photograph, Collection Lambert, Musée d’art Contemporain, Avignon, France My Marilyn, Liljewachs Konsthall, Stockholm Galerie Praz-Delavallade, Paris Visions from America Photographs from the Whitney Museum of American Art, 1940-2001, Whitney Museum of American Art, New York The Photographic Impulse, Henry Art Gallery, Seattle, WA With and Without You. Re-visitations of Art in the Age of AIDS, Ivan Dougherty Gallery, Sydney Keine Kleinigkeit, Kunsthalle Basel, Basel, Switzerland In Focus: Display within the Collection 2002, Tate Modern, London Group Show, The Agency, London Disturbance, Raffaela Cortese, Milan |
| 2001 | Full Frontal, Photographic Portraits, Jan Weiner Gallery, Kansas City, MO From Real to Ideal, Brattleboro Museum & Art Center, Brattleboro, VT Shopping, Generali Foundation, Vienna Parkett Collaborations, Museum of Modern Art, New York Outart 2001: Stand Fast Dick and Jane, Project, Dublin, Ireland Double Life, Generali Foundation, Vienna Sex – Vom Wissen und Wünschen (curated by Rosemarie Trockel), Deutsches Hygiene-Museum, Dresden, Germany The Surreal Woman: Femaleness and the Uncanny in Surrealism, Kunsthalle Bielefeld, Germany Magic/Object/Action, Site Gallery, Sheffield, England |
| 2000 | Drawings & Photographs, Matthew Marks Gallery; New York Alexander and Bonin, New York Cross Female, Kunstlerhaus Bethanien, Berlin Brave New World, Galerie Jennifer Flay, Paris Kwangju Biennial, Kwangju, Korea The Wounded Diva, Kunstverein München, Munich Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Art, Richmond, VA Positions to a political discourse, Raum Aktueller Kunst Martin Janda, Vienna; traveled to Nieuw Internationaal Cultureel Centrum, Antwerp, Belgium Lignes d’horizon: Acquisitions récentes du FRAC Haute-Normandie, Fonds régional d’art contemporain de Haute-Normandie, Rouen, France Voilà: Le Monde Dans la Tête, Musée d’Art Moderne de la Ville de Paris, Paris Sensitive, Le Printemps de Cahors, France Body Beautiful, Galerie Jennifer Flay, Paris The Swamp: On the Edge of Eden, Harn Museum of Art, Gainesville, FL; traveled to The Cummer Museum of Art & Gardens, Jacksonville, FL Others Worlds (curated by Erika Belle), 28 Wooster Street, New York Snapshot, Contemporary Museum, Baltimore, MD |
| 1999 | No Quarter Given. Images of Violence in Contemporary Art, Espai d´Art Contemporani de Castelló, Castelló, Spain A Girl Like You, Galerie Praz-Delavallade, Paris The Sentiment of the Year 2000, Milano Triennale, Milan Persona II, Carousel Gallery, Paris Calendar 2000, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY Larmes Blanches, Fonds Régional d’Art Contemporain, Rouen, France Sleuth, Fotogallery, Cardiff; traveled to Oriel Mostyn, Llandudno, Wales; Barbican Gallery, London The Museum as Muse: Artists Reflect, The Museum of Modern Art, New York; traveled to The Museum of Contemporary Art, San Diego, CA Dramatis Personæ, The Photographic Resource Center, Boston Skin Deep: Surface and Appearance in Contemporary Art, The Israel Museum, Jerusalem in passing, The Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY Les Fleurs du Mal, Galerie Seitz – von Werder, Berlin Gender Trouble, Neuer Aachener Kunstverein, Aachen, Germany Exhibition of Visual Art 1998, EVA, Limerick Corporation, Limerick, Ireland Sans Titre: Works from the Collection of Peggy Scott & David Teplitzky, Boulder Museum of Contemporary Art, Boulder, CO |
| 1998 | Crossroad, Groninger Museum, Groningen, The Netherlands Three Generations Patricia Faure Gallery, Patricia Faure Gallery, Santa Monica, CA Fast Forward (Body Check), Kunstverein Hamburg, Hamburg, Germany Some Like it Hot, Linda Kirkland Gallery, New York Jardin d’artistes: De mémoire d’arbre, Musée Zadkine, Paris L’Hypothèse du tableau vole, La Fondation Mamco et le Musée d’art moderne et contemporain, Geneva, Switzerland Bathroom (curated by Wayne Koestenbaum), Thomas Healy Gallery, New York Travel and Leisure, Paula Cooper Gallery, New York Sculpture – Figure – Woman, Upper Austrian Regional Gallery, Linz, traveled to Kunstsammlungen Chemnitz, Chemnitz, Austria The Precious Image: Contemporary Platinum Photography, University Art Gallery, Montclair State University, Montclair, NJ |
| 1997 | Museum Van Hedendaagse Kunst Gent zu Gast im Kunstverein Schwerte, Kunstverein Schwerte, Schwerte, Germany Still and Moving: Contemporary Photography and Video, Revolution Gallery, Ferndale, MI Miami Short Cuts: Links to the Body, Bundesanstalt für Arbeitsschutz und Arbeitsmedizin, Dortmund, Germany The Veiled Face (Transvestism and Identity in Art): The 80’s and 90’s, Koldo Mitxelena Kulturunea Exhibition Gallery, Donostia-St. Sebastian, Spain Body, The Art Gallery of New South Wales, Australia The Matrix of Geography, Galerija Dante Marino Cettina, Umag, Croatia 1997 Biennial Exhibition, Whitney Museum of American Art, New York The Leisure Sector, Annika Sundvik Gallery, New York Skin Deep, Jennifer Flay Gallery, Paris Feminine Image, Nassau County Museum of Art, Roslyn Harbor, NY Gothic, The Institute of Contemporary Art, Boston, MA Fashion Moda, Cleveland Center for Contemporary Art, Cleveland, OH Veronica’s Revenge: Oeuvres Photographiques de la Lambert Art Collection, Centre d’Art Contemporain, Geneva; traveled to Casino Luxembourg and Musée national d’histoire et d’art, Luxembourg; and to Arken Museum of Modern Art, Ishøj, Denmark |
| 1996 | Group Show, Paula Cooper Gallery, New York The Wild Good; Lesbian Photography and Writings on Love, A Different Light Bookstore, New York Embedded Metaphor(curated by Nina Felshin), Independent Curators International, New York Groninger Museum’s Collection and Proposals for Future Acquisitions, Groninger Museum, Groningen, The Netherlands Nudo and Crudo: Sensitive body, Visible body, Claudia Gian Ferrari Arte Contemporanea, Milan Black and Blue: Eight American Photographers, Groninger Museum, Groningen, The Netherlands Passage à l’acte, Galerie Jennifer Flay, Paris Vija Celmins, Zoe Leonard, Jorge Pardo, Joe Scanlan, Galerie Micheline Szwajcer, Antwerp, Belgium Points of View: Photography from the Collection, Gallery 2, University Art Museum, Pacific Film Archive, University of California at Berkeley, Berkeley, CA Art at Home: Ideal Standard Life, Spiral Garden, Tokyo L’Evidence, Centre d’Art Contemporain, Geneva Sosie, Sagacho Exhibit Space, Tokyo Push Pause, Randolph Street Gallery, Chicago |
| 1995 | In a Different Light, University Art Museum / Pacific Film Archives, University of California, Berkeley, Berkeley, CA Zoe Leonard and Mauri Formigoni, Sangamon State University Visual Arts Gallery, Springfield, IL Compulsion to Repeat: Repetition and Difference in Works from the Permanent Collection, Museum of Contemporary Art, Los Angeles L’immagine riflessa: una selezione di fotografia contemporanea dalla collezione LAC, Svizzera, Museo Pecci, Prato, Italy Fashion Moda (curated by Lisa Marie Marks), Entwistle Gallery, London Feminin/Masculin: Le Sexe de l’Art, Centre Georges Pompidou, Paris Nature Studies II, University Gallery Fine Arts Center, University of Massachusetts, Amherst, MA Obliquely, Shoshana Wayne Gallery, Santa Monica, CA Passion Privées: Collections particulières d’art moderne et contemporain en France, Musée d’Art Moderne de la Ville de Paris, Paris |
| 1994 | The Art of Seduction, The Centre Gallery, Miami-Dade Community College, Miami, FL The Use of Pleasure, Terrain Gallery, San Francisco, CA Pictures of the Real World (In Real Time)(curated by Robert Nickas), Paula Cooper Gallery, New York; traveled to: Le Consortium, Dijon, France; Le Capitou, Centre d’Art Contemporain, Frejus, France; Städtische Galerie, Goppingen, Germany; Massimo de Carlo, Milan; Hara Museum of Contemporary Art, Tokyo Sum of the Parts, University of Hawaii at Manoa Art Gallery, Honolulu, HI In the Field: Landscape in Recent Photography, Margo Leavin Gallery, Los Angeles Sosie, Herve Mikaeloff, Paris Sea Sights (curated by Nessia Pope), Offshore Gallery, East Hampton, NY Holiday Exhibition, Paula Cooper Gallery, New York |
| 1993 | Saints and Survivors in a Time of Plague, Lowinsky Gallery, New York 1993 Biennial Exhibition, The Whitney Museum of American Art, New York; traveled to the National Museum of Contemporary Art, Seoul Dissent, Difference & The Body Politic, Otis Gallery, Otis School of Art and Design, Los Angeles Art & Aids in New York, Münchner Stadtmuseum, Munich, Germany; Stadtbibliothek Hannover, Hannover, Germany 1920: The Subtlety of Subversion, The Continuity of Intervention, Exit Art / The First World, New York Rewriting History: The Salon of 1993, Montgomery Glasoe Fine Art, Minneapolis, MN Coming To Power: 25 Years of Sexually Explicit Art by Women, David Zwirner Gallery, New York The Uncanny, Sonsbeek Exhibition, Gemeentemuseum Arnhem, Arnhem, The Netherlands Eau de Cologne: 1983 – 1993, Galerie Monika Sprüth, Cologne Robert Gober, Zoe Leonard, Fawbush, New York Nulle Part et Partout, Espace Paul Boye, Sète, France Imaginaries, Lesbian Herstory Archives, Brooklyn, NY Abject Art: Repulsion and Desire in American Art, Whitney Independent Study Program, The Whitney Museum of American Art, New York What happened to institutional critique? (curated by James Meyer), American Fine Arts-Colin de Land, New York The Return of the Cadavre Exquis, The Drawing Center, New York; traveled to: The Corcoran Gallery of Art, Washington D.C.; The Foundation for Contemporary Art, Mexico City; The Santa Monica Museum, Los Angeles; The Forum for Contemporary Art, St. Louis, MO Kunstverein Kippenberger Kassel, Museum Fridericianum Kassel, Germany Gent de Gast in De Beyerd Breda: De Keuze Van Jan Hoet, Museum van Hedendaagse Kunst, Ghent, The Netherlands |
| 1992 | Zoe Leonard, Felix Gonzalez-Torres, Kiki Smith, Robert Gober, Jack Hanley Gallery, San Francisco, CA Documenta IX, Kassel, Germany |
| 1991 | From Desire: A Queer Diary, Richard F. Brush Art Gallery, St. Lawrence University, Canton, NY Gulliver’s Travels, Galerie Sophia Ungers, Cologne On Kawara, Zoe Leonard, Paula Cooper Gallery, New York 8th Annual Day of the Dead / Dia de los Muertos, Los Angeles Photography Center, Los Angeles Nancy Brooks Brody, Paula Hayes, Zoe Leonard, Jack Pierson, Andrea Rosen Gallery, New York Shooter’s Hill, AC Project Room, New York Act Up Benefit Exhibition, Paula Cooper Gallery, New York |
| 1990 | Luhring Augustine, New York The Köln Show, Gallery Building at Venloer Strasse 21, Cologne Wendy Jacob and Zoe Leonard, Andrea Rosen Gallery, New York Ponton Temse, Museum van Hedendaagse Kunst, Ghent, The Netherlands Survey of Gay and Lesbian Artists, Penine Hart Gallery, New York Work on Paper, Paula Allen Gallery, New York Act Up Auction For Action, Paula Cooper Gallery, New York |
| 1989 | Strange Attractors: Signs of Chaos, New Museum of Contemporary Art, New York First Amendment Show, Sally Hawkins Gallery, New York War Resisters’ League Benefit, New York The Center Show, Lesbian and Gay Community Center, New York Erotophobia, Simon Watson Project Space, New York AIDS Timeline, An Installation by Group Material, University Art Museum/ Pacific Film Archives, University of California, Berkeley, Berkeley, CA |
| 1988 | Selections from the Artists’ File, Artists Space, New York |
| 1987 | Consonance, ISD, New York |
| 1986 | The Hidden Surface, Middendorf Gallery, Washington, D.C. Simon Cerigo Gallery, New York Myth, Greathouse, New York New Math Gallery, New York |
| 1985 | Getting Off, Civilian Warfare, New York |
| 1984 | Soon to Be A Major Motion Picture, Greathouse, New York Just Appearances, New Math Gallery, New York |
| 1983 | Twenty Nine Downtown, Piezo Electric, New York |
| 1982 | Times Square Show, Times Square, New York |
| 1980 | Club 57, New York |
Awards
| 2014 | Bucksbaum Award, Whitney Museum of American Art |
Public Collections
Art Institute of Chicago, Chicago
Baltimore Museum of Art, Baltimore, MD
Berkeley Art Museum, Berkeley, CA
CCS Hessel Museum of Art, Annandale-on-Hudson, New York
Centre Georges Pompidou, Paris
Centro Andaluz de Arte Contemporáneo, Seville
Collezione la Gaia, Busca, Italy
Dallas Museum of Contemporary Art, Dallas
Deichtorenhallen, Hamburg
Denver Art Museum, Denver
Ellipse Foundation, Lisbon
Fonds National d’Art Contemporain, Paris
Fonds regionald’art contemporain de haute normandie, Sotteville-lès-Rouen, France
Fotomuseum Wintertur, Winterthur, Switzerland
Generali Foundation, Vienna
Groninger Museum, Groningen, Netherlands
Ludwig Museum, Cologne
Tate Modern, London
The Margulies Collection at the Warehouse, Miami
MP contemporary art collection, Seville, Spain
MuMOK — Museum moderner Kunst Stiftung Ludwig Wien, Vienna
Musée d’art moderne et contemporain, Geneva
Museo Nacional Centro Nacional de Arte Reina Sofia, Madrid
The Museum of Contemporary Art, Los Angeles, Los Angeles
Museum of Contemporary Art Miami, Miami
The Museum of Fine Arts Houston
The Museum of Modern Art, New York
National Gallery of Art, Washington, DC
The New School, New York
New York Public Library, New York
Philadelphia Museum of Art, Philadelphia
Pinakothek der Moderne, Munich
Provincia di Milano, Milan
Provinciaal Museum voor Fotografie, Antwerp Rose Art Museum Brandeis University, Waltham, MA
San Francisco Museum of Modern Art, San Francisco
Secession, Vienna
Sheldon memorial museum, Lincoln, NE
Solomon R. Guggenheim Museum, New York
Staad Museum Kassel, Kassel
Stedelijk Museum voor Actuele Kunst Gent, Ghent, Belgium
Western Bridge, Seattle
The Whitney Museum of American Art, New York
Books and Monographs
| 2014 | Zoe Leonard: Available Light. Brooklyn: Dancing Foxes Press; London: Ridinghouse, 2014. Texts by Diedrich Diederichsen, Suzanne Hudson, Glenn Ligon, and Eileen Myles |
| 2012 | Lebovici, Elisabeth. From There to Back Again. New York: Murray Guy, 2012 Leonard, Zoe and Elisabeth Lebovici. The Politics of Contemplation. New York: Murray Guy, 2012 Zoe Leonard Observation Point. File Note #69. Exhibition pamphlet. London: Camden Arts Centre, 2012. Essay by Briony Fer |
| 2010 | Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010. Texts by Zoe Leonard, Lynne Cooke, Lytle Shaw, Ann Reynolds, and Angela L. Miller |
| 2007 | Zoe Leonard: Photographs. Ed. Urs Stahel. Göttingen: Steidl; Winterthur: Fotomuseum Winterthur, 2007. Texts by Elisabeth Lebovici and Svetlana Alpers Zoe Leonard: Analogue. Ed. Ann Bremner. Columbus: Wexner Center for the Arts; Cambridge, MA: MIT Press, 2007 |
| 1999 | Cappellazzo, Amy. Life Support Tree System: Works by Zoe Leonard. Jerusalem: Gallery Anadiel, 1999 Zoe Leonard. Warsaw: Centre for Contemporary Art Ujazdowski Castle, 1999. Essay by Elisabeth Lebovici |
| 1998 | Zoe Leonard. Paris: Centre national de la photographie, 1998. Text by Elisabeth Lebovici Leonard, Zoe. Ladies and Gentlemen. Toronto: Cockroach Press, 1998 |
| 1997 | Zoe Leonard: Secession. Vienna: Weiner Secession, 1997. Interview by Anna Blume Zoe Leonard. Basel: Kunsthalle Basel, 1997 |
| 1996 | Leonard, Zoe and Cheryl Dunye. The Fae Richards Photo Archive. San Francisco: Artspace Books, 1996 |
| 1995 | Strange Fruit. New York: Paula Cooper Gallery, 1995 Zoe Leonard. Milan: La Case dʼArte, 1995 |
| 1991 | Zoe Leonard. San Francisco: Trans Avant-Garde Gallery, 1991. Essay by Jack Hanley Zoe Leonard. Exhibition pamphlet. Berkeley: University of California, Berkeley, 1991. Essay by Lawrence Rinder |
| 1990 | Koether, Jutta. Information: Zoe Leonard. Cologne: Galerie Gisela Capitain, 1990 |
Selected Artist’s Writings and Publications
| 2014 | “An Iris.” In Herstory Inventory: 100 Feminist Drawings by 100 Artists. Ed. Barbara Schröder, Karen Kelly, and Ulrike Müller. Brooklyn: Dancing Foxes Press, 2014, p. 224 “December 3, frame 3 (2011/12).” Blindspot, no. 47, Twentieth Anniversary Issue (2014), front and back cover Ebner, Shannon and Zoe Leonard. “Interview.” BOMB, no. 127 (Spring 2014), pp. 54–64 |
| 2013 | “I Want a President.” Women’s Studies Quarterly 41, nos. 2 & 3 (Fall/Winter 2013), pp. 229–230 “Four images from Analogue, 1998–2009.” Art Journal 72, no. 2 (Summer 2013), pp. 78–81 |
| 2012 | “Muscle Memory.” In Coming After: Queer Time, arriving too late and the spectre of the recent past. Ed. Jon Davies. Toronto: The Power Plant, 2012, pp. 66–71 Leonard, Zoe and Elisabeth Lebovici. “The Politics of Contemplation.” In La Voce delle immagini, Paroles des Images, Voice of Images. Venice: Palazzo Grassi; Electa, 2012 |
| 2011 | “A Wild Patience.” In Agnes Martin. Ed. Lynne Cooke, Karen Kelly, and Barbara Schröder. New York: Dia Art Foundation; New Haven: Yale University Press, 2011, pp. 78–101 “James Castle: Inside Out.” In James Castle: Show and Store. Ed. Lynne Cooke. Madrid: Museo Nacional Centro de Arte Reina Sofía; D.A.P., 2011, pp. 9–15 “some moments from a feminist year.” In “She is the One / Survey with Contributions by Nairy Baghramian, Kerstin Cmelka, Eva Geulen, Charlotte Klonk, Gertrud Koch, Zoe Leonard, Michaela Meise, Amy Sillman, Christiane Voss.” Texte Zur Kunst, no. 84 (December 2011), pp. 50–85, esp. 72–73 Leonard, Zoe and Moyra Davey, eds. Blind Spot, no. 43 (2011) |
| 2010 | “This is where I was.” In Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010, pp. 8–21 |
| 2008 | “Analogue, 1998–2007.” Introduced by Helen Molesworth. In Antimonies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Ed. Terry Smith, Okwui Enwezor, and Nancy Condee. Durham: Duke University Press, 2008, pp. 187–203 “Edition for Parkett: 1 Hour Photo & Video” (2007–08), Parkett, no. 84 (2008), pp. 99–101 |
| 2007 | “Interview at Documenta 12.” dmovies.net, 2007 [Photographs from Analogue.] Cultural Politics 3, no. 2 (July 2007), pp. 249–253 |
| 2003 | Transcript of Lecture by Zoe Leonard. In The Generation of Images- Reality’s Desire. Ed. Roberto Pinto. Milan: Postmedia Srl/ Comune di Milano, 2003, pp. 99–121 Mouth Open, Teeth Showing II: Werke aus der Sammlung Schürmann. Exhibition Brochure. Siegen: Museum für Gegenwartskunst, 2003. Article by Zoe Leonard. |
| 2002 | “Artist Questionnaire: 21 Responses.” October 100 (Spring 2002), pp. 89–97 Leonard, Zoe and Beth Dungan. “Interview with Zoe Leonard.” Discourse 24, no. 2, (Spring 2002), pp. 70–85 |
| 1998 | The 1998 Bearded Lady Calendar: Starring Jennifer Miller. Glarus: Kunsthaus Glarus, 1998 |
| 1996 | “Insert: Zoe Leonard and Cheryl Dunye: Watermelon Woman.” Parkett, no. 47, 1996, pp. 153–177 |
| 1990 | “Safe Sex is Real Sex,” “HIV-Anitbody Testing and Legal Issues for HIV-Positive People,” and “Lesbians in the AIDS Crisis.” In Women, Aids & Activism. Ed. The ACT UP/New York Women and AIDS Book Group. Boston: South End Press, 1990, pp. 27–30, 55–68, and 113–118 Leonard, Zoe and Polly Thistlethwaite. “Prostitution and HIV Infection.” In Women, Aids & Activism. Ed. The ACT UP/New York Women and AIDS Book Group. Boston: South End Press, 1990, pp. 177–186 |
Selected Bibliography
| 2014 | ArtSlant Team. “In Conversation: First Impressions of the 2014 Whitney Biennial.” artslant.com, 7 March 2014 Burton, Johanna and Anne Ellegood, eds. Take It or Leave It: Institution, Image, Ideology. Los Angeles: Hammer Museum; Munich: DelMonico Books/Prestel, 2014, pp. 12, 19, 22, 102–3, 184–85, 203–4, 259–60 Cascone, Sarah. “Zoe Leonard Wins Whitney’s Bucksbaum Award with her Giant Camera Obscura.” Artnet, 15 May 2014 Cotter, Holland. “One Last Dance in the Old Place.” [2014 Whitney Biennial Review]. New York Times, 7 March 2014, p. C25 Diederichsen, Diedrich. “The Third Photography.“ In Zoe Leonard: Available Light. Brooklyn: Dancing Foxes Press; London: Ridinghouse, 2014, pp. 8–15 Ebner, Shannon and Zoe Leonard. “Interview.” Bomb, no. 127 (Spring 2014), pp. 54–64 Gassel, Harry. “Why to Visit the Whitney Biennial: Bootleg Jordans, Painted TVs and a Juggalo Yard Sale.” Fader, 6 March 2014 Goldstein, Andrew M. “The Most Spectacular Artworks in the Whitney Biennial.” Artspace, 14 March 2014 Gopnik, Blake. “Daily Pic: An Elegy for the Breuer Whitney.” Artinfo.com, 11 March 2014 Griffin, Jonathan. “Take It or Leave It.” Art in America (April 2014) Herstory Inventory: 100 Feminist Drawings by 100 Artists. Ed. Barbara Schröder, Karen Kelly, and Ulrike Müller. Brooklyn: Dancing Foxes Press, 2014, p. 224 Halle, Howard. “Review: 2014 Whitney Biennial.” Time Out NY, 6 March 2014 Hudson, Suzanne. “Lost Horizon.” In Zoe Leonard: Available Light. Brooklyn: Dancing Foxes Press; London: Ridinghouse, 2014, pp. 122–127 Jackson, Nate. “Zoe Leonard’s Camera Obscura Turns Marfa Inside Out and Upside Down.” Texas Observer, 1 July 2014 Kalb, Peter R. Art Since 1980: Charting the Contemporary. London: Pearson, 2014, pp. 245–246 Ligon, Glenn. “Where the Feeling and Everything Is.” In Zoe Leonard: Available Light. Brooklyn: Dancing Foxes Press; London: Ridinghouse, 2014, pp. 136–139 McGarry, Kevin. “Whitney Biennial 2014.” ArtAgenda, 7 March 2014 Molesworth, Helen. “Whitney Biennial.” Artforum (May 2014), pp. 310–311 Myles, Eileen. “Needleshine.” In Zoe Leonard: Available Light. Brooklyn: Dancing Foxes Press; London: Ridinghouse, 2014, pp. 82–86 Robertson, Rebecca. “Photography at the Whitney Biennial: Hidden in Plain Sight.” ARTnews, 6 March 2014 Saltz, Jerry. “Seeing Out Loud.” [2014 Whitney Biennial Review]. New York Magazine, 10 March 2014 Schafer, Ellen. “Zoe Leonard Wins Bucksbaum Award.” Art in America, 16 May 2014 Schumacher, Mary Louise. “Wisconsin presence at Whitney Biennial.” Journal Sentinel Tap Milwaukee, 14 March 2014 Silverman, Coral. “Review: Color and Craft at the Whitney Biennial 2014.” Stagebuddy.com, 30 May 2014 Vartanian, Hrag. “Whitney Biennial 2014: Anthony Elms on the Second Floor.” Hyperallergic.com, 6 March 2014 Vartanian, Hrag. “Whitney Biennial 2014: Grabner Michelle on the Fourth Floor.” Hyperallergic.com, 4 March 2014 Vogel, Carol. “State of Our Art, According to Whitney: A Guide to the 2014 Whitney Museum Biennial.” New York Times, 28 February 2014, p. C21 “Zoe Leonard_945 Madison Avenue.” Fresh Art International, 9 March 2014 |
| 2013 | Copeland, Huey. “Photography, the Archive, and the Question of Feminist Form: A Conversation with Zoe Leonard.” Camera Obscura 28, no 2, issue 86 (2013), pp. 176–189. Gioni, Massimiliano, et. al. NYC1993: Experimental Jet Set, Trash and No Star. New York: New Museum, 2013, p. 99 Masculin / Masculin: L’homme nu dans l’art de 1800 à nos jours. Paris: Musee d’Orsay, 2013, p. 289 Scribner, Charity. “Reading the Lumpenproletariat: Zoe Leonard’s Kampala Photographs.” Nka, no. 33 (Fall 2013), pp. 47–55 Vogt, Christine, ed. Hair! Hair! Das Haar in der Kunst von der Antike bis Warhol – von Tilman Riemenschneider bis Cindy Sherman. Oberhausen: Ludwig Galerie Schloss Oberhausen, 2013, p. 91 Zapperi, Giovanna. “Woman’s Reappearance: Rethinking the Archive in Contemporary Art–Feminist Perspectives.” Feminist Review, no. 105 (2013), pp. 21–47 |
| 2012 | Allsop, Laura. “Zoe Leonard: Observation Point.” Art Monthly (May 2012) Brown, Camilla. “Zoe Leonard: Observation.” Photomonitor: Reviews, 31 March 2012 Burton, Johanna. “Zoe Leonard – Murray Guy.” Artforum (December 2012), p. 272 “Camera Obscura, Camden Arts Centre.” NXNW Magazine (March 2012) Circus Wols. An Hommage. Bremen: Weserburg Museum für Moderne Kunst, 2012, p. 108 Cotton, Charlotte. “Zoe Leonard.” Art in America (July 2012) “Culture Fix: Zoe Leonard: Observation Point.” Vantage NW (April 2012) Fer, Briony. “Observation Point.” Zoe Leonard Observation Point. File Note #69. Exhibition pamphlet. London: Camden Arts Centre, 2012 Fitzpatrick, Corrine. “Zoe Leonard.” Artforum.com, 4 October 2012 “Five best London shows.” Information (supplement to the Independent), 21 April 2012 Iversen, Margaret. “Analogue: On Zoe Leonard and Tacita Dean.” Critical Inquiry 38, no. 4 (Summer 2012), pp. 796–818 Jones, Ann. “World Turned Upside Down.” Image Object Text, 12 June 2012 Lear, Rowan. “Zoe Leonard at Camden Art Centre.” This is Tomorrow, 21 June 2012 McLean-Ferris, Laura. “Zoe Leonard, Camden Arts Centre.” i Newspaper, 5 April 2012 McLean-Ferris, Laura. “Zoe Leonard, Camden Arts Centre.” The Independent, 2 April 2012 Ou, Aurthur. “500 Words: Zoe Leonard.” Artforum.com, 5 April 2012 Padineri, Marinella. “Zoe Leonard, Raffaela Cortese.” Flash Art, no. 304 (July/August/September 2012) “Photographic Mediations.” Ham and High, 24 May 2012 “Pick of the Week.” Guardian Guide, 7 April 2012 Rosenberg, Karen. “‘Heart to Hand.’” New York Times, 5 April 2012 Sherwin, Skye. “Zoe Leonard, London.” The Guardian Guide (April 2012) Steward, Sue. “Zoe Leonard: Observation Point, Camden Arts Centre – review.” London Evening Standard, 5 April 2012 Sumpter, Helen. “Zoe Leonard: Camden Arts Centre Major Spaces.” Time Out, 3 May 2012 “Ten Best: Visual Arts.” i Saturday, 21 April 2012 True Stories. American Photography from the Sammlung Moderne Kunst. Munich: Pinakothek der Moderne, 2012, pp. 28–29 Warner, Michael. “Queer and Then?” The Chronicle of Higher Education, 1 January 2012 “Zoe Leonard: Available Light.” ICON Magazine (March 2012) “Zoe Leonard: Available Light.” The American (June 2012) “Zoe Leonard, Camden Arts Centre.” i Newspaper, 9 May 2012 |
| 2011 | Berg, Marc Joseph. “Zoe Leonard; You see I am here after all.” BOMB, no. 115 (Spring 2011) Bucher Trantow, Katerin and Peter Pakesch. Measuring the World. Heterotopias and Knowledge Spaces in Art. Cologne: Kunsthaus Graz – Universalmuseum Johanneum, 2011, pp. 71–73, 154–155 Cluitmans, Laurie and Arnisa Zeqo. He Disappeared into Complete Silence. Rereading a Single artwork by Louise Bourgeoise. Haarlem: De Hallen Haarlem, 2011, pp. 91, 103 Cooke, Lynne. “La camera obscura du XXIe siècle.” (Le meilleur du 2001: arts plastiques) Beaux Arts Magazine (December 2011), p. 65 Couanet, Catherine. Sexualités & Photographie. Paris: L’Harmattan, 2011, pp. 72–85 Cullinan, Nicholas, ed. Tacita Dean: FILM Tate Modern Unilever Series. London: Tate Publishing, 2011, p. 95 Defining Contemporary Art: 25 Years in 200 Pivotal Artworks. Ed. Daniel Birnbaum, Cornelia Butler, Suzanne Cotter, Bice Curiger, Okwui Enzwezor, Massimiliano Gioni, Hans Ulrich Obrist, Bob Nickas. London: Phaidon, 2011, pp. 206, 232–233 Hill, Wes. “Zoe Leonard.” Frieze, no. 143 (November/December 2011) Konig, Kasper. Before the Law: Post-War Sculpture and Spaces of Contemporary Art. Cologne: Ludwig Museum, 2011, pp. 98–101 Matt, Gerald A. and Synne Genzmer, eds. Vanity. Fashion/Photography from then F.C. Grundlach Collection. Vienna: Kunsthalle Wien, 2011, pp. 187, 189–193 Paneque Guillermo, ed. Entre chien et loup: Works from the Meana Larrucea Collection. Madrid: Iberdrola, 2011, p. 169 Smith, Terry. Contemporary Art: World Currents. London: Pearson, 2011, pp. 262–263 |
| 2010 | Becker, Ilka. Fotografische Atmosphären. Rhetoriken des Unbestimmten in der zeitgenössischen Kunst. Munich: Wilhelm Fink, 2010, cover illustration, pp. 159–175 Berrebi, Sophie. “Goats, Lamb, Veal, Breast: Strategies of Organisation in Zoe Leonard’s Analogue.” Afterall, no. 25 (Autumn 2010), pp. 30–37 Beyfus, Drusilla. “Zoe Leonard: Deutsche Börse Photography Prize 2010.” The Telegraph, 11 February 2010 Cooke, Lynne. “Mapping a Course from Site to Sight.” In Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010 Cooke, Lynne and Douglas Crimp with Kristin Poor, eds. Mixed Use, Manhattan, Photography and Related Practices, 1970s to the Present. Madrid: Museo Nacional Centro de Arte Reina Sofía; Cambridge, MA: MIT Press, 2010, pp. 4, 204–209, 276, 295 DEUTSCHE BORSE Photography Prize 2010. London: Photographers’ Gallery, 2010 Didi-Huberman, Georges. Atlas. ¿Cómo llevar el mundo a cuestas? / Atlas: How to Carry the World on One’s Back?, Madrid: Museo Nacional Centro de Arte Reina Sofía, 2010, p. 311 Genocchio, Benjamin. “Letting Postcards Tell Niagara Falls’ Story.” New York Times, 22 January 2010 Identité(s)/Territorialité(s). Photographies de la collection des Frac Haute et Basse-Normandie et du Fonds National d’Art Contemporain. Sotteville-lès-Rouen: Frac Haute Normandie, 2010 McDonough, Tom. “The Archivist of Urban Waste: Zoe Leonard, Photographer as Rag-Picker.” Afterall, no. 25 (Autumn 2010), pp. 18–29 Miller, Angela. “Falling into History: The Uneasy Domestication of Niagara.” In Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010, pp. 176–188 Nathan, Emily. “Bridging the Gap.” ArtSlant, 11 July 2010 The Visible Vagina. New York: David Noland Gallery, 2010 O’Hagan, Sean. “Deutsche Börse Prize 2010.” The Observer, 13 February 2010 Owens, Iris. After Claude. [1973] New York: New York Review Books Classics, 2010, cover illus. by Zoe Leonard Reynolds, Ann. “Curving into a Straight Line.” In Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010, pp. 154–174 Searle, Adrian. “Whiskers and war zones at the Deutsche Börse.” Guardian.co.uk, 9 February 2010 Shaw, Lytle. “Unsettling Time at the Falls.” In Zoe Leonard: You See I Am Here After All. New York: Dia Art Foundation; New Haven: Yale University Press, 2010, 190–219 Smith, Roberta. “Self-Fulfilling Prophecies.” The New York Times, 16 April 2010 Troeller, Jordan. “Against Abstraction: Zoe Leonard’s Analogue.” Art Journal (Winter 2010), pp. 108–123 |
| 2009 | 200 ARTWORKS-25 YEARS, Artists’ Editions for Parkett. Zurich: Parkett, 2009, pp. 254, 255 Aliaga, Juan Vicente. En todas partes: Politics of Sexual Diversity in Art. Santiago de Compostela: Centro Galego de Arte Contemporánea, 2009 Borchhardt-Birbaumer, Brigitte. “Leiser Wandel des Blickfelds.” Wiener Zeitung, 4 December 2012 Cotton, Charlotte. The Photograph as Contemporary Art, New Edition. London: Thames & Hudson, 2009, pp. 198, 199, 230–31 Cotter, Holland. “Change and Permanence, Captured by Cameras.” The New York Times, 6 March 2009 Cripps, Charlotte. “Photography’s biggest award: Images from the sharp end.” The Independent, 2 December 2009 Cvetkovich, Ann. “Photographing Objects: Art as a Queer Achival Practice.” In Lost and Found: Queerying The Archive. Ed. Mathias Danbolt, Jane Rowley and Louise Wolthers. Copenhagen: Nikolaj, Copenhagen Contemporary Art Center, 2009, pp. 49–65 Elles @Centrepompidou: Artistes femmes dans la collection du Musée national d’art moderne. Paris: Editions du Centre Pompidou, 2009 “First Major Survey of the Work of American Artist Zoe Leonard at MUMOK.” artdaily.org, 30 November 2009 “Frau mit Bart: Zur Schau gestellte Schaustellung.” DiePresse.com, 3 December 2009 Godfrey, Mark. “Analogy as Strategy. On Zoe Leonard at Dia Art Foundation, New York.” Texte zur Kunst (March 2009), pp. 173–178, 213–219 Hitzemann, Christiane. “Feminism Reconsidered: Zoe Leonard.” Stylemag.net, 22 May 2009 Huber, Michael. “Einfach nur Anschauen geht nicht!.” Kurier, 3 December 2009 Müller, Dominikus. “Dual View: Zoe Leonard.” Deutsche Bank Art Mag: Get Real!, no. 54 (April–June 2009) “MUMOK widmet US-Fotografin Leonard Einzelschau.” Kleine – Zeitung, 3 December 2009 “Umfassende Einzelschau zu Zoe Leonard im MUMOK.” derStandard.at, 3 December 2009 |
| 2008 | Ad Absurdum: Energien des Absurden von der Klassischen Moderne zur Gegenwart. Bielefeld: MARTa Herford, 2008 Armetta, Amoreen. “Critics Picks: fierce pussy.” Artforum.com, 9 May 2008 Baker, George. “Lateness and Longing.” In 50 Moons of Saturn, T2 Torino Triennale. Ed. Daniel Birnbaum. Milan: Skira, 2008, pp. 47–65 “Bucher zur Kunst.” fotoMAGAZIN (May 2008) Burton, Johanna. “In Your Eyes.” Parkett, no. 84 (2008), pp. 60–75 Cooke, Lynne. “Different Subjects, Same Terrain.” Parkett, no. 84 (2008), pp. 88–99 Cotter, Holland. “Well, It Looks Like Truth.” The New York Times, 8 January 2008 Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. New York: International Center of Photography; Steidl, 2008 Godfrey, Mark. “Mirror Displacements.” Artforum (March 2008), pp. 292–301 Lebovici, Elizabeth. “Paperwork of the Poor.” Parkett, no. 84 (2008), pp. 76–87 Pinson, Stephen. Eminent Domain: Contemporary Photography and the City. New York: The New York Public Library, 2008, pp. 48–59 Reality Check. Copenhagen: Statens Museum for Kunst, 2008, pp. 106–107 Saltz, Jerry. “Let’s Get Serious For a Moment.” New York Magazine, 15 September 2008 Schjeldahl, Peter. “Feeling Blue.” The New Yorker, 4 August 2008 Sorkin, Jenni. “Finding the Right Darkness.” Frieze, no. 113 (March 2008), pp. 136–141 Stather, Martin, ed. Break the Rules! Mannheim: Mannheimer Kunstverein, 2008, pp. 19, 37, 39 Stowell, Scott. “Columbus Society of Communicating Artists’ 2008 ‘Judges Choice’ Award and Award of Excllence.” notclosed.com, 2008 Temporary Services. Public Phenomena. Chicago: Half Letter Press, 2008, pp. 145–146 |
| 2007 | Alpers, Svetlana. “Zoe Leonard – Analogue.” In Zoe Leonard: Photographs. Ed. Urs Stahel. Göttingen: Steidl; Winterthur: Fotomuseum Winterthur, 2007, pp. 219–223 Artnet News. “Bad Reviews Roll in for Documenta.” artnet.com, 19 June 2007 Baker, Kenneth. “Book Review: Analogue: Photographs by Zoe Leonard.” Sunday Chronicle, 18 November 2007 Baur, Andreas. Fliegende Kühe und andere Kometen. Nicht nur komische Dinge in der Kunst. Nuremberg: Galerien der Stadt Esslingen am Neckar, 2007, pp. 62–67 Berg, Stephan. “Ein uneingelöstes Versprechen.” Kölner Stadt-Anzeiger, 29 June 2007 Birnir, Adda. “Death! Fire! Mayhem! Art!.” The Village Voice, 13–19 August 2008 BODYPOLITCX. Rotterdam: Witte de With, 2007 Bryan-Wilson, Julia. “Zoe Leonard. Fotomuseum Winterthur.” Artforum (September 2007), p. 209 Buergel, Roger M. and Ruth Noack, eds. documenta 12, Cologne: Taschen, 2007 Cooke, Lynne. “Best of 2007.” Artforum (December 2007), pp. 310–311 Cotter, Holland. “Asking Serious Questions in a Very Quiet Voice.” The New York Times, 22 June 2007 Imdahl, Georg. “Die Wangerung der Formen.” Kölner Stadt-Anzeiger, 2 July 2007 Kruse, Maren. “1001 Chinesen und ein Kunstliebhaber.” Kieler Nachrichten, 16 June 2007 Lebovici, Elisabeth. “The Friction of Everyday Life.” In Zoe Leonard: Photographs. Ed. Urs Stahel. Göttingen: Steidl; Winterthur: Fotomuseum Winterthur, 2007, pp. 71–78 Lorenz, Renate and José Esteban Muñoz. Normal Love: Precarious Sex, Precarious Work. Berlin: b_books and Künstlerhaus Bethanien, 2007 Searle, Adrian. “100 days of ineptitude.” The Guardian, 18 June 2009 |
| 2006 | Armstrong, Carol and Catherine De Zegher. Women Artists at the Millennium. Cambridge, MA: MIT Press, 2006 Demos, TJ. Vitamin Ph: New Perspectives in Photography. London: Phaidon Press, 2006 Lipton, Amy. Out of the blue. Jenkintown: Abington Art Center, 2006. Wagner, Frank and Kasper König, eds. The Eighth Square: Gender, Life and Desire in Art since 1960. Cologne: Museum Ludwig; New York: D.A.P./Distributed Art Publishers, 2006. Texts by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Thomas Meinecke, Eva Meyer, Cristina Nord, and Frank Wagner. |
| 2005 | Belonging: Sharjah International Biennial 7. Sharjah: Sharjah Art Museum/ Expo Centre, Sharjah, 2005, p. 326 Bright, Susan. Art Photography Now. London: Thames & Hudson, 2005, pp. 124–125 Grosenick, Uta. Art Now: The new directory to 136 International Contemporary Artists. Berlin: Taschen, 2005, pp. 249–251 Richer, Francesca and Matthew Rosenzweig. No. 1 First Works by 362 Artists. New York: D.A.P./Distributed Art Publishers, Inc., 2005, p. 215 Theorema, une Collection Privee en Italie, la Collection dʼEnea Righi. Avignon: Collection Lambert, 2005, pp. 21–25, 85 |
| 2004 | Bousteau, Fabrice. Sexes: images – pratiques et pensées contemporaines. Paris: Beaux Arts Magazine / Livres, 2004, p. 90 Cotton, Charlotte. The Photograph as Contemporary Art. London: Thames and Hudson, 2004, pp. 198–199 Foster, Hal, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh. Art Since 1900. London: Thames and Hudson, 2004, pp. 610–611 Hall, Emily. “‘Possessed.’ Western Bridge.” Artforum (September 2004), pp. 274–275 Mileaf, Janine, ed. Inside Out Loud: Visualizing Womenʼs Health in Contemporary Art. St. Louis: Mildred Lane Kemper Art Museum, Washington University, 2004 Mouchel, Didier, ed. Portraits dʼarbres: Henri Gadeau de Derville au regard de la photographie contemporaine. Cherbourg-Octeville: Le Point du Jour, Centre d’art Éditeur; Musée dʼÉvreux, 2004, pp. 28– 29 Solomon-Godeau, Abigail. “On Ghost Writing: The Fae Richards Archive.” artUS (January/February 2004), pp. 26–33 Zelanski, Paul and Mary Pat Fisher. The Art of Seeing. 6th Ed. Upper Saddle River: Pearson Prentice Hall, 2004, pp. 344–5 |
| 2003 | Buskirk, Martha. The Contingent Object of Contemporary Art. Cambridge, MA: MIT Press, 2003, pp. 143–147,191,192 Eribon, Didier. Dictionnaire des Cultures Gays et Lesbiennes, Paris: Larousse, 2003, pp. ix, 285, 286 Glueck, Grace. “Making History a Part of Today With Some Artifacts and Whimsy.” The New York Times, 15 August 2003, p. E31 Pasini, Francesca and & Giorgio Verzotti. Il Racconto del Filo: Ricamo e cucito nellʼarte contemporanea. Milan: Museo d’arte moderna e contemporanea di Trento e Rovereto; Skira, 2003, pp. 114–117 Sholis, Brian. “Zoe Leonard at Paula Cooper Gallery.” Flash Art (July/September 2003), p. 67 Valdez, Sarah. “Naked Truths.” ARTnews (March 2003), pp. 98–101 Weibel, Peter, ed. Phantom of Desire- Visions of Masochism in Art. Volume 2. Graz: Neue Galerie Graz am Landesmuseum Joanneum, 2003, pp. 300–303 Yankee Remix: Artists take on New England. North Adams, MA: Mass MOCA/ SPNEA, 2003, pp. 64–70 Zdenek, Felix. A Clear Vision: Photographic works from the F.C. Gundlach collection. Hamburg: The Deichtorhallen, 2003, pp. 80–81, illus. In Nature: 10th International Biennial of Photography. Turin: The Italian Foundation of Photography, 2003, pp. 116–119 |
| 2002 | Adams, Rachel. Sideshow USA: Freaks and the American Cultural Imagination. Chicago: The University of Chicago Press, 2002, pp. 135–136 Azoury, Philie. “Elvis et Marilyn, saints et martyrs.” Cahiers du Cinema (July/August 2002), pp. 22–23 Breitwieser, Sabine. Double Life, Identity and Transformation in Contemporary Arts. Vienna: Generali Foundation; Cologne: Walter König, 2002, pp. 174–179 Caws, Mary Ann, and Shirley Madil. Mask and Metamorphosis: Aspects of Surrealism in Contemporary Art. Ontario: Art Gallery of Hamilton, Ontario, Canada, 2002 Grosenick, Uta, ed. Women Artists in the 20th and 21st Century. Cologne: Taschen, 2002, pp. 312–317 Grosenick, Uta, and Burkhard Riemschneider, eds. Art Now: Artists at the Rise of the New Millennium. Berlin: Taschen, 2002, pp. 264–267 Heynen, Julian and Doris Krystof. Sie Träumt Von Ihrem Lieblingsstar. Er Spricht Mit Einer Fremden Sprache. Vier Räume aus der Sammlung Schürmann. Ostfildern-Ruit: Hatje Cantz Verlag, 2002, pp. 73–82 K20, K21 Kunstsammlung Nordrhein-Westfalen. Ostfildern-Ruit: Hatje Cantz Verlag, 2002, pp. 70–78. 93–94 Keine Kleinigkeit. Basel: Kunsthalle Basel, 2002 Leonard, Zoe and Beth Dungan. “Interview with Zoe Leonard.” Discourse, 24.2 (Spring 2002), pp. 70–85 Nilson, Bo. The Growing Cult of Marilyn. Stockholm: Kultur Forvaltningen, 2002 Prophets of Boom: Werke aus der Sammlung Schuermann. Baden Baden: Staatliche Kunsthalle Baden Baden, 2002, pp. 44–47 Une Collection pour une région 1982–2002. Rouen: FRAC Haute-Normandie, France, 2002, p. 86 Vogel, Sabine B. “documenta, Lebenslauf einer Institution, Teil 3.” faz.net, 8 May 2002 Wolf, Sylvia and Andy Grundberg. Visions from America: Photographs from the Whitney Museum of American Art, 1940–2001. New York: Prestel, 2002, p. 144 |
| 2001 | Bronfen, Elisabeth and Misha Kavka, eds. Feminist Consequences: Theory for the New Century. New York: Columbia University Press, 2001, pp. 306–7 Grosenick, Uta and Burkhard Riemschneider. Art Now. Cologne: Taschen, 2001, pp. 96–97 Lampe, Angela, ed. Die Unheimliche Frau, Weiblichkeit im Surrealismus. Bielefeld: Kunsthalle Bielefeld, pp.156–7 McDonald, Helen. Erotic Ambiguities: The Female Nude in Art. London: Routledge, 2001 Parkett collaborations and editions since 1984. Zurich-New York: Parkett Publishers, 2001, p. 295 Persekian, Jack, ed. Exposure. Jerusalem: Al-Maʼmal Foundation for Contemporary Art, 2001 Reckitt, Helena, ed. Art and Feminism. London: Phaidon Press, 2001, pp. 43, 166, 269, 270 Stein, Judith E.. “Army of the Dolls.” Art in America (February 2001), pp. 100–103 Verlinden, Jan. “Beeldende Kunst 1996–97–98.” Collectie Vlaamse Gemeenschap. Aanwinsten 1996–1998. Brussels: Ministerie van de Vlaamse Gemeenschap, 2001, pp. 73, 237 Withers, Rachel. “One for Two (Double Life).” Artforum (May 2001), p. 77 |
| 2000 | Buskirk, Martha. “Planning for Impermanence.” Art in America (April 2000), pp. 112–119, 167 Cross Female. Metaphern des Weiblichen in der Kunst der 90er Jahre. Berlin: Künstlerhaus Bethanien, 2000, p. 50 Da Ponte, Lorenzo. Memoirs. New York: The New York Review of Books Classics, 2000, cover illus. by Zoe LeonardDie verletze Diva: Hysterie, Körper, Technik in der Kunst des 20 Jahrhunderts (The Wounded Diva: Hysteria, Body, Technique in 20th Century Art). Munich: Kunsverein München Siemens Kulturprogramm, 2000, p. 92 Hammond, Harmony and Christopher Lyon. Lesbian Art in America: A Contemporary History. New York: Rizzoli, 2000, pp. 80–81, 129–131, 158, 176 Hoffmann, Frank. “Report from Kwangju: Monoculture and its discontents.” Art in America (November 2000), pp. 71–79 Kitahara, Megumi. “Zoe Leonard.” In Art Activism. Vol. 2. Tokyo: Impact Shuppankai, 2000, pp. 62, 160, 168 Lebovici, Elizabeth. “Zoe Leonard: les taches du quotidien.” Libération, 16 June 2000, p. iv Ravenal, John B. Vanitas: Meditations on Life and Death in Contemporary Art. Richmond: Virginia Museum of Fine Arts, 2000 Sensitive: Printemps de Cahors. Arles: Actes Sud, 2000, pp. 48–49, 108–109 The Swamp: On the Edge of Eden. Gainesville: Samuel P. Harn Museum of Art, University of Florida, 2000, p. 48 Voilà: le monde dans la tête. Paris: Musée dʼArt Moderne de la Ville de Paris, 2000, illus. pp. 482–483 |
| 1999 | A Sangre y Fuego. Valencia: Espai dʼArt Contemporani de Castelló, 1999 Bloom, Lisa, ed. With Other Eyes: Looking at Race and Gender in Visual Culture. Minneapolis: University of Minnesota Press, 1999, pp. 133–138 Corzo, Miguel Angel, ed. Mortality/Immortality? The Legacy of 20th Century Art. Los Angeles: The Getty Conservation Institute, 1999 Debord, Matthew. “A Thousand Words: Zoe Leonard Talks About Her Recent Work.” Artforum (January 1999), pp. 100–101 Dery, Mark. The Pyrotechnic Insanitarium: American Culture on the Brink. New York: Grove Press, 1999 Dramatis Personae. Boston: The Photographic Resource Center, Boston, 1999 Grosenick, Uta and Burkhard Riemschneider, eds. Art at the Turn of the Millenium. London: Taschen, 1999, illus, pp. 306–309 Jones, Jonathan. “Crime Seen.” The Guardian, 29 June 1999, pp. 12–13 McShine, Kynaston, ed. The Museum as Muse: Artists Reflect. New York: The Museum of Modern Art, New York, 1999 Naisbitt, John. High Tech – High Touch: Technology and Our Search for Meaning. New York: Broadway Books, 1999 O’Reilly, Paul M., ed. EV+A Compendium. Limerick: Limerick City Gallery of Art and Gandon Editions, 1999, p. 153 Phillips, Lisa, ed. The American Century: Art & Culture 1950–2000. New York: The Whitney Museum of American Art, 1999 Schmerler, Sarah. “Zoe Leonard.” Art News (April 1999), p. 118 Skin-Deep: Surface and Appearance in Contemporary Art. Jerusalem: Israel Museum,1999 Two by Two for AIDS and Art. Benefit auction catalogue. Dallas: American Foundation for AIDS Research and The Dallas Museum of Art, 1999. Wilson, Michael. “Sleuth.” Art Monthly, no. 234 (1999), pp. 33–35 |
| 1998 | Gould, Claudia and Valerie Smith, ed. 5000 Artists Return to Artists Space: 25 Years. New York: Artists Space, 1998 Janus, Elizabeth, ed. Veronicaʼs Revenge: Photographic Works from the Lambert Art Collection. Hamburg: Deichtorhallen, 1998 Kravagna, Christian. “Zoe Leonard: Secession.” Artforum (January 1998) Lebovici, Elisabeth. “Zoe Leonard, Centre National de la Photograhie.” le journal 5, 9 September 1998–4 January 1999, p. 98 MacAdam, Barbara. “Zoe Leonard.” ARTnews, vol. 97, no. 3, March 1998, p. 167 Turner, Grady T.. “Zoe Leonard at Paula Cooper.” Art in America, vol. 86, no. 6, June 1998. Unnuetzer, Petra. “Zoe Leonard at Galerie Gisela Capitain, Köln.” KUNSTFORUM International, no. 141 (July–September 1998), p. 371 Wally, Barbara, ed. Skulptur, Figur, Weiblich/Sculpture-Figure-Woman. Linz: Landesgalerie Oberösterreich,1998 What Remains. Groningen: Groninger Museum, 1998 |
| 1997 | 1997 Biennial Exhibition. New York: Whitney Museum of American Art, 1997 Archer, Michael. Art Since 1960. London: Thames & Hudson, 1997. Body. New South Wales: The Art Gallery of New South Wales, 1997 Bonami, Francesco. “An Artist Today: The 1997 Whitney Biennial.” FlashArt 30, no. 193 (March/April 1997) Cortés, José Miguel G. and Irudi Lausotua. El Rostro Velado (The Veiled Face: Transvestism and Identity in Art). San Sebastian: Koldo Mitxelena Kulturunea, 1997, pp. 272–275 Cotter, Holland. “Zoe Leonard.” The New York Times, Art Guide, 19 September 1997, p. E38 Fine Art: Photography. New York: Graphis, 1997 Gothic. Boston: Institute of Contemporary Art, 1997. Essay by Christoph Grunenberg Graw, Isabelle. “‘These are the things that move me’: Über die Funktion des Biographischen im Werk von Zoe Leonard.” Texte zur Kunst, no. 28 (November 1997), pp. 65–73 Inter Medium Textbook, Japan 1997, p. 46 Jackson, Phyllis J. “Irreverent Seductions. B(l)ack at the Whitney.” African American Art 14, no. 2 (1997), pp. 50–55 Kimmelman, Michael. “Narratives Snagged On the Cutting Edge.” The New York Times, 21 March 1997, pp. 1, 26 Kuspit, Donald. Feminine Image. Roslyn Harbor: Nassau County Museum of Art, 1997, p. 68 Marcoci, Roxana, Diana Murphy and Eve Sinaiko, eds. New Art. New York: Harry N. Abrams, Inc., 1997 Short Cuts: Anschlüsse an den Kröper (Links to the Body). Dortmund: Deutsche Arbeitsschutz und Arbeitsmedizin, 1997 |
| 1996 | Art at Home: Ideal Standard Life. Tokyo: Spiral Garden, 1996 Benson, Elaine and John Esten. A Brief History of Underwear: Unmentionables. New York: Simon & Schuster, 1996, pp. 157–157 Foster, Hal. The Return of the Real. Cambridge, MA: MIT Press, Cambridge, 1996 Gates, Beatrix. The Wild Good Lesbian Photographs and Writings on Love. New York: Anchor Books, 1996 Jones, Amelia, ed. Sexual Politics: Judy Chicago’s ‘Dinner Party’ in Feminist Art History, University of California Press, 1996 Kravagna, Christian. “Das Wahre, das Schöne, das Normale – Fotografie nach ihrer Kritik.” Springerin (June/July 1996), pp. 29–30 Sosie. Tokyo: Sagacho Exhibit Space, 1996, pp. 24–27 |
| 1995 | Atkins, Robert. “Very Queer Indeed.” The Village Voice, January 1995, p. 69 Blake, Nayland, ed. In a Different Light: Visual Culture, Sexual Identity, Queer Practice. San Francisco: City Lights Books, 1995 Blanchard, Tamsin. “Fashion Folk and Artists Despise Each Other, Right? Wrong. One Gallery is Trying to Prove It.” The Independent, London, 27 June 1995 Delpire, Robert. Fine Art: Photography. New York: Graphis, 1995, pp. 94–95 Duncan, Michael. “Queering the Discourse.” Art in America (July 1995), pp. 27–31 Féminimasculin: Le Sexe de l’Art. Paris: Editions du Centre Georges Pompidou, 1995 L’Immagine Riflessa: Una selezione di fotografia contemporanea dalla Collezione LAC, Svizzera. Prato: Museo Pecci, 1995 Nudo & Crudo. Milan: Claudia Gian Ferrari Arte Contemporanea, 1996. Essays by Manlio Bursatin and Claudia Gian Ferrari |
| 1994 | Asmus, Sigrid, ed. After Art: Rethinking 150 Years of Photography, Selections from the Joseph and Elaine Monsen Collection. Seattle: Henry Art Gallery, University of Washington, 1994. Essays by Chris Bruce and Andy Grundberg, p. 63 Clearwater, Bonnie. The Art of Seduction. Miami: The Centre Gallery, Miami-Dade Community College, 1994 Nickas, Robert. Pictures of the Real World (In Real Time). New York: Paula Cooper Gallery, 1994. Nickas, Robert. The Use of Pleasure. San Francisco: Terrain Gallery, 1994 Sum of the Parts. Honolulu: University of Hawaii Art Gallery, 1994 |
| 1993 | Cottingham, Laura. “Zoe Leonard.” Journal of Contemporary Art 6, no.1 (1993), pp. 64–77 Meyer, James. What Happened to the Institutional Critique? New York: American Fine Arts, Co., 1993, illus. |
| 1992 | Documenta IX Guide. Stuttgart: Cantz, 1992, p. 221 Heinz, Marianne. “Aus Meiner Sicht. Von der Kunst des Verschwindens.” In Die Magische Dose: Documenta IX. Stuttgart: Edition Cantz; Kassel: Staatliche Museen Kassel, Neue Galerie,1992, pp. 13–14 |
| 1990 | Graw, Isabelle, ed. Nachschub, The Köln Show. Cologne: Spex, 1990, p. 92 Hoet, Jan. Ponton Temse. Ghent: Museum van Hedendaagse Kunst, 1990 Wallis, Brian, ed. Democracy: A Project by Group Material. Seattle: Bay Press, 1990, p. 112 |
| 1989 | Strange Attractors: Signs of Chaos. New York: New Museum of Contemporary Art, New York, 1989 The Center Show. New York: L & G Community Center Series, 1989 |
| 1988 | Selections from the Artists’ File. New York: Artists Space, 1988 |