Catherine Opie







Opie, Catheriene, Yosemite, Paso Robles: Nazraeli Press, 2018 



Bresciani, Ana María, Russell Ferguson, and Natalie Hope O’Donnell, Catherine Opie: Keeping an Eye on the World, Oslo: Henie Onstad Art Center/Cologne: Verlag der Buchhandlung Walther König, 2017



Als, Hilton, Tim Mendelson, Catherine Opie, and Ingrid Sischy, 700 Nimes Road, New York: Prestel, 2015



Kelsey, John and Brian Phillips, eds., Rodarte, Catherine Opie, Alec Soth, Zürich: JRP Ringier, 2011

Myles, Eileen, Catherine Opie: Inauguration, New York: Gregory R. Miller & Co., 2011

Medvedow, Jill and Anna Stothart, Catherine Opie: Empty and Full, Ostfildern: Hatje Cantz, 2011



Allison, Dorothy, Jennifer Blessing, Russell Ferguson, and Nat Trotman, Catherine Opie: An American Photographer, New York: Guggenheim Museum, 2008



Fitzpatrick, Robert and Elizabeth Smith, Catherine Opie: Chicago (American Cities), Chicago: Museum of Contemporary Art, 2006

Armstrong, Elizabeth, A.M. Homes, and Jessica Hough, Catherine Opie: 1999 / In and Around Home, Ridgefield: The Aldrich Contemporary Museum of Art/Newport Beach: Orange County Museum of Art, 2006



Fogle, Douglas, Catherine Opie: Skyways and Icehouses, Minneapolis: Walker Art Center, 2002



Bush, Kate, Joshua Decter, and Russell Ferguson, Catherine Opie, London: Photographer's Gallery, 2000

Steiner, Rochelle, Catherine Opie: In between here and there, St. Louis: Saint Louis Art Museum, 2000

Currents 82: Catherine Opie, St. Louis: Saint Louis Art Museum, 2000



Cantor, Ellen and Joachim Koester, Lost Paradise: Catherine Opie, Porto: Presenca Galeria, 1998



Emerson, Stephanie, ed., Catherine Opie, Los Angeles: Museum of Contemporary Art Los Angeles, 1997


Exhibition Catalogues & Selected Publications



Pardo, Alona, Masculinities: Liberation through Photography, Berlin: Prestel, 2020 



Daderko, Dean, Stonewall 50, Houston:  Contemporary Arts Museum Houston, 2019, pp. 14, 84 – 89

Wolf, Sasha, ed., Photowork: Forty Photographers on Process and Practice, New York: Aperture, 2019

Burkhalter, Laura, ed., Monument Valley, Des Moines: Des Moines Art Center, 2019, pp. 62 – 67 [ill.]


Buhmann, Stephanie, ed., Los Angeles Studio Conversations: Sixteen Women Talk about Art, Berlin: The Greenbox, 2019, pp. 176 – 188 [ill.]

There will never be a door. You are inside. Works from the Coleção Teixeira de Freitas, Madrid:  Santander Fundación, 2019

Honoré, Vincent, et al., Kiss My Genders, London: Hayward Gallery Publishing, 2019, pp. 182 – 189 [ill.]

Cann, Tyler, Anastasia Kinigopoulo, and Drew Sawyer, Art after Stonewall, 1969-1989, New York: Rizzoli, 2019, pp. 78, 260 – 261, 289 [ill.]



Cullinan, Nicholas, Michael Jackson: On the Wall, London: National Portrait Gallery Publishing/Paris: Réunion des Musées Nationaux-Grand Palais, 2018, pp. 32, 42, 124 [ill.]

Raymond, Claire, Women Photographers and Feminist Aesthetics, London: Routledge, London, 2018, 134 – 137 [ill.]



Baker, Simon, Nancy W. Barr, Clément Chéroux, Marc Desportes, and Pascal Ory, Autophoto, Paris: Fondation Cartier pour l'Art Contemporain, and Éditions Xavier Barral, 2017, pp. 124 – 125 [ill.]

Gossett, Reina, Eric A. Stanley, and Johanna Burton, eds., Trap Door: Trans Cultural Production and the Politics of Visibility, Cambridge MA:  MIT Press, Cambridge/New York: New Museum, New York, 2017, pp. 211 – 215 [ill.]

Manné, Jamie G., ed., and Christine Robinson, Unpacking: The Marciano Collection, Los Angeles: The Maurice and Paul Marciano Art Foundation/ New York: Prestel, New York, NY, 2017, pp. 174 – 177 [ill.]

Sawyer, Drew, Golden State, New York: Marianne Boesky Gallery, 2017, p. 20 [ill.]

Dress Matters: Clothing as Metaphor, Tuscon: Tucson Museum of Art, 2017



Kvaran, Gunnar B., Nicolas Garait-Leavenworth, and Thierry Raspail, Los Angeles – A Fiction, Oslo: Astrup Fearnley Museet/Lyon: Musée d’art contemporain de Lyon, 2016, pp. 258 – 259 [ill.]

Brookman, Philip, Sarah Greenough, Andrea Nelson, Leslie Ureña, and Diane Waggoner, Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker, Washington: National Gallery of Art, 2016, pp. 93 –

95 [ill.]

Lash, Miranda, and Trevor Schoonmaker, eds., Southern Accent: Seeking the American South in Contemporary Art, Durham: Nasher Museum of Art at Duke University, 2016, pp. 182 – 183 [ill.]

Bear, Jordan, Tyler Cann, Kris Paulsen, Nannette V. Maciejunes, and Drew Sawyer, The Sun Places in the Abyss, Columbus: Columbus Museum of Art, 2016, pp. 92 – 93 [ill.]

Daniella Rose King, Viktor Neumann, Samuele Piazza, and Kari Rittenbach, On Limits:! Estrangement in the Everyday, New York: Whitney Museum of American Art, 2016, pp. 18 – 20 [ill.]

Buckland, Gail, Who Shot Sports: A Photographic History1843 to the Present, New York: Alfred A. Knopf, 2017

Beshty, Walead, Devon Bella, Michele Fiedler, Julieta González, and Jens Hoffmann, Camera of Wonders, Milan:  Mousse Publishing, 2016



Brown, Jane, Marla Hamburg Kennedy, Ed Ruscha, and David L. Ulin, Both Sides of Sunset: Photographing Los Angeles, New York: Metropolis Books, 2015, pp. 30, 132 – 133, 208 – 209 [ill.]

Frickman, Linny, Jill Hartz, and Danielle M. Knapp, eds., Scrimmage: Football in American Art from the Civil War to the Present, Eugene: Jordan Schnitzer Museum of Art, 2015, pp. 34, 37, 110 [ill.]

Hurst, Ellen, ed., Art in Embassies, Madrid: United States Embassy, 2015, pp. 60 – 63 [ill.]

Stefanucci, Tracy, ed., Residue: The Persistence of the Real, London: Black Dog Publishing/ Vancouver: Vancouver Art Gallery, 2015, pp. 98 – 113 [ill.]

Blessing, Jennifer, Body of Art, London: Phaidon, 2015, pp. 72 – 73 [ill.] 

Hushka, Rock, and Jonathan David Katz, Art AIDS America, Tacoma: Tacoma Art Museum/Seattle: University of Washington Press, 2015, pp. 96, 103, 157 – 158 [ill.]

Gioni, Massimiliano, ed., The Great Mother, Milano: Fondazione Nicola Trussardi, 2015

Fairbrother, Trevor, Katherine Hart, John T. Kirk, John O'Reilly, Michael R. Taylor, and James Tellin, Collecting and Sharing: Trevor Fairbrother, John T. Kirk, and the Hood Museum of Art, Hanover: Hood Museum of Art, 2015 

Saslow, James M., Stephen Vider, and Cookie Woolner, On the Domestic Front: Scenes of Everyday Queer Life, New York: Leslie-Lohman Gay and Lesbian Art Foundation, 2015, pp. 21, 48 [ill.]

Ferguson, Russell, Perfect Likeness: Photography and Composition, Los Angeles: Hammer Museum, 2015

Writers Respond: Storylines: Contemporary Art at the Guggenheim, New York: Guggenheim Museum, 2015

Carson, Anne, Courtenay Finn, and Rebecca Solnit, The Blue of Distance, Aspen: Aspen Art Press, 2015

Miller, Dana, and Adam D. Weinberg, Whitney Museum of Art: Handbook of the

Collection, New York: Whitney Museum of American Art/New Haven: Yale University Press, 2015, p. 292 [ill.]

Confronting the Abject, William and Stephanie Sick Distinguished Professorship Monograph Series, Chicago: The School of the Art Institute of Chicago, 2015, pp. 15 – 37 [ill.]

Schwartz, Alexandra, Come As You Are: Art of the 1990s, Oakland: University of California Press, 2015

Baker, George, Ann Goldstein, Michael Maltzan, and Shaun Caley Regen, Regen Projects 25, New York: Prestel, 2015



Union Station: 75 Years in the Heart of LA, Los Angeles: Metro, 2014



Heartney, Eleanor, Helaine Posner, Nancy Princenthal and Sue Scott, The Reckoning: Women Artists of the New Millennium, New York: Prestel Publishing, 2013

Hoffmann, Jens, ed., Lens Drawings, Paris: Marian Goodman Gallery and Valerio Publishers, 2013

Doyle, Jennifer, Hold it Against Me: Difficulty and Emotion in Contemporary Art, Durham: Duke University Press, 2013

Sie. Selbst. Nackt., Ostfildern: Hatje Cantz/Bremen: Museen Böttcherstrasse, 2013, pp. 132 – 133 [ill.]



Rideal, Liz, Self Portrait, Esbjerg: Rosendahls, 2012



Wagner, Ethan and Suzanne Modica, Stonescape: Guide to Exhibition 2011, Napa Valley: Politics is Personal, 2011, pp. 26 – 27

Collection Vanmoerkerke, Brussels: Rispoli Books, Brussels, Belgium, 2011, pp. 180- 181 [ill.]

Maltzan, Michael, No More Play: Conversations on Urban Speculation in Los Angeles and Beyond, Los Angeles: University of Southern California School of Architecture, 2011, pp. 46-59

Wolfe, Ann M., ed., The Altered Landscape: Photographs of a Changing Environment, New York: Rizzoli, New York, 2011



Katz, Jonathan D. and David C. Ward, Hide/Seek: Difference and Desire in American Portraiture, Washington D.C.: Smithsonian Books, 2010 [ill.]

Yoo, Hee-Young, ed., Trust: Media City Seoul 2010, Seoul: Se-Hoon Oh, 2010

Cooke, Lynne and Douglas Crimp, Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present, Madrid: Museo Nacional Centro de Arte Reina Sofía: Madrid, Spain, 2010

Leszkowicz, Pawel, Ars Homo Erotica, Warsaw: National Museum in Warsaw, 2010

McGinley, Ryan and Catherine Opie, Everybody Knows This Is Nowhere, New York: Dashwood Books, 2010

Costantino, Tracie and Boyd White, eds., Essays on Aesthetic Education for the 21st Century, Rotterdam: Sense Publishers, 2010, pp. 22 – 26 [ill.]



En Todas Partes: Políticas de la Diversidad Sexual en el Arte, Santiago de Compostela: Centro Galego de Arte Contemporánea, 2009 [ill.]

Bedford, Christopher, Peggy Phelan, and Julia Bryan-Wilson, Mixed Signals: Artists Consider Masculinity in Sports, New York: Independent Curators International, 2009, pp. 10 – 13, 54 – 55 [ill.]



Role Models: Feminine Identity in Contemporary American Photography, Washington, D.C.: National Museum of Women in the Arts, 2008, pp. 111 – 115 [ill.]

Goldstein, Ann, Rebecca Morse and Paul Schimmel, eds., This is Not to be Looked At, Los Angeles: Museum of Contemporary Art, 2008 [ill.]

In Repose, Philadelphia: Galleries at Moore, 2008, p. 27 [ill.]

Bowers, Andrea and Catherine Opie, Andrea Bowers & Catherine Opie (Between Artists), New York: A.R.T. Press, 2008



Kitade, Chieko, ed., Passion Complex: Selected Works from the Albright-Knox Art Gallery, Kanazawa: 21st Century Museum of Contemporary Art, 2007

2007 International Incheon Women Artists’ Biennale: Knocking on the Door, Incheon: Incheon Metropolitan City, 2007, p. 146 [ill.]

Red Eye: L.A. Artists from the Rubell Family Collection, Miami: Rubell Family Collection, 2007, p. 82 [ill.]

Darling Take Fountain, Athens: Kalfayan Galleries, 2007, pp. 56 – 57 [ill.]

All the More Real: Portrayals of Intimacy and Empathy, Southampton NY: Parrish Art Museum, 2007, pp. 106 – 107 [ill.]

Training Your Gaze: A Practical Introduction to Portrait Photography, Zurich: AVA Publishing SA, 2007, pp. 223, 90, 92, 93,95 [ill.]

Global Feminisms: New Directions in Contemporary Art, Brooklyn NY: Brooklyn Museum, 2007, pp. 39, 65, 230, 280 [ill.]

Enwezor, Okwui, ed., The Unhomely: Phantom Scenes in Global Society, Seville: 2nd International Biennial of Contemporary Art of Seville, Spain, 2007, pp. 236 – 237 [ill.]

Karnes, Andrea and Pam Hatley, ed., Pretty Baby, Fort Worth: Modern Art Museum of Forth Worth, 2007, pp. 34 – 35 [ill.]

Multiple Vantage Points: Southern California Artists, 1980-2006, Los Angeles: Municipal Art Gallery, 2007, pp. 64 – 65 [ill.]



Holland, Cherene and Amy Milgrub Marshall, eds., Couples Discourse, Palmer PA: Palmer Museum of Art, 2006, pp. 88 – 89 [ill.]

Vitamin Ph: New Perspectives in Photography, London: Phaidon Press, 2006, pp. 200 – 203 [ill.]

Ellipse Foundation: Contemporary Art Collection, Cascais: Ellipse Foundation Contemporary Art Collection, 2006 [ill.]

The Eighth Square: Gender, Life, and Desire in the Arts since 1960, Ostfildern: Hantje Cantz, 2006, p. 70 [ill.]

Still Points of the Turning World: Site Santa Fe Sixth International Biennial Exhibition, Santa Fe: Site Santa Fe, 2006, pp. 151 – 1599 [ill.]

Dark Places, Santa Monica: Santa Monica Museum of Art, 2006, p. 16 [ill.]

Wolfe, Ann M., Suburban Escape, Santa Fe: Center for American Places/San Jose: San Jose Museum of Art, 2006, pp. 58, 62 [ill.]

Rinder, Lawrence, Art Life, New York: Gregory R. Miller & Co., 2006, p. 58 [ill.]

Nairne, Sandy and Sarah Howgate, The Portrait Now, London: The National Portrait Gallery, 2006, pp. 15, 20, 148 [ill.]

Schlegel, Eva, L.A. Women, Vienna: Bundeskanzleramt Kunst, 2006, pp. 54 – 57 [ill.]

Bollen, Christopher and Alix Browne, eds., Artists, photographed by Jason Schmidt, Paris: Edition 7L, 2006, p. 43 [ill.]



Richer, Francesca, and Matthew Rosenzweig, eds., No. 1: First Works by 362 Artists, New York: D.A.P., 2005, p. 272 [ill.]

Bidibidobidibo, Turin: Fondazione Sandretto Re Rebaudengo, Turin, Italy, 2005 [ill.]

Family Pictures: Contemporary Photography and Video from the Collection of the Guggenheim Museum, Lugano: Galleria Gottardo, 2005, pp. 112 – 117 [ill.]

Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art, San Diego: San Diego Museum of Art, 2005, pp. 114-5 [ill.]

Baume, Nicholas, Getting Emotional, Boston: Institute of Contemporary Art, 2005, p. 102 [ill.]

Ideal Worlds: New Romanticism in Contemporary Art, Frankfurt: Schirn Kunsthalle Frankfurt/Hatje Cantz, 2005, pp. 194 – 215 [ill.]

Universal Experience, Chicago: Museum of Contemporary Art, 2005, p. 112, [ill.]

Mahon, Alyce, Eroticism & Art, Oxford: Oxford University Press, 2005, pp. 265 – 267 [ill.]

Kraus, Chris, Jane McFadden, and Jan Tumlir, L.A. Artland: Contemporary Art from Los Angeles, London: Black Dog Publishing, 2005, pp. 126 – 129 [ill.]

Lazzari, Margaret and Dona Schlesier, Exploring Art, Belmont: Thomson Wadsworth, 2005, p. 213 [ill.]

McDaniel, Craig and Jean Robertson, Themes of Contemporary Art: Visual Art After 1980, Oxford: Oxford University Press, 2005, pp. 116 – 117, 146 [ill.]



100 Artists See God, New York: Independent Curators International, 2004, p. 68 [ill.]

26th São Paulo Biennial, São Paulo: Biennial Foundation, 2004, pp. 180 – 181 [ill.] 

Contemporary Photography and the Garden: Deceits and Fantasies, New York: Harry N. Abrams, pp. 114-117 [ill.]

Sexes image – pratiques et pensées contemporaines, Paris: Beaux Arts, 2004

That bodies speak has been known for a long time, Vienna: Sabine Breitwieser/Generali Foundation, 2004

Whitney Biennial 2004, New York: Whitney Museum, 2004, p. 220 [ill.]

Hamburg Kennedy, Marla and Ben Stiller, Looking at Los Angeles, New York: Metropolis Books, 2004, pp. 76 – 77, 92 – 93 [ill.]



Art, Lies, and Videotape: Exposing Performance, Liverpool: Tate Publishing,2003

Art and Photography, London: Phaidon, 2003, p. 124

Cindy Sherman, London: Serpentine Gallery, 2003, p. 18 [ill.]

Family Ties: A Contemporary Perspective, Salem: Peabody Essex Museum, 2003, p. 37 [ill.]

Just Love Me: Post Feminist Art of 1990s from Goetz Collection, Munich: Sammlung Goetz, 2003

Micropolitics: Art and Everyday Life 2001 – 1968, Valencia: Consorci de Museus de la Comunitat Valenciana, 2003, pp. 284 – 289 [ill.]

Subjective Realities: Works from the Refco Collections of Contemporary Photography, New York: Refco Group, Ltd., 2003, p.182 – 183 [ill.]

Tu, Hung Q., Structures of Feeling, San Francisco: Krupskaya, 2003, [ill.]



American Visionaries: Selections from the Whitney Museum of American Art, New York: Abrams, 2002, p. 231 [ill.]

Die Wohltat der Kunst, Post/Feministische Positionen der Neunziger Jahre aus der Sammlung Goetz, Munich: Sammlung Goetz/Baden-Baden: Staatliche Kunsthalle Baden-Baden, 2002, pp. 126 – 131 [ill.]

Lucie-Smith, Edward, Art Tomorrow, Paris: Finest S.A/ Editions Pierre Terrail, 2002, p.199 [ill.]

formal social, Münster: Westfalischer Kunstverein, 2002

Fusion Cuisine, Athens: Deste Foundation, Centre for Contemporary Art, 2002, pp. 136 – 137 [ill.]

Hautnah: Die Sammlung Goetz, Munich: Museum Villa Stuck, Munich, Germany, p. 66 – 69, [ill.]

PhotoEspana 2002, Madrid: International Festival of Photography, 2002

The Spirit of Family, New York: Henry Holt, 2002, pp. 28, 72 [ill.]

Wolf, Sylvia, Visions from America Photographs from the Whitney Museum of American

Art, New York: Whitney Museum of American Art, 2002

Gonzalez, Jennifer, Art/Women/California: Parallels and Intersections, 1950 – 2000, Berkeley: University of California Press/ San Jose: San Jose Museum of Art, pp. 219 – 240, 241 – 256 [ill.]



Open City: Street Photographs since 1950, Oxford: Museum of Modern Art Oxford, 2001, pp. 18, 168 – 173, [ill., cover]

Over Exposed: Essays on Contemporary Photography, New York: The New Press, 2001

Bohn-Spector, Claudia and Jennifer Watts, eds., The Great Wide Open: Panoramic Photographs of the American West, London: Merrell Publishers Ltd., 2001, pp. 104 – 107 [ill.]



DecterJoshua, Auto Werke, Stuttgart: Hatje Cantz, 2000, pp. 5 – 6 [ill.]

Beyond Boundaries: Contemporary Photography in California, San Francisco: The Friends of Photography, 2000, p. 26 [ill.]

Burke, Gregory and Hannah Scott, eds., Drive power>progress>desire, New Plymouth: Govett-Brewster Publications, 2000, p. 46 [ill.]

Frohn, Ursula and Christian Katti, eds., Escape_Space, Kreichtal: Ursula Blickle Stiftung, 2000, pp. 106 – 113 [ill.]

Hammond, Harmony, ed., Lesbian Art in America, New York: Rizzoli, 2000, pp. 150 – 152 [ill., cover]

Made in California: Art, Image, and Identity, 1900 – 2000, Los Angeles: Los Angeles County Museum of Art, 2000, pp. 16, 252 – 253 [ill.]

Magnetic North, Minneapolis: Walker Art Center/Winnipeg: Video Pool Inc., October 2000, p. 50 [ill.]

Boyle, Kevin J., ed., Rearview Mirror: Automobile Images and American Identities, Riverside: University of California Riverside Museum of Photography, 2000

Sites Around the City: Art and Environment, Phoenix: Arizona State University Fine Arts, 2000, p. 40 [ill.]

Cortes, Jose Miguel G., ed., Zona F, Castello: Espai d' Art Contemporani de Castello, 2000



Bauer, Silvia, "Beyond the Gender Principle," in Differences Within Gender Studies, Berlin: Erich Schmidt Verlag, 1999, pp. 86 – 105 [ill.]

Shaw, Nancy, ed., The Modernist Document/Le Document Moderniste, Montreal: Leonard & Bina Ellen Art Gallery, Montreal, 1999


Artenergie: Art in Jeans, Milan: Edizioni Charta, 1998, pp. 104 – 105 [ill.] 

The Edge of Night: Urban Landscape Photography, New York: Hunter College, 1998

From the Corner of the Eye, Amsterdam: Stedelijk Museum, 1998 [ill.]

Bonami, Francesco, ed., L.A. Times: Art e da Los Angeles nella Collezione Re Rebaudengo Sandretto, Turin: Fondazione Sandretto Re Rebaudengo, 1998 [ill.]

New Langton Arts, San Francisco: New Langton Arts, 1998. p. 155 [ill., cover]

Janus, Elizabeth and Marion Lambert, eds., Veronica's Revenge: Contemporary Perspectives on Photography, Ann Arbor: LAC, 1998 [ill.]

Borzello, Frances, Seeing Ourselves: Women's Self-Portraits, London: Thames and Hudson, 1998, pp. 180, 183 [ill.]

O'Dell, Kathy, Contract with the Skin: Masochism Performance Art and the 1970s, Minneapolis: University of Minnesota Press, 1998, pp. 80, 83, 109, 36 [ill.]

1997 a/drift, Annandale-on-Hudson: Center for Curatorial Studies at Bard College,1997 [ill.]

American Art 1975 – 1995 from the Whitney Museum: Multiple Identity, Turin: Castello di Rivoli/Rome: Museo d'Arte Contemporanea, 1997

Lahs-Gonzales, Olivia, Defining Eye: Women Photographers of the 20th Century, St. Louis: Saint Louis Art Museum, 1997

Crenzien, Helle and Lars Nittve, Sunshine & Noir: Art in L.A. 1960 – 1997, Humlebaek: Louisiana Museum of Modern Art,1997 [ill.]

Rrose is a Rrose is a Rrose: Gender Performance in Photography, New York: Jennifer Blessing/Guggenheim Museum of Art, [ill.]

Sobel, Dean, Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee: Milwaukee Art


Torres, Jose Alvaro Perdice, Cruising L.A., Madrid: Galeria Soledad Lorenzo, 1997 [ill.]

Marcoci, Roxana, Diana Murphy, and Eve Sinaiko, eds., New, New York: Harry N. Abrams, 1997



Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, New York: Whitney Museum of American Art, 1996, p. 19 [ill.]

Clearwater, Bonnie, ed., Defining the Nineties: Consensus-Making in New YorkMiami, and Los Angeles, Miami: Museum of Contemporary Art, [ill.]

Persona, The Renaissance Society at The University of Chicago, Chicago, Basel: Kunsthalle Basel, 1996 [ill.]

Jones, Amelia, ed., Sexual Politics, Los Angeles: Hammer Museum, 1996, pp. 35, 225, 261, 224 [ill.]

Snyder, Jill, In the Flesh, Ridgefield: Aldrich Museum of Contemporary Art, 1996, p. 22 [ill.]

Fuku, Noriko, The Now Art Book, Kyoto: Shiseido and Korinsha Press & Co., Ltd., 1996, pp. 109 – 111 [ill.]

Chadwick, Whitney, Women, Art, and Society, London: Thames & Hudson, 1996, p. 391, 396 [ill.]

Berger, Maurice, Brian Wallis, and Simon Watson, eds., Constructing Masculinity, New York: Rutledge, p. 43 [ill.]



Bonami, Francesco, Campo 95, Turin: Umberto Allemandi, 1995 

Fullerton, Kim, Fabrications, Toronto: Toronto Photographer's Workshop, 1995, [ill.]

feminimasculin: le sexe de l'art, Paris: Centre Georges Pompidou, 1995 [ill.]

Blake, Nayland, Lawrence Rinder, and Amy Scholder, eds., In a Different Light, San Francisco: City Lights Books, 1995 [ill.]

Kertess, Klaus, 1995 Biennial Exhibition, New York: Whitney Museum of American

Art/Harry N. Abrams, 1995 [ill.]

GumpertLynn, La Belle et la Bête, Musée d'Art Moderne de la Ville de Paris, Paris, France, 1995 [ill.]

LordCatherine. Pervert, Irvine: The Art Gallery, University of California, Irvine, 1995 [ill.]

Neumaier, Diane, ed., Reframings: New American Feminist Photographies, Philadelphia: Temple University Press, [ill.]



Love In the Ruins: Art and the Inspiration of L.A., Long Beach: Long Beach Museum, 1994 [ill.]

Oh boy, it's a girl! Feminism in der Kunst, Munich: Kunstverein, 1994, pp. 80 – 86 [ill.]

Engberg, Juliana, Persona Cognita, Melbourne: Museum of Modern Art at Heide, 1994 [ill.]

Rugoff, Ralph, Transformers, New York: Independent Curators Incorporated, 1994 [ill.]



Lippard, Lucy, Back Talk: Women’s Voices in the 90s, Santa Barbara: Museum of Contemporary Arts, 1993



Wasteland, Rotterdam: Bas Vroege, 1992



Inside/Out, San Francisco: San Francisco Art Institute, 1984