Curator, Carnegie International 2018, Carnegie Museum of Art, Pittsburgh, 2015-2019.

Chief Curator, Institute of Contemporary Art (ICA), University of Pennsylvania, Philadelphia, 2000-2015.

For more see: About.


  • Carnegie Int’l, 57th ed., 2018
    Carnegie Museum of Art.

    The immense Carnegie Museum of Art and Natural History provided both context and content for a sequence of encounters with contemporary art. The 57th iteration of this historic survey—instituted in 1896—was a carefully crafted curatorial project that offered an expansive concept of “shifting terrain” for apprehending forces that are shaping global culture today.  

    Artists: Yuji Agematsu, El Anatsui, Art Labor with Joan Jonas, Huma Bhabha, Mel Bochner, Mimi Cherono Ng’ok, Lenka Clayton and Jon Rubin, Sarah Crowner, Alex Da Corte, Tacita Dean, Jeremy Deller, Kevin Jerome Everson, Han Kang and IM Heung–soon, Leslie Hewitt, Saba Innab, Karen Kilimnik, Zoe Leonard, Kerry James Marshall, Park McArthur, Josiah McElheny with John Corbett and Jim Dempsey, Ulrike Müller, Thaddeus Mosley, The Otolith Group, Postcommodity, Jessi Reaves, Abel Rodríguez, Rachel Rose, Beverly Semmes, Dayanita Singh, Lucy Skaer, Tavares Strachan, Lynette Yiadom–Boakye, and Dig Where You Stand by independent exhibition maker Koyo Kouoh.

    Publications: Three publications were designed and edited in close collaboration with Karen Kelley and Barbara Schroeder (Dancing Foxes Press) and Prem Krishnamurthy and Eric Price (Wkshps).

    Website: visit to research the history of the International, view public programs and the drawing sessions, search past participants, and link to video content. 

    Guide: modeled on a 19th-century travel guide brings visitors and armchair travelers alike into the International, the world of the museum, and Pittsburgh. 

    Dispatch: documents the International and disperses knowledge accumulated through the course of the exhibition. 

    Essays: “A Guide to the Exhibition,” “History,” and artist entries. Primary editor with Liz Park of commissioned essays by Gabriella Beckhurst, Jennifer Burris, Emi Finkelstein, Rebecca Giordano, Larissa Harris, Thalia Heiman, Elizabeth Hoover, Hitomi Iwasaki, Emmanuel Iduma, Pico Iyer, Maira Kalman, Angie Keefer, Prem Krishnamurthy, Koyo Kouoh, Paula Kupfer, Ellen Larson, Katie Loney, Sophia Marisa Lucas, Ashley McNelis, Liz Park, Erin Peters, Marcus Rediker, Marina Tyquierngco.  

  • Paper Louise Tiny Fishman Rock ICA Philadelphia, April 29 - August 14 2016

    This exhibition took an unusual look at the work of Louise Fishman – a painter known for her art’s athleticism and abstraction – by focusing on small scale and sculpture. A survey in miniature, the installation was designed with Paul Swenbeck, and occurred in tandem with a major retrospective at the Neuberger Museum of Art.

    Catalogue: “Getting Small with Louise Fishman,” Louise Fishman, ed. Helaine Posner. New York: Neuberger Museum of Art, Purchase College; Philadelphia: Institute for Contemporary Art, University of Pennsylvania; Delmonico Books/Prestel, 2016, pp. 184-199. Design: Miko McGinty.

  • Moyra Davey: Burn the Diaries ICA Philadelphia, September 19-December 28, 2014

    An installation of a new body of work by Moyra Davey based on the artist’s recent reading of Jean Genet. The act of reading has long been integral to Davey’s work, which is full of images of books; however this is the first time Davey has ever made a book specifically for a gallery installation. Initiated by MUMOK (Museum Moderner Kunst Stiftung Ludwig) in Vienna by curator Matthias Michalka.

    Catalogue: “Slim Volume,” Moyra Davey: Burn the Diaries [a supplement]. Philadelphia: Institute for Contemporary Art, University of Pennsylvania; Vienna, Austria: the Museum Moderner Kunst Stiftung Ludwig Wien, 2014, pp. 7-20.

  • ICA@50: Pleasing Artists and Publics Since 1963 ICA Philadelphia, February 12-August 17, 2014

    With the curatorial team: Anthony Elms, Alex Klein, Kate Kraczon, Liz Park, and with contributions from colleagues across ICA.

    A program of 50 micro-exhibitions, artists commissions, and events unfolds—along investigatorial and associative lines of inquiry-this exploration of ICA’s history. Brochure/s.

  • Jason Rhoades, Four Roads (with contributions by Martha Buskirk, Chris Kraus, and Paul Schimmel) ICA Philadelphia, September 18-December 28, 2013

    The first major exhibition in America of the California artist’s (1964–2006) epic assemblage sculptures and installations. Traveled to the Kunsthalle Bremen, Germany and the BALTIC Centre for Contemporary Art, Gateshead, United Kingdom.

    Catalogue: “Revving Up” and “Four Roads.” Jason Rhoades: Four Roads. Ed. Anthony Elms. Philadelphia: Institute of Contemporary Art, University of Pennsylvania; New York: Delmonico Books-Prestel, 2014.
    Design: Kloepfer-Ramsey-Kwon.


  • Richard Artschwager Yale University Art Gallery and Whitney Museum of American Art, October 25, 2012-February 3, 2013

    Consulting curator and catalogue contributor to a survey exhibition curated by Jennifer Gross. Catalogue.

  • Bill Walton’s Studio ICA Philadelphia, September 7—December 4, 2011

    This installation recreated the studio of the minimalist artist who was a key figure of the Philadelphia community for over 50 years. The show culminated in “Gifting the Studio,” an event at which the public was invited to exchange words (of Walton, of studios) for objects on view. Brochure essay: “Gone Fishing.”

  • Anne Tyng: Inhabiting Geometry (with consulting curators Srdjan Jovanović Weiss and William Whitaker) ICA Philadelpia, January 13–March 20, 2011

    A new project and selected past works by the visionary architect and theorist, who is credited with having designed the first habitable space-frame construction in 1952. Traveled to the Graham Foundation for Advanced Studies in the Fine Arts, Chicago.

    Catalogue: “Introduction” and (with William Whitaker) “A Life Chronology.” Commissioned texts by Alicia Imperiale, Jenny E. Sabin, and Srdjan Jovanović Weiss. Design: Project Projects.

  • Queer Voice ICA Philadelphia, March 24–June 16, 2010

    This group exhibition focussed on the voice as a material—one that has been manipulated, mediated, or otherwise affected—in works that signal a disengagement with gender norms and everyday conventions of communication.

    Artists: Jack Smith, Andy Warhol, Laurie Anderson, John Kelly, Harry Dodge and Stanya Kahn, Sharon Hayes, Kalup Linzy and Ryan Trecartin.

    Catalogue: “Introduction.” Edited “Index” (compiled by Lucy Gallun) and a compendium of commissioned texts by

    Glenn Adamson, Nora M. Alter, Penny Arcade, Bill Arning, Robert Atkins, Mark Beasley, Naomi Beckwith, Dodie Bellamy, John Bell, Charles Bernstein, David Bither, Nayland Blake, Julia Bryan-Wilson, CAConrad, Anthony Campuzano, John Corbett, Timothy Corrigan, Dean Daderko, Thomas Devaney, Jennifer Doyle, Michael Duncan, Russell Ferguson, Rubén Gallo, John Giorno, Robert Glück, Claudia Gould, Bruce Hainley, Matthew Higgs, Laura Hoptman, Chrissie Iles, Albo Jeavons, David Joselit, Dominic Johnson, Joan Jonas, Jonathan D. Katz, John Kelly, Liz Campbell Kelly and Seth Kelly, Klaus Kertess, Kevin Killian, Wayne Koestenbaum, Carin Kuoni, Alan Licht, Maria Lind, Michael Lobel, Paula Marincola, Virgil Marti, Richard Meyer, Eva Meyer-Hermann, Christof Migone, Dominic Molon, Erik Moskowitz & Amanda Trager, Erin Mouré, Peter Nagy, Mark Nash, Pauline Oliveros, John Ollman, Jena Osman, Uzi Parnes, Marjorie Perloff, Vanessa Place, Stephen Prina, Sina Queyras, Joan Retallack, Ann Reynolds, Lawrence Rinder, Ugo Rondinone, Kim Rosenfield, Allen Ruppersburg, Amy Sadao, Lisa Saltzman, Katherine Sender,  Eric Shiner, Kenneth E. Silver, John W. Smith, Michael Smith, Julianna Snapper, A.L. Steiner, Andrew Suggs, Richard Torchia, Carmelita Tropicana, Ela Troyano, Stephen Vitiello, Steven Watson, Reva Wolf, Mat Wolff, Matt Wrbican. Design: Peter Tressler. Co-published by ICA and The Center for Programs in Contemporary Writing (CPCW) at the University of Pennsylvania.

    [Queer Voice was the subject of a seminar taught by Kenneth Goldsmith, whose students created transcriptions of selected works for the catalogue.]

  • Maira Kalman: Various Illuminations (of a crazy world) ICA Philadelphia, January 15–June 6, 2010

    This first museum survey spanned thirty years of illustration for publication with original works on paper (plus embroidery, photographs, design objects, textiles, books) and featured an installation by the artist of her studio furniture and colletions. Traveled to the Contemporary Jewish Museum, San Francisco; Skirball Cultural Center, Los Angeles; The Jewish Museum, New York.

    Catalogue: “Exaltations/Observations.” Commissioned texts by Donna Ghelerter, Stamatina Gregory, Kenneth E. Silver. Design: Beverly Joel, pulp, ink. Co-published by ICA and Delmonico Books, an imprint of Prestel Publishing.

  • Jess: To and From the Printed Page Independent Curators International (iCI), New York, toured March 2007—March 2009

    This exhibition focussed on literary aspects of the work of one of the key historic figures of California Assemblage art—from Jess’s lifelong collaboration with Robert Duncan and other poets to the narrative nature of his collage. Traveled to the San Jose Museum of Art, California; Madison Museum of Contemporary Art, Wisconsin; Pasadena Museum of California Art; Harry Ranson Humanities Research Center, The University of Texas at Austin; Douglas F. Cooley Memorial Art Gallery, Reed College, Portland; The University of Iowa Museum of Art, Iowa City; Cornell Fine Arts Museum, Rollins College, Winter Park, Florida. 

    Catalogue: “Found in Translation.” Commissioned texts by John Ashbery, Lisa Jarnot and Thomas Evans and Brandon Stosuy. Design: Bethany Johns.

  • Dirt on Delight: Impulses That Form Clay (co-curator Jenelle Porter, with consulting curator Glenn Adamson) ICA Philadelphia, January 16—June 21, 2009

    Clay’s primal appeal and decorative potential were the focus of this look at craft as a critical mode of expression in works by 22 contemporary artists and historic figures. Traveled to the Walker Art Center, Minneapolis.

    Artists: Ann Agee, Robert Arneson, Kathy Butterly, Nicole Cherubi, Lucio Fontana, Viola Frey, Jessica Jackson Hutchins, Jane Irish, Jeffry Mitchell, Ron Nagle, George Ohr, Ken Price, Sterling Ruby, Adrian Saxe, Arlene Shechet, Beverly Semmes, Rudolf Staffel, Paul Swenbeck, Eugene Von Bruenchenhein, Peter Voulkos, Beatrice Wood, Betty Woodman.

    Catalogue: “On Dirt” and entries on Agee, Butterly, Cherubini, Irish, Nagle, Saxe, Shechet, Staffel, Von Bruenchenhein, Voulkos, and Wood. Design: Purtill Family Business.

  • Douglas Blau ICA Philadelphia, September 5–December 7, 2008

    Drawing on the vast picture archive that is his studio, Blau’s assemblage installations render cinematic and literary episodes from the grand narratives of Western art history.

    Catalogue: “Douglas Blau’s Pictures: An Essay in Three Parts” and “Douglas Blau in the Late-Twentieth Century.” Design: HvAD, Henk van Assen with Anna Zhang.

  • The Puppet Show (co-curator Carin Kuoni) ICA Philadelphia, January 18–March 30, 2008

    In ways that are immediately accessible and invariably complex, the imagery of puppets (from Ubu to Punch to Muppets to all forms of animation and shadow play) probe questions of agency, manipulation, and control, across contemporary culture. Traveled to the Santa Monica Museum of Art; Museum of Contemporary Art Honalulu; Contemporary Art Museum Houston; Frye Museum of Art Seattle.

    Artists: Guy Ben-Ner, Nayland Blake, Louise Bourgeois, Maurizio Cattelan, Anne Chu, Nathalie Djurberg, Terence Gower, Dan Graham and Japanther, The Handspring Puppet Company, Pierre Huyghe, Christian Jankowski, Mike Kelley, William Kentridge, Cindy Loehr, Paul McCarthy, Annette Messager, Matt Mullican, Bruce Nauman, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Laurie Simmons, Doug Skinner and Michael Smith, Kiki Smith, Survival Research Laboratories, Kara Walker, Andy Warhol, Charlie White.

    Catalogue: “Preamble and Précis: An Atomic Introduction to The Puppet Show” and “Sources.” Commissioned texts by John Bell, Terence Gower, Jena Osman, John Pemberton, Jane Taylor, Michael R. Taylor and Allen S. Weiss. Design: Roosje Klap.

  • Eileen Neff: Between Us (co-curator Patrick T. Murphy) ICA Philadelphia, September 7—December 16, 2007

    A ten-year survey of photo-based works that poetically conflate interiority and landscape. Traveled to the Royal Hibernian Academy, Dublin.

    Catalogue: “Introduction.” Commissioned text by Jeremy Sigler. Design: Tamar Burchill.

  • Karen Kilimnik ICA Philadelphia, April 20–August 5, 2007

    The first major survey of the American artist, who uses appropriation and collage to reconstruct the world—through drawings, paintings, sculptures, photography, video, and installations—as a total work of artifice and theater. Traveled to the Museum of Contemporary Art, North Miami; Aspen Art Museum; Museum of Contemporary Art Chicago.

    Catalogue: “Lives Naturally in the World of Theatre + Illusion.” Commissioned texts by Joel Lobenthal, Dominic Molon, Scott Rothkopf. Design: Omnivore.

  • Springtide ICA Philadelphia, April 30–July 31, 2005

    Named for the powerful tide at the new moon, this rush of new work by five artists coelesced but around visual connections and emotions. Brochure.

    Artists: Louise Bourgeois, Troy Brauntuch, Berlinde de Bruyckere, Patty Chang, and Erick Swenson.

  • Barry Le Va: Accumulated Vision ICA Philadelphia, January 15–April 3, 2005

    A major survey of the American artist, who emerged as part of the Postminimalist generation of Process artists, and whose “distributions” of objects and materials are considered one of the critical gestures of postmodern art.

    Catalogue: “Accumulated Vision and Violence, Barry Le Va.” Commissioned texts by Rhea Anastas, Pamela M. Lee, and Paul Virilio. Design: Michael Worthington with Megan McGinley.

  • Trials and Turbulence: Pepón Osorio, An Artist in Residence at DHS (with co-curator Johanna Plummer) ICA Philadelphia, September 8–December 12, 2004

    Working closely with foster teens in Philadelphia’s Department of Human Services, Osorio’s installation of three new works zeroed in on a vulnerable intersection between private life and public policy. Catalogue.

  • Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy Curatorial Assistance Traveling Exhibitions, Pasadena, California, toured September 2004— March 2006

    Drawings, photographs, books, and all kinds of printed matter (such as tabloid newspapers from the 1920s) by artists including Berenice Abbott, Hans Bellmer, Xenia Cage, Leonora Carrington, Joseph Cornell, Marcel Duchamp, Roger Parry, Pegeen Vail, Dorothea Tanning, and H.C. Westermann, among many others were selected from the art dealer and collector’s estate. Traveled to the Palmer Museum of Art, The Pennsylvania State University, University City; McMullen Museum of Art, Boston College; Crocker Art Museum, Sacremento; Knoxville Museum of Art, Tenessee; Portland Museum of Art, Maine.

    Catalogue essay “Papering the Walls of a Dream.”

  • The Big Nothing (co-curators Bennett Simpson and Tanya Leighton) ICA Philadelphia, May 1—August 1, 2004

    Absence, negation, the absurd, the immaterial, the ineffable, nothing and nothingness were all made manifest by this group exhibition of art since the 1970s, which also studied the history of the empty gallery.

    Artists: Bas Jan Ader, Richard Artschwager, Michel Auder, Jo Baer, Robert Barry, Larry Bell, Bernadette Corporation, James Lee Byars, Thomas Chimes, Bruce Conner, Jessica Diamond, Roe Ethridge, Lili Fleury, Katarina Fritsch, Jack Goldstein, Dominique Gonzalez-Foerster, Nicolas Guagnini & Karin Schneider, David Hammons, Richard Hoeck and John Miller, Nancy Holt and Robert Smithson, Roni Horn, Pierre Huyghe, Gareth James, Jutta Koether, Yayoi Kusama, Louise Lawler, Sharon Lockhart, Gordon Matta-Clark, Allan McCollum, Patrick McMullen, Matt Mullican, Eileen Neff, Gabriel Orozco, Charlemagne Palestine, Philippe Parreno, William Pope.L., Richard Prince, Doris Salcedo, Arlene Shechet, Allan Sekula, John Smith, Paul Swenbeck, Andy Warhol, James Welling, John Wesley, J.Meejin Yoon, and YOUNG-HAE CHANGE HEAVY INDUSTRIES.

    “The Closed Gallery” installation of archival material: Ayreen Anastas and Rene Gabri, Michael Asher, Robert Barry, Gilbert and George, Gareth James, Ray Johnson, Yves Klein, Joachim Koester, Santiago Sierra, Rirkrit Tiravanija, Visual AIDS, Andy Warhol.

    Catalogue: “Doing Nothing” and selected catalogue entries. Essays and entries by Bennett Simpson and Tanya Leighton. Design: Omnivore, Inc.

    [*The Big Nothing at ICA also formed the nucleus of a citywide constellation of exhibitions and events on themes of nothing that were independently organized by 36 venues throughout Philadelphia. Brochure.]

  • Hannelore Baron: Works from 1969 to 1987 Smithsonian Institution Traveling Exhibition Service (SITES), toured February 2002 through August 2004

    A survivor of the Jewish Holocaust, who turned to art late in her life (1926-1987), Baron’s abstract assemblage and collage appear as intimate affirmations of human culture and endurance. Traveled to the Marsh Art Gallery, University of Richmond, Virginia; Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, California; Macalester College Art Gallery, Saint Paul, Minnesota; Neuberger Museum of Art, State University of New York, Purchase; Bass Museum of Art, Miami Beach, Florida; Mannello Museum of American Folk Art, Orlando, Florida; The Luther W. Brady Art Gallery, The George Washington University, Washington D.C.; University Art Museum, California State University, Long Beach.

    Catalogue essay “Hannelore Baron: Works from 1969 to 1987.”

  • Sarah McEneaney ICA Philadelphia, January 24—April 4, 2004

    The first museum survey of paintings and drawings by McEneaney, who uses the historic medium of egg tempera and miniaturist brushwork to render a detailed account of her life as a contemporary artist and activist in and around the studio.

    Catalogue: “In the Details.” Commissioned texts by Nathalie Anderson, Aella Diamantopoulos, Elyse Gonzales, Darielle Mason, McEneaney, Janine Mileaf, Eileen Neff, Sheila Pepe, Rob Nixon, Susan Rosenberg, Lisa Sewell. Design: Andrea Hemmann.

  • Polly Apfelbaum (co-curator Claudia Gould) ICA Philadelphia, May 3—July 27, 2003

    The first museum survey of the artist’s “fallen paintings,” as Apfelbaum calls her floor-bound installations of dyed fabric and other materials that flood architectural space with color. Traveling to the Cincinnati Museum of Contemporary Art, Ohio and the Kempner Museum of Contemporary Art, Kansas City.

    Catalogue: “Having It All: Polly Apfelbaum at the ICA.” Commissioned texts by Irving Sandler and Tim Griffin. Design: Omnivore, Alice Chung and Karen Hsu.

  • Pictures, Patents, Monkeys, and More…On Collecting Independent Curators International, New York, toured from January 2001—March 2003

    The phenomenon of collecting was explored through three different approaches (The Robert J. Shiffler Foundation dedicated to contemporary art, a private collection of sock monkey toys, and patent models from the National Museum of American History, Smithsonian Institution) with each participating venue contributing some local manifestation of collecting. Traveled to the Western Gallery, Western Washington University, Bellingham; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Akron Art Museum, Ohio; South Bend Regional Art Museum, South Bend, Indiana; Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Pittsburgh Center for the Arts.

    Artists: Janine Antoni, Karen Finley, Four Walls, Felix Gonzalez-Torres, Gregory Green, Perry Hoberman, Charles LeDray, Christian Marclay, Joel Otterson, Paul Ramirez-Jonas, Jason Rhoades, Matthew Ritchie, Kay Rosen, Lorna Simpson, Annie Sprinkle, Jessica Stockholder, Tony Tasset, Rirkrit Tiravanija, Brian Tolle, Carrie Mae-Weems, Sue Williams, Fred Wilson.

    Catalogue: essay “On Collecting.” Commissioned texts by Otto Muensterberger and Fred Wilson. Design: Barbara Glauber & Beverly Joel/Heavy Meta.

  • Gloria: Another look at feminist art of the 1970s (co-curator Catherine Morris) White Columns, New York, September 13—October 20, 2002

    Focussing on performance and media-based works, as well as the activism that was intergral to first wave Feminism, this exhibition made visible the radical operative of Feminist art and politics within art today. Traveled to The Galleries at Moore College of Art and Design, Philadelphia; Art Museum at the Rhode Island School of Design, Providence.

    Artists: Laurie Anderson, Eleanor Antin, Lynda Benglis, Dara Birnbaum, VALIE EXPORT, Nancy Grossman, Jenny Holzer, Joan Jonas, Mary Kelly, Barbara Kruger, Ana Mendieta, Yoko Ono + John Lennon, Adrian Piper, Martha Rosler, Carolee Schneemann, Cindy Sherman, Mimi Smith, Nancy Spero, Mierle Laderman Ukeles, Hannah Wilke, Martha Wilson and Jackie Apple.

    Catalogue: (with Catherine Morris) “Curators’ Statement.” Commissioned texts by Antin, Apple, Jennifer Baumgardner and Amy Richards, Birnbaum, Anna C. Chave, Laura Cunningham, Jill Fields, Gross, Lucy Lippard, Lisa Miya-Jervis, Piper, Arlene Raven, Amy Richards, Mira Schor,  Schneemann, Wilson, Nancy Youdelman. Design: Omnivore, Alice Chung and Karen Hsu.

  • The Photogenic ICA Philadelphia, March 2—April 30, 2002

    The metaphors of photography (“light-writing,” “index,” “the thing itself,” “proof,” etc.) were drawn out in works of painting, sculpture, sound, drawing, and photography, to express a photographic way of thinking that permeates throughout contemporary art. Brochure.

    Artists: Richard Artschwager, Stephen Balkenhol, Jennifer Bolande, Adam Fuss, Arturo Herrera, Katurah Hutcheson, Josiah McElheny, Vik Muniz, Sheila Pepe, Gerhard Richter, Karin Sander, Stephen Vitiello, Rachel Whiteread.

  • Richard Tuttle, In Parts, 1998-2001 ICA, Philadelphia, December 8, 2001—February 10, 2002

    For this exhibition, the artist initiated a collaboration (between himself, the curator, the poet Charles Bernstein, and the graphic design team of the Purtill Family Business) aimed at guiding him through a consideration of his work over the past 3 1/2 years and the work’s installation at ICA.

    Catalogue: essay, A Project by Richard Tuttle/Line/1967/Road Trip/The Vogels/The Philadelphia Museum of Art/Agnes Martin/1975/The Spaces in Between/The Fabric Workshop and Museum/Books/In Thirteen Parts/Words. Poems by Charles Bernstein. Design: Purtill Family Business.

  • About the Bayberry Bush (co-curator Melissa E. Feldman) The Parrish Art Museum, Southampton, New York, July 29—October 14, 2001

    Twelve artists from around the world were commissioned to respond to the museum’s most beloved painting The Bayberry Bush (1895) by American Impressionist William Merritt Chase. The exhibition of new works presented a creative deconstruction of a local and historical icon.

    Artists: Richard Artschwager, Knut Åsdam, Cai Guo-Qiang, Bonnie Collura, Peter Doig, Joseph Grigely, Jitka Hanzlová, Joan Jonas, Lee Mingwei, José Alejandro Restrepo, Beverly Semmes, Yutaka Sone.

    Catalogue: essays “About The Bayberry Bush,” “Artist’s Projects” (with Melissa Feldman), and “Dossier.” With an essay by Alicia Grant Longwell and commissioned texts by Linda Bierds and Sarah Burns. Design: Bethany Johns.

  • The Living End Boulder Museum of Contemporary Art, Colorado, September 15—December 23, 2000

    Timed for the new milleneum, this group show embraced a wide view of ends and endings—philosophical, figurative, apocolyptical, mortal, grammatical—to survey ideas and practices in contemporary art. Brochure.

    Artists: Fiona Banner, Luca Buvoli, Lynn Cazabon, Diane Cooper, Nancy Davidson, Rochelle Feinstein, Dianna Frid, Kimowan McLain, The Murthy Sisters, Michelle Segre, and Arlene Shechet.

  • Secret Victorians: Contemporary Artists and a 19th-century Vision (co-curator Melissa E. Feldman) A National Touring Exhibition organized by the Hayward Gallery, London, toured October 1998—April 2000.

    Modernism may have defined a break with the Victorian, but paradoxically, the era’s themes and consciousness seem to flourish within this exhibition of Postmodern art (organized around the dialectical themes of Ornament & Sexuality, Photography & Death, Collecting & Colonialism, Science & Crime). Catalogue. Traveled to Firstsite, The Minories Art Gallery, Colchester; Arnolfini, Bristol; Ikon Gallery, Birmingham; Middlesborough Art Gallery, Middlesborough; Armand Hammer Museum of Art, University of California, Los Angeles; The Fabric Workshop and Museum, Philadelphia (this last presentation was organized directly by the curators with some variation in the checklist).

    Artists: Suzanne Bocanegra, Glenn Brown, Saint Clair Cemin, Helen Chadwick, Mat Collishaw, Jeffrey Dennis, Douglas Gordon, Jane Hammond, Louise Hopkins, Bill Jacobson, Sally Mann, Joan Nelson, Simon Periton, Steven Pippin, Lari Pittman, Eliott Puckette, Yinka Shonibare, Laura Stein, Hiroshi Sugimoto, Kara Walker.

    Catalogue: “Introduction” (with Melissa Feldman) and essays on “Ornament & Sexuality,” “Photography & Death,” “Collecting & Colonialism.”

  • Representing: a show of identities (co-curator Katherine Gass) The Parrish Art Museum in collaboration with Southampton High School,
    New York, March 5–April 9, 2000

    Organized in collaboration with South Hampton High School, this group exhibition was framed by themes (Emerging, Assumed, Missing, Encoded, Local and Tribal Identity)  and engaged students in the process of making studio and gallery visits, writing interpretive wall labels and catalogue entries, as well as selecting works from the museum’s permanent collection.

    Artists: John Ahearn, BLO, Tina Barney, Ron Baron, Sarah Bedford, Dawoud Bey, Luca Buvoli, Mary Ellen Carroll, Eric Heather Chan Schatz, Rafe Churchill, Maureen Connor, Carol Diehl, Rineke Dijkstra, Brett-Cook Dizney (artist in residence), Eve Fowler, Jenny Gage, Bryon Kim and Glenn Ligon, Janice Krasnow, Larry Krone, Alix Lambert, Nikki S. Lee, Kerry James Marshall, Kimowan McLain, Editha Mesina, Catherine Opie, Pepón Osorio, Mark Perrott, Adrienne Salinger, Cindy Sherman, David Shulz, Mimi Smith, Steed Taylor, Beat Streuli, Type A, Gillian Wearing.

    Catalogue: essay “Introduction” with Katherine Gass. Artist entries by the students.

  • Cosmogram Galleria Marabini, Bologna, November 20, 1999-January 20, 2000

    A cross between a telegram and a mini-cosmology of New York painting.

    Artists: Mary Heilmann, Cannon Hudson, Karen Kilimnik, and Amy Sillman.

  • Paradise 8 Exit Art, New York, January 16-April 3, 1999

    One of eight independent curators invited to collectively organize an exhibition that took the form of 8 separate zones/individual hypothesis that morphed and merged over the course of the show. My site Submission, began as a storage unit for wrapped works, submitted by artists who were suggested by my co-curators; mid-way through the show, the contents were unwrapped and integrated into the rest of the exhibition.

    Co-curators: Pip Day, Milena Kalinovski, Dominique Nahas, Odili Donald Odita, Kenny Schachter, Franklin Sirmans, Henry Urbach, Martha Wilson.

    Submission artists: Sam Easterson, Angelo Filomeno, Michel Gerard, Harold Graves, Shlomo Harush, Ben Kinmont, Howard McCalebb, Olu Oguibe, William Pope.L., Sol Sax, Gloria Williams.

  • The Cultured Tourist (co-curator Leslie Tonkonow) Leslie Tonkonow Artworks + Projects, New York, November 11-December 19, 1998

    Celebrating one of the great relationships in modern history—tourism and photography—this exhibition presented works from the Victorian era and today, with an eye towards observing conventions and inviting critique.  Traveled to Carol Ehlers Gallery, Chicago. Brochure.

    Artists: Michel Auder, Felice Beato, Bisson Frères, Barbara Bloom, Samuel Bourne, Sophie Calle, Lynn Davis, Maxime DuCamp, Peter Fischli/David Weiss, Andrea Fraser, Lee Friedlander, Francis Frith, Reneé Green, Ken Josephson, Nikki S. Lee, Tim Maul, Vik Muniz, Robbins & Becher, Martha Rosler, Beat Streuli, Arne Swenson, Tseng Kwong Chi, Ruth Thorne-Thomsen, Carleton Watkins, James Welling, Gary Winogrand.

  • Julien Levy: Portrait of an Art Gallery (co-curator Lisa Jacobs) The Equitable Gallery, New York, August 14—October 31, 1998.

    A portrait evocation through art, objects, films, books, ephemera, and other documents of the visionary art dealer and collector Julien Levy (1906-1981), whose New York gallery (1931-1949) was a conduit for Surrealism, along with its related experiments and appetites. Artists (etc.): Berenice Abbott, Manuel Alvarez-Bravo, Amero, Louis Aragon, Eugène Atget, John Atherton, Herbert Bayer, Jonathan Levy Bayer, Cuthbert Bede, Eugene Berman, Ilse Bing, Peter Blume, Brassai, Victor Brauner, André Breton, Francis Brugière, Luis Buñuel, Paul Cadmus, Massimo Campigli, Milton Caniff, Leonora Carrington, Henri Cartier-Bresson, Giorgio de Chirico, Alvin Langdon Coburn, William Copley, Joseph Cornell, Arthur Cravan, Imogen Cunningham, Salvador Dalí, Paul Delvaux, Walt Disney Studio, Marcel Duchamp, Ecce Photo, Paul Eluard, Max Ernst, Walker Evans, Max Ewing, The Film Society, Leonor Fini, Charles Henri Ford, Karl Free, Jared French, Naum Gabo, George Gerschwin, Alberto Giocometti, Arshile Gorky, Samuel H. Gottscho, Maurice Grosser, David Hare, David Octavius Hill and Robert Adamson, Samuel van Hoogstraten, Georges Hugnet, Carol Janeway, Frida Kahlo, Gertrude Kasebier, John Frederick Kensett, André Kertész, Clarence John Laughlin, Rico Lebrun, Fernand Léger, Tamara de Lempicka, Léonid, Joella Levy and Emma Little, Julien Levy, Alice Lex-Nerlinger, Jay Leyda, Llamas, Fabienne Lloyd, Remi Lohse, Eli Lotar, Mina Loy, George Platt Lynes, Dora Maar, René Magritte, Man Ray, Matta, Lee Miller, Joan Miró, Lázló Moholy-Nagy, Nadar, Oscar Nerlinger, The New York Evening Graphic and Daily Mirror, Anais Nin, Isamu Noguchi, Richard Oelze, Georgia O’Keeffe, Paul Everard Outerbridge, Jr., Wolfgang Paalen, Georg Pabst, Roger Parry, Parsons School of Design, Jean-Jacques Pauvert Editions, I. Rice Pereira, Benjamin Peret, Pablo Picasso, Allen Porter, Ezra Pound, Paul Pulham, Quenedy, Walter Quirt, Charles Rain, Hans Richter, Vittoria Rieti, Mr. and Mrs. Nelson Rockefeller, Theodore Roszak, Sir Francis Rose, Thuman Rotan, Pierre Roy, Sears-Roebuck Catalogue, Kurt Seligmann, Stella Simon, Ralph Steiner, Alfred Stieglitz, Paul Strand, Muriel Street, Surrealismus Rediguje Vitezslau Nezval, Maurice Tabard, Rufino Tamayo, Dorothea Tanning, Pavel Tchelitchew, James Thurber, Kristians Tonny, Umbo, Edward Weston, Clarence White. Book: “Introduction,”Alchemy of the Gallery” and short texts on “Abstraction,” Ballet, Cartoons, and Cinema,” “Dream,” “Fetish,” “Magic Realism and Neo-Romanticism,” “Photographies,” “Play,” “Sex and the Sexes,” “Surrealism.” Commissioned texts by Carolyn Burke, Dorothea Tanning, Steven Watson. Design: Anthony McCall Associates.

  • Pop Surrealism (co-curators Richard Klein, Dominique Nahas, Harry Philbrick) The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, June 7-August 30, 1998

    As initiated by the museum, this exhibition sought out current manifestations surrealism through an imagery of pop culture made uncanny or grotesque through intense subjectivity.

    Artists: Shonagh Adelman, John Alfano, Richard Artschwager, Michael Bevilacqua, Ashley Bickerton, Charles Burns, Mary Carlson, Amanda Church, Bonnie Collura, Miles Coolidge, Gregory Crewdson, John Currin, Nancy Davidson, Georganne Dean, Carroll Dunham, Jeanne Dunning, Brad Eberhard, James Esber, Inka Essenhigh, Tom Friedman, Anna Gaskell, Graham Gillmore, Cameron Jamie, Kaz, Mike Kelley, Jeremy Kidd, John Kricfalusi, Yayoi Kusama, Charles Long, Giles Lyon, Ruth Marten, Patty Martori, Tony Matelli, Paul McCarthy, Sean Mellyn, Annette Messager, Curtis Mitchell, Mariko Mori, Takahashi Murakami, Daisuke Nakayama, Rachael Neubauer, Manuel Ocampo, Tom Ottnerss, Tony Oursler, Judith Page, Gary Panter, Alix Pearlstein, Lari Pittman, Ernesto Pujol, Paul Henry Ramirez, Michael Rees, Peter Saul, Kenny Scharf, Pieter Schoolwerth, Christian Schumann, Team SHaG, Jim Shaw, Cindy Sherman, Alyson Shotz, Shahzia Sikander, Art Spiegelman, Linda Stark, Laura Stein, Haim Steinbach, Robin Tewes, Nicola Tyson, Mark Dean Veca, John Waters, John Wesley, Robert Williams, Sue Williams, Lisa Yuskavage, Michael Zansky.

    Catalogue essay: “Pop Icons: A Little Idyll and Selected Quotes.”

  • Deep Storage/Arsenale der Erinnerung: Collecting, Storing, and Archiving in Art (co-curators Matthias Winzen, Hubert Gassner, Stefan Iglhaut, and Bernhart Schwenk) Siemens Cultural Programm and Haus der Kunst, Munich, August 3-October 12, 1997.

    This epically scaled, highly detailed exhibition looked a how artists both see and incorporate the imagery and processes of storage, collecting and archiving in their work. Starting with selected early modern precedents,  the show focussed on art of the 1960s and 1990s from Germany and America. Traveled to the Neuer Nationalgalerie Kulturforum, Berlin; Kunstmuseum Düsseldorf; P.S.1 Contemporary Art Center, New York; Henry Art Gallery, University of Seattle.

    Artists: Arman, Olaf Arndt/Rob Moonen, Richard Artschwager, Eugène Atget, Hannelore Baron, Bernd and Hilla Becher, Joseph Beuys, Douglas Blau, Jennifer Bolande, Christian Boltanski, Karsten Bott, Marcel Broodthaers, David Bunn, Christo, Joseph Cornell, Meg Cranston, Hanne Darboven, David Deutsh, documenta 5, Marcel Duchamp, Hans-Peter Feldmann, Monika Fleishmann, Fluxus Collective, Vera Frenkel, Jochen Gerz, Sabine Gross, Lynn Hershman, Stefan Hoderlein, On Kawara, Karen Kilminik, Peter Kogler, Louise Lawler, George Legrady, Piero Manzoni, Paul McCarthy, Annette Messager, Reinhard Mucha, Wilhelm Mundt, Claes Oldenburg, Naum June Paik, Robert Rauschenberg, Jason Rhoades, Ed Ruscha, Jeanne Silverthorne, SMS, Daniel Spoerri, Piero Steinle/Julian Rosefeldt, Thomas Virnich, Aby Warburg, Andy Warhol, Ute Weiss-Leder, H.C. Westermann, Peter Wüthrich.

    Book: “Digging Back into Deep Storage,” “Deep Storage,” “Conversation with a Conservator” (with Elizabeth Lunning), and texts on Artschwager, Atget, Baron, Blau, Bolande, Bunn, Cornell, Cranston, Deutsch, documenta V, Kawara, Kilimnik, Lawler, McCarthy, Messager, Rauschenberg, Ruscha, Silverthorne, Westermann. Primary editor with Matthias Winzen for the book’s collection of texts by Geoffrey Batchen, Eugen Blum, Benjamin, H.D. Buchloh, Susan Buck-Morss, Sheryl Conkelton, Trevor Fairbrother, Jon Ippolito, Geert Lovink, Ingrid Scharlau, Susan Stewart, Gombrich, Kai-Uwe Hemken, Brigitte Kölle, Dirk Luchow, Carter Ratcliff, Iris  Reepen, Stephanie Rosenthal, Claudia Seelmann, John W. Smith, and Birgit Stöckmann. Design: WIGEL, Munich. Published by Prestel.

  • Richard Artschwager, Photo/Works 1945-1996 Julie Saul Gallery, New York, March 28-April 27, 1996

    A detailed look at how photography penetrates every aspect of Artschwager’s work, including his photo-realistic paintings, the faux wood grain of his formica sculpture, early slide shows of blps in situ and amateur snapshots from his studio archive. Brochure.

  • Like Young: Twelve New York Painters Three Rivers Arts Festival with The Carnegie Museum of Art, Pittsburgh, June 1995

    Work by emerging artists demonstrated a range of approaches to painting, such as systemic abstraction, calligraphy, cartooning, appropriation, and design.

    Artists: Polly Apfelbaum, Betsy Friedman, Maureen Gallace, Elliott Green, Cannon Hudson, Betsy Kaufman, Sean Mellyn, Katie Merz, Donald Powley, Holly Sumner, Amanda Trager, Jim Zivic. Brochure.

  • Chocolate! (co-curator Carin Kuoni) Swiss Institute, New York, April 6—May 20, 1995

    Looking at chocolate as a material in contemporary art, this exhibition was richly engaged with consumption, the body, the grotesque, antiform, the organic, waste, and taste. 

    Artists: Janine Antoni, Ian Anüll, Joseph Beuys, Barbara Bloom, Peter Boynton, Helen Chadwick, S.J. Curtis, Marcel Duchamp, Henri Dunant/Johanna Spyri, Martina Eberle, Karen Finley, Anya Gallaccio, Four Walls Slide and Film Club, Fenanda Gomes, Franco Götte, Simon Grennan, Christopher Sperandio and Bakery Confectionary and Tobacco Local 552, Karen Kilimnik, Peter Lardong, Eric Magnuson, Larry Miller, Antoni Miralda, Charlotte Moorman, Susan Notter, Dieter Roth, Edward Ruscha, Stephen J. Shanabrook, Daniel Spoerri, Jana Sterbak, Thomas Vaccaro, Ultra Violet, Hannah Wilke, Franz Ziegler.

    Catalogue: “A Chocolate Art History” and “A Word on the Posters” (with Carin Kuoni). Commissioned text by Diane Barthel-Bouchier. Design: Ink, Inc.

  • The Return of the Cadavre Exquis The Drawing Center, New York, November 6—December 19, 1993

    This exhibition project unleashed a year-long round of the surrealist drawing game Exquisite Corpse: over 2,000 artists from around the world collaborated to create over 1,000 drawings, all of which were exhibited in New York, along with a selection of historic cadavre exquis. An exhibition of 100 selected drawings traveled to the Corcoran Gallery of Art, Washington, D.C.; The Forum, St. Louis; The Santa Monica Museum of Art, California; The Carnegie Museum of Art, Pittsburgh.

    Catalogue: “In Advance of ‘The Return of the Cadavre Exquis’” and “Après Exquis.” Commissioned texts by Charles Simic and Mary Ann Caws. Design: Bethany Johns.

  • A Grand Tour Swiss Institute, New York, March 4—April 4, 1993

    The Exquisite Corpse drawing game was adapted into landscape form, in order to map a community of Swiss artists in New York, who were invited to collaborate with colleagues of their choosing. Brochure.

  • Constructing Images: Synapse Between Photography and Sculpture Lieberman & Saul Gallery, New York, October 19—November 16, 1991

    The tension between time (which stands still in photography) and touch (which sculpture embodies) was critically engaged, in many different ways, throughout the work on view. Traveled to the Tampa Museum of Art, Florida; Center for Creative Photography, The University of Arizona, Tucson; San Jose Museum of Art, California.

    Artists: Dennis Adams, Jo Babcock, Bill Barrette, Alan Belcher, Jennifer Bolande, Christian Boltanski, Victor Bouillon, James Casebere, Julia Kidd, Annette Lemieux, Annette Messager, Claire Pentecost, Elaine Reichek, Doug and Mike Starn, Rosemarie Trockel, Sokhi Wagner.


  • Images of American Pop Culture Today, III (American coordinator with curator Junko Iwabuchi) Laforet Art Museum, Tokyo, Spring 1989

    A sprawling national show of popular culture with strong currents of contemporary art, including works in photography, video, painting, sculpture and performance by Todd Haynes, Jenny Holzer, Jeff Koons, Barbara Kruger, Mike Kelley, John Kelly, Cindy Sherman, The Shrimps, the Yonemoto Brothers, among many others.

  • The Feminine Gaze: Women Depicted by Women 1900-1930 (Whitney Independent Study Program co-curators Joanne L. Cassullo, Jolie van Leeuwen, William Sofield) Whitney Museum of American Art, Fairfield County, Stamford, Connecticut, September 7—October 31, 1984

    Surveying through the lens of current Feminist art history and theory, this exhibition presented painting, sculpture, photography, illustration, design, and film (with a short documentary on the city’s Henry Street Visiting Nurse Service by Anne Marvin Goodrich).

    Artists: Berenice Abbott, Peggy Bacon, Harriet Blackstone, Alice Broughton, Anne W. Brigman, Romaine Brooks, Clara Burd, Mary Cassatt, Minerva Josephine Chapman, Rose Clark and Elizabeth Flint Wade, Edna Cooke, Edna L. Crompton, Nell Dorr, Helen Dryden, Abastenia St. Leger Eberle, Fish (Anne H. Sefton), Gertrude Fiske, Harriet Frishmuth, Eugenie Gershoy, Laura Gilpin, Elizabeth Shippen Green and Jessie Wilcox Smith, Anna Hyatt Huntington, Leonabel Jacobs, Ilonka Karasz, Gertrude Käsebeier, Blanche Lazzell, Harriet Meserole, Ethel Myers, Violet Oakley, Rose O’Neill, Marie Danforth Page, Clara Elsene Peck, Lilla Cabot Perry, Margarett Sargent, Sarah C. Sears, Rose Silver, Clara Sipperell, Florine Stettheimer, Florence Storer, Bessie Potter Vonnoh, Eva Watson-Schütze, Gertrude Vanderbilt Whitney, Beatrice Wood, Alice Morgan Wright, Marguerite Zorach.


  • Metamanhattan (Whitney Independent Study Program co-curators Geoffrey Batchen, William Sofield, Mary Trasko) Whitney Museum of American Art, Downtown Branch at Federal Hall, New York, January 12—March 15, 1984

    Fantastic visions of Manhattan by artists and architects: Dennis Adams, Diana Agrest and Mario Gandelsonas, Michael Anderson, Alice Aycock and James Freed, R.O. Blechman, BumpZoid, Christo, Martha Diamond, John Fekner, Roger Ferri, Jeremie Frank, Buckminster Fuller, Red Grooms, Richard Haas, Steven Holl, Yvonne Jacquette, Michael Lebron, Lorna McNeur, Mary Miss, Claes Oldenburg, Political Art Documentation/Distribution, Alan Sonfist, Saul Steinberg, Donald Sultan, Carl Nicholas Titolo, Billy Tsien, Simon Ungers Laszlo Kiss and Todd Zwigard, Allan Wexler, Tod Williams Robert McAnulty John Olsen and David Warner.


Professional Memberships

  • AICA, International Association of Art Critics. Since 1998.


  • Andrew Glasgow Writer-in-Residence, Penland School of Craft, 2010

    A two-week residency to write and be part of the studio craft community at Penland. (This was the inaugural invitation.)

  • Graham Foundation for Advanced Studies in the Fine Arts, 2000

    To support the research and writing of Salvador Dalí’s Dream of Venus: The Surrealist Funhouse at the 1939 New York World’s Fair (Princeton Architectural Press, 2002).


  • 2017 Honorary Doctorate in Fine Arts, Moore College of Art & Design. Commencement speaker May 13, 2017.

  • 2010 AICA Award

    Dirt on Delight: Impulses That Form Clay awarded first place, Best Group Show in a University Art Museum by the International Art Critics Association.

  • 2003 AICA Award

    Polly Apfelbaum awarded second place, Best Monographic Show in a Museum outside of New York by the International Art Critics Association.

  • 2002 AICA Award

    Gloria: Another Look at Feminist Art of the 1970s awarded first place, Best Show in an Alternative Space or Public Space by the International Art Critics Association.


  • Bard College, Center for Curatorial Studies and Art in Contemporary Culture
    Graduate Committee, 2008-2015.

  • University of Pennsylvania, Department of Art History
    “Andy Warhol,” Spring 2008. Freshman seminar.

  • University of Pennsylvania, Department of Art
    Penn Design Senior Critic, January 2007.

  • University of Pennsylvania, Department of Art History
    “Post-minimalism,” Spring 2005

    Freshman seminar conducted in conjunction with the Barry Le Va exhibition at ICA.

  • University of Texas at Austin, Department of Art and Art History
    Viewpoint Lecturer and Guest Critic, Spring 2003.

    A series of public lectures (“Salvador Dali’s Dream of Venus,” “Gloria: Another Look at Feminist Art of the 1970s,” “Deep Storage”), seminars, and MFA studio visits.

  • Christie’s Education, New York
    “Research Methods,” Spring 2001.

    Master’s Degree seminar used the history of the Julien Levy Gallery as a subject for students to conduct extended research.

Guest critic / Graduate Programs

  • Art Center College of Design, Pasadena, March 23 2017.
    MFA studio visits.

  • University of Pennsylvania, February 28, 2012
    MFA studio visits

  • Rhode Island School of Design, November 11, 2011
    MFA studio visits

  • Illinois State University, February 10, 2011
    Lecture and MFA studio visits.

  • New York University, Program in Museum Studies, November 13, 2009
    Seminar guest speaker

  • Virginia Commonwealth University and Tyler School of Art, Spring 2008
    Lecture “Raid the Icebox.” Selected works by MFA students in sculpture and craft for an exhibition with Tyler School of Art at Icebox Project Space, Philadelphia.

  • University of Pennsylvania, May 12-June 5, 2006
    Selected works for MFA 2006 exhibition held at Icebox Project Space, Philadelphia.

  • Moore College of Art and Design, 2004
    Juried Fellowship Competition for Junior Year Students.

  • Tyler School of Art at Temple University, November 5, 2003
    Critical Dialogs Lecture “Salvador Dali’s Dream of Venus” and MFA studio visits.

  • Rhode Island School of Design, Fall 2003
    Lecture “Dream of Venus” and MFA studio visits.

  • New York University, November 5, 2002
    Lecture “Gloria: Another Look at Feminist Art of the 1970s” and MFA studio visits.

  • New York University, March 29, 2000
    Lecture “Deep Storage” and MFA studio visits

  • Hunter College and the College Art Association, February—March 2000
    Selected works for New York Area MFA Exhibition by graduate students at New York University and Queens College.

  • Maryland Arts Place, Baltimore, Fall 1998
    Artist as Catalyst Residency Program visiting critic and panelist with Barbara Rose.

  • Tyler School of Art at Temple University, Spring 1997
    Lecture “Deep Storage” and MFA studio visits.

  • University of Colorado, Boulder, spring 1997
    Visiting Artists and Critics Program public lecture and week-long residency with MFA students.

  • Hunter College and the College Art Association, February 12—March 22, 1997
    Selected works for New York Area MFA Exhibition.


  • McDonough Museum of Art, Youngstown, Ohio, October 19, 2017

    “Department of Art Lecture Series” at Youngstown State University

  • Art Center College of Design, Pasadena. March 23, 2017.
    “Ron Nagle in Conversation.”

  • Carnegie Museum of Art, Pittsburgh, November 17, 2016
    “What is Contemporary?”

  • Carnegie Museum of Art, Pittsburgh, November 12, 2015
    “What is Contemporary?”

  • University of Texas, Austin, November 5, 2013
    “The Puppet Show” lecture for Professor Ann Reynolds’s class “Issues in Visual Culture: Animation”

  • University of Texas, Austin, November 4, 2013
    “Jason Rhoades, Four Roads”

  • Museum of Art, Rhode Island School of Design, November 10, 2011
    “The Artist as Curator” keynote talk for a meeting of the New England Curators group.

  • Philadelphia Museum of Art, Friends of Alfred Stieglitz Center
    Contemporary Art and Photography, May 3, 2011

    Roundtable moderated by Peter Barberie with Carlos Basualdo and Adelina Vlas.

  • The Jewish Museum, New York, April 7, 2011
    “Maira Kalman in Conversation” with a guest appearance by Nico Muhly and song by Eve Gigliotti.

  • Curatorial Design Research Lab at Parsons, January 31, 2011
    “On Curating and Archives” with peer group of academics, administrators and curators

  • Skirball Cultural Center, Los Angeles, November 16, 2010
    “Maira Kalman, Seriously” followed by a conversation with the artist.

  • ICA Philadelphia, September 29, 2010
    “What is Contemporary?”

  • ArtTable, New York, September 24, 2010
    “Anne Chu in Conversation”

  • Maryland Institute College of Art, Baltimore, September 22, 2010
    “Pictures from Exhibitions”

  • Penland School of Craft, August 22, 2010
    “Crafting Exhibitions”

  • Contemporary Jewish Museum, San Francisco, July 1, 2010
    “Maira Kalman, Seriously”

  • ICA Philadelphia, March 3, 2010
    “Maira Kalman: Various Illuminations (of a crazy world)”

  • ICA Philadelphia, October 7, 2009
    “What is Contemporary?”

  • Frye Art Gallery, May 16, 2009
    “Backstage at The Puppet Show”

  • Mid-Atlantic Association of Museums, Creating Exhibitions, March 30, 2009
    “On the Role of the Curator” keynote lecture for annual conference.

  • ICA Philadelphia, October 15, 2008
    “What is Contemporary?”

  • University of Pennsylvania, School of Design, February 8, 2007
    “Cut Up, Collage in Contemporary Art”

  • Anderson Ranch, Aspen, Colorado, July 24-26, 2006
    “Monkey Bars & Picture Stories: Through and About Contemporary Art”: a series of three talks, starting with a survey of contemporary art followed by lectures on narrative and collage.

  • Contemporary Art Museum, St. Louis, February 23, 2006
    “What is Contemporary?”

  • Salvador Dalí Museum, St. Petersburg, December 4, 2005
    “Funhouse Ambition: Salvador Dalí’s 1939 Dream of Venus and Contemporary Art”

  • The Lotos Club, New York, October 25, 2005
    “What is Contemporary?”

  • Knoxville Museum of Art, Tennessee, October 2, 2005
    “Julien Levy: Dealing in Surrealism”

  • ArtTable, New York, May 2005
    “Meet the Curator”

  • Main Line Art Center, Haverford, Pennsylvania, June 3, 2004
    “The Big Nothing”

  • Swarthmore College, Lee Frank Lecture, November 11, 2003
    “The Dream of Venus Dreams on: Salvador Dali’s Surrealist Funhouse and Contemporary Art”

  • The Metropolitan Museum of Art, New York, December 15, 2000
    “Surrealism Comes to New York: Painters in Paris and the Julien Levy Gallery” lecture in conjunction with the exhibition Painters in Paris.

  • Christie’s Education, New York, October 16, 1998
    “Julien Levy: Art Dealer”

  • International Sommerakademie für Bildende Kunst, Salzberg, Austria, August 21, 1998
    “Deep Storage”

  • International Sommerakademie für Bildende Kunst, Salzberg, Austria, September 12, 1996
    “Rendering the Body Grotesque: The Return of the Cadavre Exquis”

  • The Carnegie Museum of Art, Pittsburgh, March 31, 1995
    “The Return of the Cadavre Exquis”

  • The Forum for Contemporary Art, St. Louis, October 14, 1994
    “The Return of the Cadavre Exquis”

  • Hartford College of Art, Connecticut, September 21, 1994
    “Richard Artschwager”

  • ICA Philadelphia, January 12, 1994
    “Pornography and Pictures: Marlene Dumas at the ICA”

  • ICA Philadelphia, October 14, 1992
    “Lost in Space: Photography and Sculpture in Contemporary Art” in conjunction with an exhibition by Eileen Neff

  • Parsons School of Design, New York, November 1989
    “Braque and Picasso: Cubism”

  • The Neuberger Museum, SUNY, Purchase, February 1989
    “Christopher Wilmarth: Days on Blue


  • “Inherent Vice: a Curatorial Case Study,” The First Crack: Conservation and Value in Contemporary Art.Contemporary Conservation and School of Visual Arts (SVA), April 29, 2015.
    Speaker with Matthew Barney, Reinhard Bek, Ted Bonin, Martha Buskirk, John R. Cahill, Dana Cranmer, John Hogan, Debbie Taylor, and Renée Vara.

  • “Crafting a Life in the Arts,” Mount Holyoke College, February 8, 2014.
    Presenter with Julia Sienkewicz, Sarah Dorman, and other alum; Sabina Murray (keynote).

  • “Comradely Objects: Art Against Reification,” Vera List Center for Art and Politics, The New School, September 8, 2012
    Presenter, “The Object as Companion” with Sanford Biggers.

  • “People’s Conference,” Independent Curators International (iCI) with Haverford College, February 25, 2012
    Respondent, a panel led by Harrell Fletcher.

  • Philadelphia Museum of Art, Friends of Alfred Stieglitz Center
    Contemporary Art and Photography, May 3, 2011

    Roundtable moderated by Peter Barberie with Carlos Basualdo and Adelina Vlas.

  • “Conversation: On Conservation,” ICA Philadelphia, November 3, 2010
    Speaker and moderator, with Johanna Hoffmann, Sally Malenka, and Gwynne Ryan.

  • “Twisted Pair: Marcel Duchamp/Andy Warhol,” The Andy Warhol Museum, Pittsburgh, September 11, 2010
    Presenter “The Artist-as-Curator: Twists on Curatorial Practice.”

  • “What Do Exhibitions Want? Four Manifestos of Curatorial Practice,” Haverford College, Humanities Center, April 9, 2010
    Presenter, with Ian Berry, Julie Joyce, Aaron Levy.

  • “Post What?” The Armory Show, New York, March 6, 2010
    Presenter, with Svetlana Boym, Kate Fowle, Drushko Petrovich, and Alexandre Singh, moderated by Sarah Douglas and Joao Ribas.

  • “Behind-the-Scenes of an Exhibition,” Wave Hill, New York, May 21, 2006
    Moderator, with artist Maureen Connor and curator Jennifer McGregor about the exhibition Survive Thrive Alive.

  • “Art & Chess: An Interplay of Disciplines,” The Noguchi Museum, April 9, 2006
    Presenter, in conjunction with exhibition The Imagery of Chess.

  • “Persistence and Memory: New critical Perspectives on Dalí at the Centennial,” Salvador Dalí Museum (in cooperation with the Fundació Gala-Salvador Dalí, the Palazzo Grassi, the Philadelphia Museum of Art, the AHRB Research Centre for the Studies of Surrealism and it Legacies [UK], the University of South Florida, and the Poynter Institute for Media Studies), St. Petersburg, Florida, March 19, 2004
    Presenter “Funhouse Ambition: Salvador Dalí’s 1939 Dream of Venus and Contemporary Art”

  • “Why Now? Revisiting 1970s Feminist Art,” Women’s Studies Program, Graduate School, City University of New York, March 14, 2003
    Presenter, with Anna Chave, Catherine Morris, Carolee Schneemann and Mira Schor, moderated by Nancy Miller and Debra Wacks.

  • “Curating Matters presents Feminist Art: Why Now?” Columbia University, February 24, 2003.
    Presenter, with Catherine Morris and Martha Rosler.

  • “Curator as Collaborator,” College Art Association (CAA), February 20, 2003.
    Session Chair and presenter, with Bonnie Collura, Jennifer Gross, Amy Hauft, Alan Michelson (co-chair), Maureen Connor, Valerie Smith, and Richard Torchia.

  • “Philadelphia, Currency! Relevance! Power!” Moore College of Art and Design, January 24, 2003
    (with Catherine Morris) Presenter and moderator, with Dara Birnbaum, Carolee Schneemann and Mimi Smith.

  • “Raymond Hains,” Moore College of Art and Design, Philadelphia, November 9, 2002
    Respondent, symposium led by curator Christine Macel.

  • “On Collecting: A Panel Discussion,” The New School and Independent Curators International (iCI), New York, October 1, 2002
    Presenter and moderator, with Burt Aaron, Stefano Basilico, Melva Bucksbaum, Robert Shiffler, Fred Wilson, and Lisa Yuskavage.

  • “The Curator and Contemporary Art,” DIA Center for Contemporary Art, New York, (with Independent Curators International and Bard Center for Curatorial Studies), May 30, 2001
    Presenter, with Michael Brenson (moderator), Lynne Cooke, Thelma Golden, Jane Farver, Larry Rinder, Nancy Spector, Marcia Tucker.

  • “The Role of the Curator,” ArtTable, New York, March 24, 1999
    Presenter, with Charlotta Kotik and Elizabeth Sussman.

  • “Feminist Art & Art History Conference: Curating Art Exhibitions in the 1990s,” Barnard College, New York,, October 17, 1998
    Panelist, with JoAnna Isaak and Barbara Wally.

  • “Artworld,” P.S. 1 Contemporary Art Center, July 2, 1998 Presenter, with Faye Hirsh and Mitchell Algus.

  • “Double Poke in the Eye: Bruce Nauman,” Cleveland Center for Contemporary Art, Ohio, March 7, 1998
    Presenter “Bruce Nauman and Samuel Beckett,” and panelist with Peter Schjedahl, Jill Snyder, and Robert Storr.

  • “Crazier than an artist: The New Curating and Contemporary Art,” The New School, New York, October 10, 1996
    Presenter, with Bruce Altshuler (moderator), Laura Parnes, Amanda Trager, Kenny Schacter and Nina Felshin.


  • MFA First Year Juried Show

    Invited to jury and curate the work of first year MFA students at the Maryland Institute College of Art (MICA), August 14-24, 2015. Catalogue essay “Seeing Red” and a questionnaire to students with pull-quotes to illustrate their work. Design: Hieu Tran.



  • 2014 Artadia/NADA Award to Detroit gallery What Pipeline (Alivia Zlvich and Daniel Sperry, founders). Juried with Carin Kuoni.

  • Tenth Biennial Exhibition, A.I.R. Gallery, Brooklyn, exhibition December 6—January 5, 2013.

  • Graduate Studies/Grants in Fine Arts, Rhode Island School of Design, 2012.

  • Art Abilility 2011: art and craft by artists with disabilities, Spring 2011, Bryn Mawr Rehab Hospital.

  • 84th Annual International Competition: Photography, The Print Center, Philadelphia, exhibition May 1—July 24, 2010.

  • 2010 Award to Lucy Lippard for Curatorial Excellence, Bard Center for Curatorial Studies.

  • The Jack Wolgin Fine Arts Prize to Ryan Trecartin, Tyler School of Art at Temple University, Philadelphia, 2009.

  • Etant donnés, a program of The French-American Fund for Contemporary Art, Artistic Committee Member, 2006-2009.

  • Nohl Fellowships, Milwaukee, 2007.

  • The Stamp Book, Cabinet Magazine, 2007.

  • Samuel S. Fleisher Art Memorial, Philadelphia, exhibition program 2005-2006.

  • Fellowship Program, Virginia Museum of Fine Arts, 2005

  • The Louis Comfort Tiffany Foundation Awards, 2005.

  • Annual Juried Exhibition, School 33 Art Center, Baltimore, 2004

  • Westmoreland Biennial, Westmoreland Museum of American Art, Greensburg, Pennsylvania, June through July 2004.

  • Annual Spring Juried Exhibition, Ohio Art League, Columbus, June through July 2004.

  • New Jersey State Council on the Arts: Works on Paper, MidAtlantic Arts Foundation, October 29, 2003.

  • New American Paintings, The Open Studios Press, an exhibition in print of artists from the Mid-Atlantic region, 2003.

  • Moore International Discovery Series Colloquy (with Carlos Basualdo and Christine Macel, selected the Brazilian artist Artur Barrio for an exhibition), Moore College of Art, Philadelphia, November 7, 2002.

  • Drawing Center Projects (artists selected from Viewing Program slide submissions for exhibitions and awards), sponsered by the Greenwall Foundation, New York, October 2001.

  • PS 122, New York, exhibition program 1999-2000.


  • Dispatch: CI57—2018. Pittsburgh: Carnegie Museum of Art, 2019. 

  • The Guide: Carnegie International, 57th Edition, 2018. Pittsburgh: Carnegie Museum of Art, 2018. 

  • Moyra Davey, Burn the Diaries [a supplement], ICA, MUMOK and Dancing Foxes Press, 2014.

  • Jason Rhoades, Four Roads. ICA and Delmonico Books/Prestel, 2014.

  • Anne Tyng: Inhabiting Geometry. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2011.

  • Queer Voice, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2010.

  • Maira Kalman: Various Illuminations (of a crazy world), Philadelphia: Institute of Contemporary Art, University of Pennsylvania and Delmonico Books/Prestel, 2010.

  • Dirt on Delight: Impulses That Form Clay, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2009.

  • Douglas Blau, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2008.

  • The Puppet Show, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2008.

  • Eileen Neff: Between Us, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2007.

  • Karen Kilimnik, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2007.

  • Jess: To and From the Printed Page, New York: Independent Curators International, 2007.

  • Barry Le Va: Accumulated Vision, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2005.

  • The Big Nothing, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2004

  • Sarah McEneaney, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2004.

  • Polly Apfelbaum, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2003.

  • Richard Tuttle, In Parts, 1998-2001, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2002.

  • About the Bayberry Bush, Southampton, New York: The Parrish Art Museum, 2001.

  • Pictures, Patents, Monkeys, and MoreOn Collecting, New York: Independent Curators International, 2001.

  • Pop Surrealism, Ridgefield, Connecticut: The Aldrich Museum of Contemporary Art, 1998.

  • Secret Victorians: Contemporary Artists and a 19th-Century Vision, London: Hayward Gallery Publishing, 1998.

  • Julien Levy: Portrait of an Art Gallery, Cambridge, Massachusetts: MIT Press, 1998.

  • Deep Storage: Collecting, Storing, and Archiving in Art, New York: Prestel, 1997.

  • The Return of the Cadavre Exquis, New York: The Drawing Center, 1993.

  • Salvador Dali’s Dream of Venus:The Surrealist Funhouse from the 1939 World’s Fair. Princeton Architectural Press, 2002.

  • Titles in The Essentials Series by Abrams, New York:

    The Essential Man Ray, 2003.

    The Essential Joseph Cornell, 2003.

    The Essential Andy Warhol, 2000.

    The Essential Henri Matisse, 1999.

    The Essential Pablo Picasso, 1999.

    The Essential Vincent van Gogh, 1998.


  • “Getting Small with Louise Fishman.” Louise Fishman, ed. Helaine Posner. New York: Neuberger Museum of Art, Purchase College; Philadelphia: Institute for Contemporary Art, University of Pennsylvania; Delmonico Books/Prestel. Interview excerpt pp: 184-199. April 29, 2016 – August 14, 2016.

  • “Conversation with Joan Jonas.” Joan Jonas: They Come to Us without a Word. Cambridge, Massachusetts: MIT List Visual Arts Center, New York, New York: Gregory R. Miller & Co., Ostfildern, Germany: Hatje Cantz Verlag, 2015. Interview excerpt pp: 114-131. January 6, 2015.

  • “Return Guest: Chambres dAmis,” The Exhibitionist, No. 7, January 2013.

  • “Stuck Marble.” Anne Chu: Animula Vagula Blandula. Kunstmuseen Krefeld, Museeum Haus Lange. Excerpt pp. 46/47-54/55, in German and English. September 30, 2012- April 7, 2013.

  • Pigeons on the Grass Alas: Contemporary Curators Talk About the Field, Philadelphia Exhibitions Initiative [online], 2012.

  • Speaking Photography,” Jennifer Bolande Landmarks. Zurich: JRP/Ringier in association with Inova, University of Wisconsin-Milwaukee, 2011.

  • “Seen and Not Heard: Perusing Works by Siemon Allen,” Desire: Ideal Narratives in Contemporary South African Art (Thembinkosi Goniwe, curator). Venice: La Biennale di Venezia, Pavilion of South African, 2011.

  • “FRP: An Induction,” Beverly Semmes: The Feminist Responsibility Project. Glassboro, New Jersey: Rowan University Art Gallery, 2011.

  • “Dreaming the Dreams of All Mankind,” Biblion: Exploring the 1939-40 Worlds Fair Collection, New York: The New York Public Library, 2011.

  • “Introduction,” Set Pieces: Curated by Virgil Marti from the Collection of the Philadelphia Museum of Art. ICA Philadelphia, 2010.

  • Ensemble Encore,” Christian Marclay: Festival (no. 2). New York: Whitney Museum of American Art, 2010.

  • “Models Without Reference,” Mel Kendrick. New York: Madison Square Park Conservancy, 2009.

  • The Corpse Encore/Apres Exquis,” The Exquisite Corpse, (Kanta Kochhar-Lindgren, Davis Schneiderman, Tom Delinger, editors). Lincoln: University of Nebraska Press, 2009. (reprint with new introduction)

  • “Kay Sage,” Art at Colby. Waterville, Maine: Colby College Art Museum, 2009.

  • “Looking Forward,” Frieze, January 2009.

  • “Richard Artschwager,Art for Yale: Collecting for a New Century. New Haven: Yale University Art Gallery, 2007.

  • Luca Buvoli, A Very Beautiful Day after Tomorrow. ICA Philadelphia (brochure essay), 2007.

  • “Wall Text, What Makes a Great Exhibition? (Paula Marincola, editor). Philadelphia: Pew Center for Arts and Heritage/Phildelphia Exhibitions Initiative, 2006.

  • Brian Tolle: DIE, or JOIN.. ICA Philadelphia (brochure essay), 2006.

  • “Doing Nothing,” Ante 4: The Oblivion issue (Nicholas Herman, editor), Fall 2005. (reprint)

  • “Cut Up: The Art of Arturo Herrera,” Arturo Herrera. Santiago de Compostella: Centro Galego de Arte Contemporánea, 2005.

  • Amy Sillman, Procession. ICA Philadelphia (brochure essay), 2004.

  • “Christian Marclay: Wise Cracks,” Parkett, number 70, 2004.

  • Judy Pfaff, En Restauro, ICA Philadelphia (brochure essay), 2004.

  • “What Are You Looking At? New Art Through the Eyes of Ten Professionals” (Sarah McEneany), Art on Paper, May/June 2004.

  • Yun-Fei Ji: The East Wind. ICA Philadelphia (brochure essay), 2004.

  • “Hula Dancer, Meet Mahatma Gandhi: The Recombinative Art of Jane R. Hammond ’72,” Mount Holyoke Quarterly, Spring 2004.

  • “Salvador Dalí,” Grand Street (Delusions Issue), number 73, 2004.

  • Introduction, Portrait of an Art Gallery. Boston: Museum of Fine Arts Publications, Fall 2003. (reprint edition of Julien Levy’s 1977 autobiography).

  • Virgil Marti, Flowers of Romance, ICA Philadelphia (brochure essay), 2003.

  • “Chris Burden,” Grand Street (Danger Issue), Number 71, 2003.

  • “Idle Reflections: On Yoshitomo Nara’s Japanese Pop Art,” Yoshitomo Nara: Nothing Every Happens (Kristin Chambers, curator). Cleveland: Museum of Contemporary Art, 2003.

  • “It’s just another way of experiencing. The Art of Richard Artschwager,Richard Artschwager: Up and Down/Back and Forth. Berlin: Deutsche Guggenheim, 2003.

  • “Out of Andrade Experience,” Edna Andrade: Optical Paintings, 1963-1986. ICA Philadelphia, 2003.

  • “Curators,” Philadelphia Inquirer Magazine, May 5, 2002.

  • “The Unphotographable: Notes on Photography and Dust,” Art on Paper, March/April 2002.

  • Arturo Herrera: You go first. ICA Philadelphia (brochure essay), 2002.

  • Reflections on Silver Studios,The Metal Party: reconstructing a party held at the Bauhaus in Dessau on February 9, 1929 / Josiah McElheny. New York: Public Art Fund, 2002.

  • “The New Pew Fellows,” 2001 Pew Fellowships in the Arts. Philadelphia, 2001.

  • “Six Fine Ladies,” Six Contemporary Artists (Michael Jenkins, curator). Hamilton, New York: The Clifford Gallery, Colgate University, October 2001.

  • “Shut up and look,” Words of Wisdom: A Curator’s Vade Mecum on Contemporary Art (Carin Kuoni, editor). New York: Independent Curators International, 2001.

  • “A (revised) short history of the blp,” Richard Artschwager: Up and Across. Nürnberg: Verlag fur moderne Kunst, 2001. (revised reprint)

  • [co-authored with Donna Ghelerter] “Mr. Expanding Universe: Isamu Noguchi’s Affiliations across the New York Art World(s) of the 1930s,Isamu Noguchi: Sculptural Design (curator Katarina Posch). Weil am Reim, Germany: Vitra Design Museum, 2001.

  • “Andy Warhol’s Time Capsules,” One Stop Warhol Shop Pittsburgh: The Andy Warhol Museum, posted October 2000.

  • “Betsy Kaufman,” Solitude Im Museum. Germany: Akademie Schloss Solitude, Staatsgalerie Stuttgart, 2000.

  • “Dirty Hole: Steven Pippin’s Obscure Routes,” Art on Paper, January/February 2000.

  • Catalogue Entries: Chakaia Booker, M.W. Burns, Ingrid Calame, Anthony Discenza, Tara Donovan, James Drake, Suzan Frecon, Trenton Doyle Hancock, James Havel, Sharon Lockhart, Joseph Marioni, Josiah McElheny, Katherine Sherwood, 2000 Whitney Biennial Exhibition. New York: Whitney Museum of American Art, 2000.

  • “Commentary,” Looking Up, Rachel Whiteread’s Water Tower (Louise Neri, editor). New York: Public Art Fund and Scalo, 1999.

  • Catalogue Entries: Max Alpert, Alvin Langdon Coburn, Max Ernst, Emmanuel Evzerikhin, Diego Giacometti, Claes Oldenburg, Saul Steinberg, Hiroshi Sugimoto. Refining the Imagination: Tradition, Collecting and the Vassar Education. Poughkeepsie, New York: Frances Lehman Loeb Art Center, Vassar College, 1999.

  • “That Someone,” Cancelled. New York: Apex Art, 1999.

  • “Sefa Saglam,” Stuctures Transverses/Strukturveränderungen, Vaudremont, France: Kunst Forum D’Art, 1999.

  • “Heavenly Body,” Beverly Semmes: Not Here (Klaus Middletown, Connecticut: Ezra and Cecile Zilkha Gallery, Wesleyan University, 1999.

  • “Susan Unterberg’s Floating Worlds,” Susan Unterberg: White Horse. New York: Yancey Richardson Gallery, New York, 1999.

  • “Theater in a Bottle,” Josiah McElheny: An Historical Anecdote about Fashion. Seattle: Henry Art Gallery, University of Washington, 1999.

  • “Tourist Snaps,” Art on Paper, January/February 1999.

  • Catalogue entries: Bill Traylor, Glenn Ligon, Looking Forward/Looking Black (Jo Anna Isaak, curator), Geneva, New York:  Hobart and Smith College Press, 1999.

  • “The Curious case of the DOOR WINDOW BASKET RUG TABLE WINDOW” and “The blp: Its origins and Meanings,” Richard Artschwager (Sean Ulmer, curator). Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 1998.

  • Project Painting. New York: Basilico Fine Arts and Lehmann Maupin, 1997.

  • “Circling Oblivion: Bruce Nauman through Samuel Beckett,” Bruce Nauman: 1985-1996 Drawings, Prints, and Related Works (Jill Snyder, curator). Ridgefield, Connecticut: The Aldrich Museum of Contemporary Art, 1997.

  • “The Living Sound of Wood: Stephan Balkenhol’s Neo-Expression-less Sculpture,” Stephan Balkenhol. Paris: Editions dis Voir, 1997.

  • “Beware All Ye Who Enter These Woods,” Jennifer Bolande: Forest Spirits. New York: Baron/Boisante Gallery, 1997.

  • “Mad Cow,” Drawings by Carol Rama. New York: Esso Gallery, 1997.

  • “Fuzzy Navigation,Heide Fasnacht. New York: Bill Maynes Gallery, New York, 1997.

  • “Light in the Studio,” Jeanne Silverthorne. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1996.

  • “Accustomed Bounds/Patterns of Excess,Patterns of Excess (Paula Marincola, curator), Philadelphia: Art Gallery at Beaver College, 1996.

  • “Introducing Sean Mellyn,” New York: Anna Kustera Gallery, 1996.

  • “Looking at Shit,” Shit. New York: Baron/Boisanté Gallery, 1996.

  • “A Short History of the blp” (Richard Artschwager), Parkett, Number 46, 1996.

  • “Deep Storage, storage and archiving in contemporary art,” Frieze, Summer 1995.

  • “Richard Artschwager:  Archipelago Bop,” Carnegie International. Pittsburgh: Carnegie Museum of Art, 1995. (reprint)

  • “Every Traveller a Tourist,” Photography Quarterly (Center for Photography at Woodstock), number 65, 1995.

  • “The Evolution of the Horse” (Susan Rothenberg), Parkett, number 43, 1995.

  • Catalogue Entries: Joseph Beuys, Jan Dibbets, Jean Dubuffet, Dan Flavin, Sam Francis, Philip Guston, Rebecca Horn, Richard Long, Bruce Nauman, Mario Merz, Joan Mitchell, Jackson Pollock, Arnulf Rainer, Ad Reinhardt, Gerhard Richter, Robert Ryman, Mark Rothko, Antoni Tapies, The Tradition of the New. New York: Solomon R. Guggenheim Museum, 1995.

  • “Cursive,” Parkett, number 42, 1994.

  • “Richard Artschwager and the Fondation Cartier: Stories of a Commission,” Richard Artschwager. Paris: Fondation Cartier, 1994.

  • “In Anger,” ACT UP ART BOX (works by Ross Bleckner, Louise Bourgeois, Mike Kelley, Simon Leung, Lorna Simpson, Kiki Smith and Nancy Spero). New York: Act Up, 1994.

  • “A Grand Tour,” Kunst-Bulletin, April 1993.

  • “Marlene Dumas,” Der Zerbrochene Spiegel (Kapsar König, Hans-Ulrich Obrist, curators). Viena: Kunsthalle Wein und Messepalast, 1993.

  • “DIAL 970-MUSE: Marlene Dumas’s Pornographic Mirror,” Parkett, number 38, 1993.

  • “Archipelago Bop,” Richard Artschwager. Franfurt: Portikus, 1993.

  • “Skin on the Screen:  Genevieve Cadieux,” Artscribe, November/December 1991.

  • “Snow White in the Wrong Story: Paintings and Drawings by Marlene Dumas,” Arts Magazine, March 1991.

  • Robert Rauschenberg: Currents. New York: Castelli Graphics, 1990.


  • “New Prints: Hanne Darboven,” Art on Paper, November/December 2008.

  • “Melissa Meyer’s Sketchbooks 1993-95,” Drawing, Spring 1999.

  • “JoAnna Isaaks’ Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter,” Art Journal, Spring 1999.

  • Rauschenberg’s Photographies,” Afterimage, March/April 1998.

  • Artforum REVIEWS 1998: Mary Carlson, April; Patty Martori, Summer.

  • Ellsworth Kelly (at the Solomon R. Guggenheim Museum),” On Paper, March-April 1997.

  • Artforum REVIEWS 1997: Alix Pearlstein, January; Matthew Ritchie, March; Color Detour, May; Mimi Smith, September; Joanne Greenbaum, November; Thread, December.

  • Artforum REVIEWS 1996: Tanya Marcuse, January; Robin Kahn, February; Megan Williams, March; Robin Tewes, March; Amy Adler, December.

  • Artforum REVIEWS 1995: Rita McBride, January; Kim Dingle, February; Maureen Connor, March; Lorna Bieber, April; Doug Martin, May; Polly Apfelbaum, Summer; Robin Hill, Summer; Dorothy Cross, September; Andrei Roiter, September; Claude Simard, October; Elliott Puckette, November.

  • “Bad Girls,” Parachute, October/December 1994.

  • “Degas’s Landscapes,” Art & Antiques, May 1994.

  • “From Rodin to Rothko, the Artist as Tragic Hero,” Art & Antiques, April 1994.

  • Art & Antiques REVIEWS 1994: Horace Pippin April,

    Diana Vreeland March.

  • Art in America REVIEWS 1994: Katie Merz May; Fred Sandback May.

  • Artforum REVIEWS 1994: Michel François May; Carolee Schneemann September; Bas Jan Ader October; Locurto and Outcault November; Willie Doherty December.

  • “Florine Stettheimer,” Art & Antiques, December 1993.

  • “Marlene Dumas,” Art & Antiques, January 1993.

  • “’Erotic Displays of Mental Confusions’: Marlene Dumas at the Van Abbemuseum,” Kunst & Museumjournaal, volume 3/6, 1992.

  • Arts Magazine REVIEWS 1991: Jeffrey Dennis April; Emil Schumacher Summer.

  • 1991 Artscribe REVIEWS: Kazuo Katase January/February; Richard Tuttle Summer.

  • “Burgoyne Diller,” Arts, January 1991.

  • Sculpture Magazine REVIEWS 1991: Lisa Hein January/February; Michael Gonzalez January/February; Rebecca Horn May/June; Betty Parsons September/October 1991.

  • “New York Notes: Uptown,” Artscribe, November/December 1990.

  • “The Lift: New York Notes,” Artscribe, September/October 1990.

  • “Jonathan Borofsky,” Artscribe, Summer 1990.

  • Arts Magazine REVIEWS 1990: Cliffton Peacock December; Robert Greene March.

  • Sculpture Magazine REVIEWS 1990: Jessica Stockholder, July; Jeanne Silverthorne, November/December.

  • “Garnett Puett,” Flash Art, January/February 1989.


  • Erin Leland, “Invitation to Dinner,” Bad at Sports, April 10 2015.

  • Elizabeth Manus, “artnet Asks: Matthew Higgs,” artnet, March 3,2014.

  • Susan Morgan, “Small Wonder: A Visionary Architect’s Tiny House is Full of Big Ideas,” The New York Times Style Magazine, May 6, 2012.

  • Rosenbach Museum and Library, Philadelphia, a reader at Bloomsday 2010, June 16, 2010.

  • Co-editor with Donna Ghelerter of Pink!, a quarterly publication 1998-2000.

  • Guest editor, Ubu Web, November-December 2006.

  • Profiled, Edith Newhall, “There’s a twinkle in her eye for art,” The Philadelphia Inquirer, July 9, 2006.

  • Barnes & Noble, New York, a reader at the book signing event for Sock Monkeys by Arne Svenson and Ron Warren, with contributors Simon Doonan, M. Raven Metzner, and Dale Peck, August 13, 2003.

  • Profiled, “Presenting Art through the Ages,” Mount Holyoke Alumnae Quarterly, Fall 1999.

  • Transmissions: channeling cultural information through the medium of video, Exit Art, New York, May 9-July 11, 1998. Among participants invited “to make unedited hour-long video tapes with the purpose of exposing a fragment of [one’s] behavior, their modus operandi.” Documented a deskscape of Julien Levy research.


  • Institute of Fine Arts, New York University, M.A., 1989

    Qualifying paper topics:  Bruce Nauman’s “Slo- Mo” Films (read by Professors Angelica Rudenstine and Robert Rosenblum) and The Influence of Hercules Seghers on Seventeenth Century Dutch Landscape Painting (read by Professors Egbert Haverkamp-Begemann and Colin Eisler).

  • The Whitney Museum of American Art, Independent Study Program (ISP)

    Helena Rubinstein Curatorial Fellow, 1983-84. Independent study topic: Florine Stettheimer.


  • Mount Holyoke College, Massachusetts, B.A. in Art History, 1983.

    Thesis topic: Frida Kahlo (Professor James Mundy, advisor).