HIRSCH
PERLMAN

Selected Group Exhibitions

2022
“Enter the Mirror,” Museum of Contemporary Art, Chicago, IL

2020
“My Name is Not Refugee,” Firstsite, Colchester, England

2018
“XXV Years! Shared Histories, Shared Stories/Fast Forward,” Fotomuseum, Winterthur, Germany, (catalogue)
“Pile the Wood High,” Anna Helms, Lisa Lapinski, Hirsch Perlman, Moody Center, Rice University, Houston, TX

2017
“Anna Helms, Lisa Lapinski, Hirsch Perlman,” Midway Contemporary, Minneapolis, MN

2016
“This is Not a Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection,” Los Angeles County Museum of Art, CA
“Walk Artisanal,” 3716 Eagle Rock Blvd., Los Angeles, CA, organized by Peter Harkawik & Miles Huston

2013
“3 am: Wonder; Paranoia and the Restless Night,” The Bluecoat, Liverpool, Chapter, Cardiff, The Exchange, Penzance, and Feenes Art Gallery, Hull, curated by Angela Kingston, (catalogue)
“ReModel 2; Sculpture Education Now,” Claremont Graduate University gallery
“Chicago Conceptual Abstraction, 1986-1995,” curated by Lynne Warren, Museum of Contemporary Art, Chicago
“Mind/Map/Los Angeles: The Laurence Rickels Collection,” Art, Design & Architecture Museum, UC Santa Barbara

2011
“Phantoms, Shadows and Phenomena,” Kennedy Museum of Art, Ohio University, curated by Petra Kralickova
Wicked Little Critter, Kristi Engle Gallery, Los Angeles, curated by Anne Hars

2010
“Selections from the Hammer Contemporary Collection,” Hammer Museum, Los Angeles.
“Selections from the Donna and Howard Stone Collection,” The Art Institute of Chicago

2009
“Nine Lives: Visionary Artists in L.A.,” Hammer Museum, Los Angeles, curated by Ali Subotnick
“The End: Analyzing Art in Troubled Times,” Warhol Museum, Pittsburgh
“Out of School,” Brea Art Gallery, Brea, CA
The Sum of Myself: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, Los Angeles County Museum of Art, Los Angeles, CA
Inaugural Group Exhibition, Blum & Poe, Los Angeles, CA

2008
“Amateurs,” Wattis Institute, San Francisco, curated by Ralph Rugoff

2007
“Locating Secret Psychological Spaces,” Florida State University Museum of Fine Arts, Tallahassee, FL
Nicole Klagsbrun Gallery, New York

2006
“Sixteen Tons,” UCLA Department of Art Faculty, Broad Art Center Inaugural exhibition, curated by Michael Darling
“Full House: Views of the Whitney’s Collection at 75,” Whitney Museum of American Art, New York, NY
“Middle Ground: Photographs from the Whitney Museum of American Art,” Wallach Art Gallery, Columbia University, New York NY

2005
“Dark Places,” Santa Monica Museum of Art, curated by Joshua Decter
“Apocalypse Soon,” QED, Los Angeles, curated by Kristen Calabrese
“Trumpets of Justice,” Counter, London, UK
“Withdrawal,” Galerie Chez Vlaentin, Paris, France, curated by Joe Scanlon

2004
“Cinematographic Video Works,” Berliner Kunstsalon, Berlin, curated by Harm Lux
“The Center is Anywhere,” MCA, Chicago IL
“The Optimistic Mood,” University of Sundeland, UK, curated by Julie Deamer
“Buy American,” Chez Valentin, Paris, France, curated by Joe Scanlon

2003
“Strange Days,” MCA, Chicago IL
“Seriously Animated,” Philadelphia Museum of Art
“A Matter of Facts,” Nicole Klagsburn Gallery, New York, curated by Clarissa Dalrymple
“Lautloss Irren (Ways of worldmaking), too,” Curated by Harm Lux, Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin, Germany, (catalogue)
Outlook: International Art Exhibition Athens 2003, Athens, Greece, (catalogue)
Rachel Harrison, Hirsch Perlman, Dieter Roth, Jack Smith, Rebecca Warren, Matthew Marks Gallery, New York, NY
“100 Artists See God,” traveling, curated by John Baldessari and Meg Cranston
“Incommunicado,” organized by the Hayward Gallery, London, England; travels to Sainsbury Centre for Visual Arts, Norwich, England; City Art Centre, Edinburgh, Scotland, (catalogue)
“Zones,” Art Gallery of Hamilton, Hamilton, Ontario, Canada, curated by Harm Lux and Shirley Madill, (catalogue)
“Premiere”, A Gavlak Projects Production, New York, New York

2002
“Visions from America,” Whitney Museum of American Art, New York, NY
“Extreme Existence,” Pratt (Chelsea gallery), New York, NY, curated by Klaus Ottmann
“Interior/Exterior,” Nicole Klagsbrun gallery, New York, NY
“2002 Whitney Biennial,” Whitney Museum of American Art, New York, NY (catalogue)
“L.A. On My Mind,” MOCA at the PDC, Los Angeles, CA
“Sudden Glory,” C.C.A.C., San Francisco, CA, curated by Ralph Rugoff

2001
“No Harm In Looking,” MCA, Chicago, IL
“(Tele)Visions,” Kunsthalle, Vienna, curated by Joshua Dector

2000
“Sprache Identitat Europa,” Stadtforum, Munich

1999
“Talk Show,” Von der Heydt-Museum, Wuppertal, Haus der Kunst, Munich (catalogue)
“Hello Mr. Soul,” Gallery 400, University of Illinois at Circle, Chicago IL

1997
“Next,” Blum & Poe, Santa Monica, CA
“Heaven,” P.S.1, Long Island City, New York, curated by Joshua Decter
“Fake Ecstasy With Me,” Museum of Contemporary Art, Chicago, IL

1996
“a/drift: scenes from the penetrable culture,” The Center for Curatorial Studies, Bard College, curated by Joshua Decter, (catalogue)
Friedrich Petzel Gallery, New York, NY
“Art in Chicago 1945-1995,” Museum of Contemporary Art, Chicago, IL (catalogue)

1995
“The End of the Avant-Garde—Art as a Service,” Kunsthalle der Hypo- Kulturstiftung, Münich, Germany
“Passions Privées,” ARC, Paris, France
“Strung into the Apollonian Dream... An exhibition of a private collection,” Feature, New York

1994
“Temporary Translation(s),” Deichtorhallen, Hamburg, Germany
“Notational Photography,” Metro Pictures and Petzel Borgmann Gallery, New York
“When Attitudes Become Form: Selections From a Contemporary New Jersey Collection,” Montclair Museum, New Jersey
“Radical Scavenger(s):the Conceptual Vernacular in American Art,” The Museum of Contemporary Art, Chicago, (catalogue)
“After and Before,” The Renaissance Society, Chicago
Donald Young Gallery, Seattle

1993
“The Language of Art,” Kunsthalle Vienna, Vienna, Austria, (catalogue)
“Backstage,” Kunstverein in Hamburg, Hamburg, Germany, Kunstmuseum, Luzern, Switzerland, (catalogue)
“Kontext Kunst,” Graz Kunstlerhaus and Neue Galerie am Landasmuseum Joanneum, Graz, Austria, curator: Peter Weibel, (catalogue)
Galleria Massimo de Carlo, Milan, Italy
“Aperto,” Venice Biennale, Venice, Italy, (catalogue)
“De la main a la tete, l’objet théorique,” Domaine de Kerguehennec, Lominé, France, curator: Denys Zacharopoulos
“Rules of Perception,” GLOBE, Copenhagen, Denmark

1992
“Génériques le visuel & l’écrit,” Hotel des arts, Paris, France
“Dirty Data,” Ludwig Forum, Aachen, Germany, (catalogue)
“Lying on top of a building the clouds seemed no nearer than when I was lying on the street,” Monika Sprüth Galerie, Köln, Germany
“Molteplici Culture,” Convento di S. Egidio, Rome, Italy
“Exhibit A,” Serpentine Gallery, London, England, curator: Henry Bond, (catalogue)
“The Last Days,” Salas del Arenal, Seville, Spain, curator: Jose Luis Brea, (calaogue)
Donald Young Gallery, Seattle, Wa.
Galerie Claire Burrus, Paris, France
Le Case d’Arte, Milan, Italy

1991
“Wealth of Nations,” Centre for Contemporary Art, Ujazdowski castle, Warsaw, Poland, curator: Cornelia Lauf, (catalogue)
“A Dialogue About Recent American and European Photography,” MOCA, Los Angeles (catalogue)
Fariba Hajamadi, Hirsch Perlman, James Welling, Richard Kuhlenschmidt
Gallery, Santa Monica, CA
Monika Sprüth Galerie, Köln, Germany
Video Library, Andrea Rosen Gallery, New York, NY

1990
“Word as Image: American Art 1960-1990,” Milwaukee Art Museum, Milwaukee, WI.,(catalogue)
“The Köln Show,” Monika Sprüth Galerie, Köln, Germany, (catalogue)
“The Photography of Invention: American Pictures of the 80’s,” The National Museum of American Art, Washington, D.C. The Museum of Contemporary Art, Chicago, Il., Walker Arts Center, Minneapolis, MN, curator: Joshua Smith, (catalogue)
“Play of the Unsayable; Wittgenstein and the Art of the 20th Century,” Wiener Secession, Vienna Austria, Palais de Beaux Arts, Brussels, Belgium, curator: Joseph Kosuth, (catalogue)
“Perspectives on Place; Attitudes Toward the Built Environment,” University Art Gallery, San Diego State University

1989
“1989 Biennial Exhibition,” Whitney Museum of American Art, N.Y. (ctlg)
“une autre affaire,” le consortium (Maison Fyot), Dijon, France, organized by Eric Colliard, Xavier Douroux, Franck Gautherot, Robert Nickas, Catherine Queloz
“Cinderella Rockefeller,” Feature, New York, NY
Galerie Claire Burrus, Paris France
“Mediated Knot,” Robbin Lockett Gallery, Chicago, Il., curator; Gaylen Gerber
“Retro Future,” Richard/Bennett Gallery, Los Angeles, CA
“Functionnonfunction,” Rezac Gallery, Chicago, Il
“Dorothy,” Center for Contemporary Art, Chicago, Il, curator: Hudson

1988
“The Goldstrom Family Collection: Contemporary Icons and Explorations,” Davenport Museum of Art, Davenport,IA (travelling), New York, NY
“Near Miss,” Feature, Chicago, Il
“Information as Ornament,” Feature and Rezac Gallery, Chicago, Il
Wolff Gallery

1987
“The Hallucination of Truth,” P.S. 1, Long Island City, NY,curators; Paul Laster and Rene Riccardo
“Photo Mannerisms, “Lawrence Oliver Gallery, Philadelphia, PA, curator: Klaus Ottman
“The Non-Spiritual in Art-Abstract Painting 1985-????,” Chicago Il, curator: Hudson, (catalogue)
“Anxious Objects ,” University of Illinois Gallery, Normal, Il. “Nature,” Feature, Chicago, Il
“Beyond the Image,” First Street Forum, St. Louis, MO, curator:James Schmidt
“Mitchell Kane/Hirsch Perlman, Collaborative Work,” Bates Gallery, Chicago,Il
“July,” Wolff Gallery, New York, NY
“Knew,” Feature, Chicago, Il
“Staging Recollection,” MoMing Art Gallery, Chicago, Il
“Signs of Intelligent Life,” Greathouse, New York, NY
Wolff Gallery, New York, NY
“New Photography,” Feature, Chicago, Il.

1986
“Dull Edge,” Randolph Street Gallery, Chicago, Il.(catalogue)
“Problems with Reading/Rereading,” Rhona Hoffman Gallery, Chicago, IL; curated by Jeanne Dunning and Hirsch Perlman
“Hirsch Perlman, Charles Ray,” Feature, Chicago, Il.
“Promises, Promises,” Feature, Chicago, Il

1985
“Outdoor Installations,” Randolph Street Gallery, Chicago, IL

One person exhibitions

2013
Hammer Contemporary Collection, Hirsch Perlman: A Layman’s Practical Guide to Interrogation Techniques and Practices

2007
Robert Miller Gallery, New York
Gallery MinMin, Tokyo, Japan
Gallery Nieves Fernandez, Madrid, Spain
Blum & Poe, Los Angeles

2006
Drammens Museum, Drammens, Norway
Saint-Gaudens Memorial Picture Gallery, Cornish, NH

2005
Gimpel Fils, London, UK
Gallery MinMin, Tokyo, Japan

2004
Blum & Poe, Los Angeles, CA

2002
Donald Young Gallery, Chicago, IL

2001
Blum & Poe, Santa Monica, CA

1997
Monika Sprüth Galerie, Köln, Germany

1996
“Projects 54,” The Museum of Modern Art, New York, NY

1995
Kunstraum, Vienna, Austria
Galerie Claire Burrus, Paris, France

1994
Monika Sprüth Galerie, Köln, Germany
Donald Young Gallery, Seattle, Wa.

1993
Galerie Claire Burrus, Paris, France

1992
Feature, New York, NY

1991
Monika Sprüth Galerie, Köln, Germany
Interim Art, London, England
Galerie Claire Burrus, Paris, France

1990
Donald Young Gallery, Chicago, Il.
Feature, New York, N.Y..
Galerie Hufkens, Brussels, Belgium
Halle Sud, Geneva, Switzerland
Shedhalle, Zurich, Switzerland,(catalogue)

1989
Feature, New York, N.Y..

1988
The Renaissance Society, Chicago, Il.,(catalogue)
Cable, New York, N.Y..
Galerie Claire Burrus, Paris, France
Hufkens/Noirhomme, Brussels, Belgium

1987
Cable, New York, N.Y.
Feature, Chicago, Il.

Grants

2005
Augustus Saint-Gaudens Memorial Fellowship

1991
National Endowment for the Arts Artists Fellowship

1991
Louis Comfort Tiffany Foundation Grant

1989
National Endowment for the Arts Artists Fellowship

Artist's Projects/Writings

Perlman, Hirsch, “Squash and Stretch,” Material, Issue #1, Jan.’08, p. 18-20

Perlman, Hirsch, “A Wastrel’s Progress and the Worm’s Retreat,” Art Journal, winter, 2005, pp 62-69, repros.

Perlman, Hirsch, project for Ante #4, The Oblivion Issue, fall’05,p. 31

Perlman, Hirsch, “Ten, a Number Between 9/11,” ArtUS, Jan. ‘04

Perlman, Hirsch, “Artists’ Symposia on Practical and Philosophical Gripes, Trials, Tyrannies and Ideals (S.P.P.G.T.T.I),” Museum of Contemporary Art, Los Angeles, “Artist + Public” program, ‘02

Perlman, Hirsch, “Finally, the Government is Doing Something to Help Me Save Money,” Issue #2, Art Center College of Design Publication, fall, 1998

Perlman, Hirsch, “A One-Slap Play,” Art Muscle, Winter, 1997

Perlman, Hirsch, Stills From a Complete Conversation, (Gent: Imschoot, uitgevers), 1996

Perlman, Hirsch, “Projects 54” brochure, The Museum of Modern Art, New York, New York, March 1996

Perlman, Hirsch, “EXHIBIT Z.1 (JUDICIAL),” Framework, vol. 5, issue 2 & 3, 1992, pp. 34-39

Dunning, Jeanne and Hirsch Perlman, “Getting to Know the Law or Making Things Mean What I Want Them to Mean or A Collection of Quotes I Like,” Dirty Data catalogue, Ludwig Museum, Aachen, Germany Dunning, Jeanne and Hirsch Perlman, “Introduction to the Relationship Between Art and Perversion,” DU, June 1991, p. 42-45

Perlman, Hirsch, “Contingency, Irony and Solidarity,” “Twelve Artists on the Year’s Books,” Artforum, December 1989, p.132

Dunning, Jeanne and Hirsch Perlman, (artist’s pages), Buzz Spector, editor, “Artists’ Writings: Twice-Told Tales,” Art Journal, Fall 1989, pp. 253-55

Selected Bibliography

Ollman, Leah, review, Stop.Move., Los Angeles Times, Dec. 9, 2010, pD20-D21
Simonson, Lily, Dark Undercurrents in the Hammer Contemporary Collection, Art21.org, September 23, 2010.
"Hammer Museum Presents its Next Invitational Exhibition Celebrating Los Angeles-based Artists", ARTDAILY.ORG, March 10, 2009, (repro)
Harvey, Doug. "Pehipheral Visions: Nine of L.A.’s Square Pegs get Hammered", LA WEEKLY, April 2, 2009
Taft, Catherine. "Hangar Ons", ARTFORUM.COM, January 30, 2009
Simonson, Lily, Looking at Los Angeles: Westward Expansion, Art21.org, October 15, 2009.
Avgikos, Jan, review, Artforum, Jan. ’08, p.278 (repro)
Baker, Kenneth, “A Bunch of Amateurs,” San Francisco Chronicle, section E, p.11, May 24, ’08, (repro)
Cotter, Holland, review, New York Times, Nov. 23, ’07, P. B32
Review, The New Yorker, Nov. 12, ‘07
White, Roger, review, Time Out New York, Issue 633, (repro)
Knight, Christopher, review, Los Angeles Times, June 15, ‘07, p. E24-25
Buckley, Annie, review, artforum.com, July ’07
Scott, Andrea. Kevin Landers, Photographs 1990-2007, Time Out New York. May 3, 2007
Chen, Weimei, “Foreign Report,” Art Gallery Magazine, vol.113/#4, pp. 18-32 (repros.)
“The Artist Portfolio: The Other Left Bank,” Interview, p.176, Sept.,’06
Herbert, Martin, review, TimeOut: London, Nov. 14 ’05, (repro.)
Cutter, Kimberley, “A Tale of Two Cities,” Sunday Telegraph Magazine, June 29, ’05, pp. 22-25, (repro.)
Thornton, Sarah, “What do artists learn in art school?” ArtReview, April ’05, p.114
Fanton, Jonathan, “Art, Civic Life, and Public Discourse,” keynote address, annual meeting of the Illinois Arts Alliance, July 20,’04
Miles, Christopher, review, Artforum Magazine, May ’04, p.217 (repro.)
Pagel, David, review, Los Angeles Times, Calender section, March 12, ‘04 p. E16-E17, (repro.)
Smith, Roberta, “In the Galleries,” New York Times, July 18, p. B29,‘03
Weissman, Benjamin, “Hirsch Perlman Saved From Avalanche,” Frieze Magazine, April ‘03, pp 74-79, (repros)
Burton, Johanna. Rachel Harrison, Hirsch Perlman, Dieter Rother, Jack Smith, Rebecca Warren, Time Out New York, 7-14 8/03.
Cooper, Bernard, “Speak, Memory”, Los Angeles Magazine, Nov., ‘02, p. 138-40, (repro.)
Grabner, Michelle. Hirsch Perlman at Donald Young Gallery, New Art Examiner, 2002.
Camper, Fred, review, Chicago Reader, March 8, ‘02, p.26, (repro.)
Cotter, Holland, “Spirirual America From Ecstatic to Transcendent,” New York Times,March 8, ‘02
Plagens, Peter, Newsweek, March 4, ‘02, p. 56, (repro.)
Artner, Alan, review, Chicago Tribune, Feb.1, ‘02, p. (repro.)
Knight, Christopher, “Year in Review,” Los Angeles Times, Calendar section, Dec. 23, ‘01
Iannaccone, Carmine, review, Art Issues, Sept.-Oct., 2001, p.52,(repro)
Pagel, David, review, Los Angeles Times, April 13, 2001, p. F28, (repro.)
Peter, Frank, “Pick of the Week,” LA Weekly, April 13-19, 2001, p.179, (repro.)
Larsen, Lars Bang, review of Lars Mathisen, Frieze, summer issue, 2000
Hapgood, Susan, review, Art in America, Jan., 1997, p. (repro.)
Killiam, Brad, review, Sculpture, Dec., 1996, p. 57-58, (repro.)
Greene, David A., review, Frieze, Oct., 1996, p.80-81, (repro.)
Scanlan, Joe, “Let’s Play Prisoners,” Frieze, Oct., 1996, p.61-67, (repro.)
Kravagna, Christian, review, Artforum, May, 1996, p. 111-112, (repro.)
Pumhösl, Florian, review, Springer, issue #5, p.72
Hackett, Regina, review, Seattle Post-Intelligencer, 25 November, ‘94,
“What’s Happening” section, p. 20, (repro.)
Palmer, Laurie, “Repeat After Me,” Frieze, June/July/August, 1994, pp. 26-27, (repro.)
Camper, Fred, “Minute Art,” Chicago Reader, March 25, 1994, Section 1, p. 32-33
Artner, Alan, “A Glimpse into the Future,” Chicago Tribune, 13
February, ‘94, Arts section, p. 16, (repro)
Miller, John, review, Texte zur Kunst, March 1993, pp. 127-128, (repro.)
Nesbitt, Lois, review, Artforum, January, 1993, p. 87, (repro.)
Bush, Kate, “Exhibit ‘A’,” Art Monthly, May 1992, p. 15-16, (repro.)
Weil, Benjamin, “Hirsch Perlman; Surveying Social Organizations of Fiction or Mirroring the Viewing Experience, “Exhibit A” exhibition catalogue, Serpentine Gallery, London, England Lebrero Stals, Jose, review, Flash Art, Jan./Feb. 1992, p. 136, (repro.)
von Drathen, Doris, “Hirsch Perlman; Ästhetik des Fehlers,” Kunstforum, Sept./Oct. 1991, pp. 276-289, (repros.)
Hixson, Kathryn, “Hirsch Perlman,” (interview), Flash Art, May/June 1991, pp. 114-116, (repro.)
Sherlock, Maureen P., review, Arts Magazine, April 1991, p. 85 (repro.)
Stevens, Mitchell, review, New Art Examiner, April 1991, p.32
Vogel, Sabine B., review, Artforum, February 1991, p. 125-126, (repro.)
Hapgood, Susan, review, Art In America, January 1991, (repro.)
Stals, Jose Lebrero, “The Koln Show: A Capital Accumulation of Young Galleries,” Flash Art, Oct. 1990, pp. 148-149
Reust, Hans Rudolph, review, Artscibe, Summer 1990, pp. 87-88
Ursprung, Philip, review, NIKE, May/June 1990, p 46
Boller, G., review, Art Press, May 1990, p.90, (repro.)
Hixson, Kathryn, “Chicago in Review,” Arts Magazine, April 1990, pp. 113-114, (repro.)
“Exposition Pascal Convert-Hirsch Perlman,” (review), Grandes Lignes, April 1990
Brou, Francoise-Helene, “Convert et Perlman,” Scenes Magazine, April 1990
“Pascal Convert et Hirsch Perlman,” (review), Le Courrier, 14 April, 1990
“Pascal Convert/Hirsch Perlman,” (review), La Tribune de Geneve, 31 March, 1990
Hixson, Kathryn, “Hirsch Perlman,” Forum International, March/April 1990, pp. 51-53, (repro.)
Leucking, Stephen, “Functiononfunction,” (review), New Art Examiner, January 1990, p. 39
Yood, James, review, New Art Examiner, January 1989, p. 46
Paini, D., review, Art Press, January 1989, p. 80, (repro.)
Hixson, Kathryn, “Hirsch Perlman,” Arts Magazine, January 1989, p. 86, (repro.)
McCracken, David, “When Words Collide With Photos, Buildings,” Chicago Tribune, October 21, 1988, section 7, p.66, (repro.)
Scanlan, Joe, “Staging Recollection,” Dialogue, Summer 1988, pp.40-41
Melville, Stephen, “Details,” Hirsch Perlman catalogue, Renaissance Society, Chicago Il.
Kirshner, Judith Russi, “The Benefit of Doubt, or Loving Modernism to Death,” Artforum, November 1988, pp. 106-111
Hixson, Kathryn, “Cool, Conceptual, Controversial,” New Art Examiner, May 1987, pp. 30-33. (repro.)
Bonesteel, Michael, “Medium Cool: New Chicago Abstraction,” Art in America, December 1987, pp. 137-39
Hixson, Kathryn, “Kane/Perlman Interview,” P-Form, Nov./Dec., 1987, p.7
Leigh, Christian, “Summer Show/Wolff,” Artscribe, Nov./Dec. 1987, pp. 76-77
Sozanski, E., “On Galleries (PhotoMannerisms),” The Philadelphia Enquirer October 29, 1987, p. 55
Schultz, J.,”Post-modernism: A Spectacle of Reflexivity,” New Art Examiner, June 1987, p. 55
Bulka, Michael, review, New Art Examiner, June 1987, p. 45, (repro.)
Artner, Alan, “Catalogue is Best Part Of Non-Spiritual,” Chicago Tribune, June 11, 1987, section 5, p.11
Degener, P., “Photography and Beyond: Exhibits Enrich the Picture,” St Louis Post-Dispatch, June 7, 1987, p. 3-d
Lisbet, N., “Chicago’s Art Explosion,” Artnews, May 1987, pp. 110-119
Artner, Alan, “Two Artists Express Attitudes of Superiority,” Chicago Tribune, April 10, 1987, section 7, p. 52, (repro.)
McCracken, David, “Artists Start Drawing Upon Appropriation,” Chicago Tribune, December 26, 1986, section 7, p. 39 (repro.)

Public Collections

Whitney Museum of American Art
Hammer Museum, Los Angeles
Museum of Contemporary Art, Los Angeles
Los Angeles County Museum of Art
Museum of Contemporary Art, Chicago
Art Institute of Chicago
Seattle Art Museum
Art, Design & Architecture Museum, Santa Barbara
Maria Fareri Children’s Hospital
Cleveland Clinic Children’s Hospital