"Lynda Benglis: Forms of Entanglement," in Francesca Rebecchi, ed., Lynda Benglis and Properzia de’ Rossi, exh. cat., Museo d'Arte Moderna di Bologna (Milan: Silvana Editoriale, 2024), 68–83.
“The Hole is a Center: Angelo Madsen Minax in Conversation with David J. Getsy,” Pioneer Works Broadcast (11 April 2024).
“Cassils, PISSED (2017)” in Transgender Hirstory in 99 Objects, ed. David Evans Frantz, Chris E. Vargas, and Christina Linden (Munich: Hirmer Publishers, 2023), 254-55.
“Waking Dreams: Colette’s Performance Art,” Pioneer Works Broadcast (10 October 2023).
“Scott Burton’s Public Sculptures” [excerpt from conclusion to Queer Behavior: Scott Burton and Performance Art], Burlington Contemporary (3 May 2023)
“Queer Possibilities: Lesbian Feminist Abstract Painting in the 1970s and After,” in Katy Siegel and Mark Godfrey, eds., Making Their Mark: Art by Women in the Shah Garg Collection (New York: Gregory R. Miller & Co, 2023), 70-79.
“Thresholds: Ever Baldwin’s Paintings,” in Devon Zimmerman, ed., Ever Baldwin: Down the Line, exh. cat (Ogunquit, Maine: Ogunquit Museum of Art, 2023), 12-21.
“Partiality and Passion: Andrew Atchison’s Quotational Abstraction,” broadside accompanying the exhibition Statements: Andrew Atchison (Melbourne: LON Gallery, 2023)
“The Spectacle of Privacy: Geoffrey Hendricks’s Ring Piece and the Ambivalence of Queer Visibility,” The Art Bulletin 104.3 (September 2022): 117-45.
“How to Teach Manet’s Olympia after Transgender Studies,” Art History 45.2 (April 2022): 342-69.
“Bricks and Jails: On Martin Wong’s Queer Fantasies,” in Krist Gruijthuijsen and Agustin Pérez Rubio, Martin Wong—Malicious Mischief, exh. cat., KW Institute for Contemporary Art, Berlin (Berlin: Verlag der Buchhandlung Walther und Franz König, 2022), 178-98.
(co-authored with Che Gossett) “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal 80.4 (Winter 2021): 100–115. Winner of the College Art Association’s Award for Distinction for best article published in Art Journal in 2021.
Eponymous autobiographical statement in Yasmeen Siddiqui and Alpesh Patel, eds., Storytellers of Art Histories (Bristol and Chicago: Intellect Books, 2022), 75-79.
“Ceaseless,” a response to a forum of twelve scholars and critics responding to my text on “Refusing Ambiguity” (published in 2019 as one of my “Ten Queer Theses on Abstraction”), On_Culture: The Open Journal for the Study of Culture 12 (2021).
“Outing Queer Fluxus: Geoffrey Hendricks in Conversation with David J. Getsy,” PAJ: A Journal of Performance and Art 127 (January 2021): 95-106.
“The Materiality and Mythology of Rodin’s Touch,” in Auguste Rodin: Displacements (Copenhagen: Ny Carlsberg Glyptoteket, 2021), 42-62. Adapted excerpt of chapter two of Rodin: Sex and the Making of Modern Sculpture.
“Shim (The Number of Inches Between Them), 2020,” in Gordon Hall with Mira Dayal, Circling the Square: Words from End of Day, exh. cat. (New York: Hesse Flatow, 2021), n.p.
“Multiple Exposures: Sean Fader’s #wishingpelt and Humor in Social Media Performance,” ASAP/Journal 5.3 (September 2020): 515-20.
“Viewfinder: Sean Fader and Queer Visibility in the Age of the Digital Photograph,” in Sean Fader: Thirst/Trap, exh. cat. (New York: Denny Dimin Gallery, 2020), 7-23.
"Ten Queer Theses on Abstraction," in Jared Ledesma, ed., Queer Abstraction (Des Moines: Des Moines Art Center, 2019), 65-75.
"Scott Burton, Two-Part Chair, 1986," in Jonathan Weinberg et al., eds., Art after Stonewall, 1969-1989, exh. cat. (Columbus: Columbus Museum of Art, 2019), 132-33.
"Queer Figurations in the Sculpture of Elmgreen & Dragset," in Leigh Arnold, ed., Elmgreen & Dragset: Sculpture (Dallas: Nasher Sculpture Center, 2019), 154-94.
“Intimacy, Unknowing, and Discovery: David Getsy in Conversation with Christina Quarles,” in Andrew Bonacina, ed., Christina Quarles, exh. cat. (Wakefield: Hepworth Wakefield, 2019), 31-40.
“Lynda Benglis, Untitled (Beyond Barnett Newman), 1966-67,” in Matthew S. Witkovsky, ed., Material Meanings: Selections from the Constance R. Caplan Collection, exh. cat. (Chicago: Art Institute of Chicago, 2020), 38-41.
"Honcho," in Amelia Jones and Andy Campbell, eds., Queer Communion: Ron Athey (Bristol: Intellect Books, 2019), 330-32.
“Slow Bonds and the Intimacy of Objects: A Conversation between Gordon Hall and David J. Getsy” in Gordon Hall, 'The Number of Inches Between Them,' exh. cat, MIT List Visual Arts Center (Gordon Hall, 2019), 67-89. [Also republished in Gordon Hall, 'OVER-BELIEFS: Collected Writing, 2011–2018' (Portland, Oregon: Portland Institute for Contemporary Art, 2019), 44-49]
"Here You Come Again: Repetition and Fidelity in Erik Hanson's Bluto Paintings, A Conversation between Ramzi Fawaz and David Getsy," in Erik Hanson: Two Years of Bluto, exh. cat. (New York: Marlborough Gallery, 2019)
"Tearing Off the Labels: David J. Getsy and Yan Xing in Conversation," in Michelle Grabner, ed., An American City, Eleven Cultural Exercises: Cleveland Triennial for Contemporary Art, exh. cat, vol. 2 of 2 (Cleveland: FRONT/Cleveland Museum of Art, 2018), 21-24.
"Stephen Varble's Xerographic Dreams," in Stephen Varble: An Antidote to Nature's Ruin on this Heavenly Globe, Prints and Video from the Early 1980s, exh. cat., curated by David J. Getsy (Lexington, Kentucky: Institute 193, 2018), 3-28.
"A Sight to Withhold: David J. Getsy on Cassils," Artforum (February 2018): 57-60.
"Abstract Bodies and Otherwise: A Conversation with Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History," CAAreviews (posted 16 February 2018).
Response to Alexander Nemerov's "Art is not the Archive," Archives of American Art Journal 57.2 (Fall 2018): 71-72.
"Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble" in The Archive [of the Leslie-Lohman Museum of Gay and Lesbian Art] no.62 (Winter 2017), 3-7.
"Queer Relations," in ASAP/Journal 2.2; special issue on "Queer Form," eds. Kadji Amin, Amber Jamilla Musser, and Roy Pérez (May 2017): 254-57.
"Slava Mogutin, Infiltrator," in Slava Mogutin, Bros & Brosephines (Brooklyn: powerHouse Books, 2017), 88-95.
"Jared Buckhiester: Love Me Tender," in ASAP/J: The Open-Access Platform of ASAP/Journal. Posted 28 September 2017.
“Oltre il muro. Corpo, gender, sessualità e arte. Parla David J. Getsy di Camilla Boemio,” Exibart.com (29 March 2017). [English translation available as PDF: “Off the Wall, Beyond the Wall: Body, Gender, Sexuality, and Art. David J. Getsy in conversation with Camilla Boemio”]
"Refusing Ambiguity," in Carlos Motta, John Arthur Peetz, and Carlos Maria Romero, eds., The SPIT! Manifesto Reader (London: Frieze Projects, 2017), 61-62. Revised as part of “Ten Queer Theses on Abstraction” (2019)
“Queer Intolerability and its Attachments,” introduction to Queer (Cambridge: MIT Press, 2016)
"Seeing Commitments: Jonah Groeneboer's Ethics of Discernment," in Temporary Art Review(8 March 2016). [online]
"Generativity: On Michelle Grabner's Recent Sculpture," in Michelle Grabner: Bronze (New York: James Cohan Gallery, 2016), 4-10.
"Histories for the Future: Visionary Identification in the Work of Carlos Motta," in Carlos Motta: Deviations, exh. cat. (New York: P.P.O.W. Gallery, April 2016).
"Behind and Through: Promiscuous Abstractions in Andrew Holmquist's Recent Figurative Paintings," in Stage Left: Andrew Holmquist (Chicago: Carrie Secrist Gallery, 2016)
"Exalting the Unremarkable: Van Gogh's Poet's Garden and Gauguin's Bedroom" in Gloria Groom, ed., Van Gogh's Bedrooms, exh. cat., Art Institute of Chicago (New Haven and London: Yale University Press, 2016), 36-49.
“Towards a Practicable Sculpture,” afterword to an annotated reprint of Edmund Gosse, The Place of Sculpture in Daily Life, ed. Martina Droth (Chicago: Soberscove Press, 2016), 81-86.
"Appearing Differently: Abstraction's Transgender and Queer Capacities," interview by William Simmons, in C. Erharter, D. Schwärzler, R. Sicar, and H. Scheirl, eds., Pink Labor on Golden Streets: Queer Art Practices (Berlin: Sternberg Press, 2015), 38-55.
"The Image of Becoming: Cassils's Allegories of Transformation," Cassils, exh. cat. (Eindhoven: MU Eindhoven, 2015), 10-22.
"Catherine Opie, Portraiture, and the Decoy of the Iconographic," in Confronting the Abject, William & Stephanie Sick Distinguished Professorship Monograph Series, no. 3: Catherine Opie (Chicago: School of the Art Institute of Chicago, 2015), 15-37.
"Laying it Down: Heroic Reclining Men and Other Tactical Inversions," in Eugenie Tsai and Rujeko Hockley, eds., Kehinde Wiley: A New Republic, exh. cat. (Brooklyn: Brooklyn Museum of Art, 2015), 94-99.
Introduction to Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (New Haven and London: Yale University Press, 2015)
“Abstraction and the Unforeclosed” [conclusion to Abstract Bodies, re: Cassils’s Becoming an Image, transgender capacity, and contemporary abstraction]
"Acts of Stillness: Statues, Performativity, and Passive Resistance," Criticism 56.1 (2014):1-20.
"Capacity," in "Postposttransexual: Key Concepts for a Twenty-First-Century Transgender Studies," special issue of TSQ: Transgender Studies Quarterly 1.1-2 (May 2014): 47-49.
"William J. O'Brien: Making Faces," in William J. O'Brien: Ceramic Heads (Los Angeles: Wood Kusaka Studios, 2014), n.p.
"Sculpture since 1960," in Michael Kelly, ed., The Encyclopedia of Aesthetics, second edition (Oxford: Oxford University Press, 2014), vol.5, pp.529-34.
"Queer Formalisms: Jennifer Doyle and David Getsy in Conversation," Art Journal 72.4 (Winter 2013): 58-71.
"Queer Exercises: Amber Hawk Swanson's Performances of Self-Realization," GLQ 19.4 (Fall 2013): 465-85.
"Preposterous Parts: Nancy Grossman's Relief Assemblages, 1965-67," in Ian Berry, ed.,Nancy Grossman: Tough Life Diary, exh. cat. (Munich: Prestel Verlag/Delmonico and Saratoga Springs: Tang Museum at Skidmore College, 2012), 52-65.
"The Primacy of Sensibility: Scott Burton Writing on Art and Performance," in Scott Burton: Collected Writings on Art and Performance, 1965-1975, ed. David Getsy (Chicago: Soberscove Press, 2012), 1-32.
"John Chamberlain's Pliability: The New Monumental Aluminium Works," The Burlington Magazine 153.1304 (November 2011): 738-44.
"Playing in the Sand with Picasso: Relief Sculpture as Game in the Summer of 1930," in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, ed. David Getsy (University Park: Pennsylvania State University Press, 2011), 80-93.
"Immoderate Couplings: Transformations and Genders in John Chamberlain's Work," in It's All in the Fit: The Work of John Chamberlain, ed. David Tompkins (Marfa, Texas: The Chinati Foundation, 2009), 166-211. Revised in Abstract Bodies (2015).
"Pedagogy, Art, and the Rules of the Game," in Learning Mind: Experience into Art, ed. Jacquelynn Baas and Mary Jane Jacob (Berkeley: University of California Press, 2009), 125-35.
"Holding at Bay: Doug Ischar's Marginal Waters," Doug Ischar: Marginal Waters, exh. cat. (Chicago: GOLDEN Gallery, 2009).
“Rodin et Michel-Ange: réflexion sur l’érotisme des dessins de Rodin d’après les figures pour la chapelle des Médicis”, trans. Jeanne Bouniort, Revue de l’Art162 (December 2008): 59-69. Revised as “Michelangelo and Rodin’s Desires” in Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 29-57.
“Tactility or Opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on the Art of Sculpture, 1956,” Sculpture Journal 17, no. 2 (December 2008): 73-86. Reprinted in Anglo-American Exchange in Postwar Sculpture, 1945-75 (Santa Monica, CA: J. Paul Getty Museum Online Publications, 2011).
"Mourning, Yearning, Cruising: Ernesto Pujol's Memorial Gestures," PAJ: A Journal of Performance and Art 90 (September 2008): 11-24.
"Give and Take: Henri Gaudier-Brzeska's Coffer for Wilfrid Scawen Blunt and Ezra Pound's Homosocial Modernism in 1914" Sculpture Journal 16.2 (Fall 2007): 39-51.
"Fallen Women: The Gender of Horizontality and the Abandonment of the Pedestal by Giacometti and Epstein," in Display and Displacement: Sculpture and the Pedestal from Renaissance to Post-Modern, ed. Alexandra Gerstein (London: Courtauld Institute of Art Research Forum and Paul Holberton Publishing, 2007), 114-29.
"Recognizing the Homoerotic: The Uses of Intersubjectivity in John Addington Symonds's 1887 Essays on Art," Visual Culture in Britain 8.1 (Spring 2007): 37-57.
"'Her invitation and her contempt': Bertram Mackennal and the Sculptural femme fatale in the 1890s," in Bertram Mackennal, exh. cat., ed. Deborah Edwards (Sydney: Art Gallery of New South Wales, 2007), 96-103, 206-7.
"The Problem of Realism in Hamo Thornycroft's 1885 Royal Academy Lecture" [including annotated edition of 1885 Thornycroft manuscript], The Walpole Society 69 (2007): 211-25.
"Privileging the Object of Sculpture: Actuality and Harry Bates's Pandora of 1890," Art History 28.1 (February 2005): 74-95.
"Punks and Professionals: The Identity of the Sculptor 1900-1925," in Sculpture in 20th-Century Britain: Identity, Infrastructures, Aesthetics, Display, Reception, ed. Penelope Curtis et al., vol. 1 of 2 (Leeds: Henry Moore Institute, 2003), 9-20.
"Encountering the Male Nude at the Origins of Modern Sculpture. Rodin, Leighton, Hildebrand, and the Negotiation of Physicality and Temporality," in The Enduring Instant: Time and the Spectator in the Visual Arts, ed. Antoinette Roesler-Friedenthal and Johannes Nathan (Berlin: Gebr. Mann Verlag, 2003), 296-313.
“The Reconstruction of the Francis Bacon Studio in Dublin,” Documents 22 (Fall 2002): 65-69; republished in Mary Jane Jacob and Michelle Grabner, eds., The Studio Reader: On the Space of Artists (Chicago: University of Chicago Press, 2010), 99-103.
"'Hard Realism': The Thanatic Corporeality of Edward Onslow Ford’s Shelley Memorial," Visual Culture in Britain 3.1 (April 2002): 53-76. Revised in Getsy, Body Doubles, 2004.
"The Difficult Labour of Hamo Thornycroft’s Mower, 1884," Sculpture Journal 7 (April 2002): 44-57.
“Leather Archives and Museum,” Journal of Gay, Lesbian, and Bisexual Identity / International Journal of Sexuality and Gender Studies 3.1 (1998): 69-73.
“Constant Companions: Exemplarity and Identification in Griselda Pollock’s Employment of Mary Cassatt’s At the Opera,” Chicago Art Journal 7.1 (Spring 1997): 4-14.