Writings on 20th-century art and artists

"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.

“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.

“The Spectacle of Privacy: Geoffrey Hendricks’s Ring Piece and the Ambivalence of Queer Visibility,” The Art Bulletin 104.3 (September 2022): 117-45.

“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.

“Outing Queer Fluxus: Geoffrey Hendricks in Conversation with David J. Getsy,” PAJ: A Journal of Performance and Art 127 (January 2021): 95-106.

“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.  

"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.

"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.

"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). 

"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.

"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.

“Second Skins: The Unbound Genders of Nancy Grossman’s Sculpture” from Abstract Bodies.

Introduction to Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (New Haven and London: Yale University Press, 2015)

"Acts of Stillness: Statues, Performativity, and Passive Resistance," Criticism 56.1 (2014):1-20.

"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.

"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.

"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). 

“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.

"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.

“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.