“Appearing Asymptomatic: Scott Burton’s Public Art and the Knowledge of AIDS,” American Art 39, no. 3 (Fall 2025): 54–83.
“Public Affections: The Figurative Revelation of Scott Burton’s Late Work,” in Scott Burton: Shape Shift, exh. cat. (St. Louis: Pulitzer Arts Foundation, forthcoming September 2025), 27–37.
“Marisol’s Accessories and Sculpture’s Genders in the 1960s,” in Lærke Rydal Jørgensen and Kirsten Degel, eds., Marisol, exh. cat. (Humlebæk, Denmark: Louisiana Museum of Art, 2025), 66–73.
“Scott Burton,” and “Agosto Machado” artist pages, Museum of Modern Art, New York, online catalogue (2026 and 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.
"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.
“Scott Burton’s Public Sculptures” [excerpt from conclusion to Queer Behavior: Scott Burton and Performance Art], Burlington Contemporary (3 May 2023)
“Introduction: Scott Burton’s Queer Postminimalism,” Queer Behavior: Scott Burton and Performance Art (Chicago: University of Chicago Press, 2022), 1-41.
“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.
“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.
"Queer Figurations in the Sculpture of Elmgreen & Dragset," in Leigh Arnold, ed., Elmgreen & Dragset: Sculpture (Dallas: Nasher Sculpture Center, 2019), 154-94.
"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
"A Sight to Withhold: David J. Getsy on Cassils," Artforum (February 2018): 57-60.
"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.
“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.
“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)
“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.
"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.
Introduction to Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010)
“Rodin’s Performative Mark-making,” excerpt from Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 73-100.
"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).
“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 chapter 1 of Rodin: Sex and the Making of Modern Sculpture.
“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).
"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.
"'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.
Introduction to Body Doubles: Sculpture in Britain, 1877-1905 (New Haven and London: Yale University Press, 2004)
"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.
"'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.