Essays on individual contemporary artists

“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.

“Where There’s Smoke: Enduring Inhabitations in Alex Da Corte’s Rubber Pencil Devil,” in Mia Matthias, ed., Alex Da Corte (Potomac, MD: Glenstone Museum, 2025), 277–83.

“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.

"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)

“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.

“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.

“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.

"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 

“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.

"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. 

"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.

"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)

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

"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.

"William J. O'Brien: Making Faces," in William J. O'Brien: Ceramic Heads (Los Angeles: Wood Kusaka Studios, 2014), n.p.

"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.

"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).

"Holding at Bay: Doug Ischar's Marginal Waters," Doug Ischar: Marginal Waters, exh. cat. (Chicago: GOLDEN Gallery, 2009). 

"Mourning, Yearning, Cruising: Ernesto Pujol's Memorial Gestures," PAJ: A Journal of Performance and Art 90 (September 2008): 11-24.