The Devices of Mona Hatoum,” in Michelle White, et al., Mona Hatoum: Terra Infirma, ex. cat., Houston: The Menil Collection (with Yale University Press), 2018, 46-63

Georgia O’Keeffe’s Inter/Nationalism,” in Chad Alligood, et al., The Beyond: Georgia O’Keeffe and Contemporary Art, ex. cat., Bentonville, Arkansas: Crystal Bridges Museum of American Art, 2018, 22-31

Frankenthaler’s Fortunes: On Class Privilege and the Artist’s Reception,” Woman’s Art Journal 37, no.1 (spring/summer 2016), 29-36

Grave Matters: Positioning Carl Andre at Career’s End,” Art Journal 73, no. 4 (winter 2014): 5-21 Winner of the College Art Association prize for best contribution to Art Journal in 2014

Lynda Benglis: ‘Everything Flows’,” in Lynda Benglis, ex. cat., Philadelphia: Locks Gallery, 2013

Feminism, Identity, and Self-Representation: Self-Portraiture Re-imagined,” in Robert Cozzolino, ed., The Female Gaze: The Linda Lee Alter Collection, ex. cat., Philadelphia: Pennsylvania Academy of Fine Arts, 2012, 76-83

Statement in M/E/A/N/I/N/G Online #5, 25th anniversary edition (2011) Art and Public Trauma. For entire volume, see:

My Asian Students,” in Eunhee Yang, ed., Experiences: Asian Women in Global Culture, Incheon (Korea): Incheon Women Artists’ Biennale Organizing Committee, 2011, 30-33

Brancusi’s Masquerade: Social Standing, Self-Image, and Photographic Im/Posture,” in Constantin Brancusi: Masterpieces from Romanian Museums, ex. cat. (rev. ed.), New York: Gagosian Gallery, 2011

Pat Steir’s Flow,” in Pat Steir, ex. cat, Philadelphia: Locks Gallery, 2011

The Guerrilla Girls’ Reckoning” Art Journal 70, no. 2 (summer 2011): 102-11
Reply to Letter to the Editor regarding “The Guerrilla Girls’ Reckoning,” Art Journal 70, no. 3 (fall 2011): 113

Review of Elissa Auther, String Felt Thread: The Hierarchy of Art and Craft in American Art, 2010, in Signs: Journal of Women in Culture and Society 36:3 (spring 2011): 762-64

Sculpture, Gender, and the Value of Labor,” American Art 24, no.1 (spring 2010): 26-30

Is this good for Vulva?’: Female Genitalia in Contemporary Art,” in Francis M. Naumann and Anna C. Chave, The Visible Vagina, ex. cat., New York: Francis M. Naumann Fine Art, 2010 rpt. in Portuguese in a special edition of Curriculo sem Fronteiras (Brazil), a digital magazine

I Object’: Hannah Wilke’s Feminism,” Art in America, March 2009, 104-109+

Revaluing Minimalism: Patronage, Aura, and Place,” Art Bulletin 90, no. 3 (September 2008): 466-86; rpt. (abridged) in Titia Hulst, ed., The History of the Western Art Market: A Sourcebook of Writings on Artists, Collectors, Dealers, and the Market for Art, Berkeley: University of California Press, 2017

Dis/Cover/ing the Quilts of Gee’s Bend, Alabama,” The Journal of Modern Craft (Victoria and Albert Museum, London) 1, no. 2 (July 2008): 221-54

Framing Imagery: At the Intersection of Geometry and the Social,” in Robert Cozzolino, Marshall N. Price, and M. Melissa Wolfe, George Tooker, ex. cat., Columbus, Ohio: Columbus Museum of Art, 2008, 70-81

Figuring the Origins of the Modern at the Fin de Siècle: The Trope of the Pathetic Male,” in Making Art History, ed. Elizabeth Mansfield, London: Routledge, 2007, 207-21

Outlaws: Women, Abstraction, and Painting in New York, 1965-1975,” in High Times, Hard Times: New York Painting 1967-75, ed. Katy Siegel, ex. cat., New York: D.A.P., 2006

‘Normal Ills’: On Embodiment, Victimization, and the Origins of Feminist Art,” in Trauma and Visuality in Modernity, ed. Eric Rosenberg and Lisa Saltzman, Hanover, NH: University Press of New England, 2006, 132-57

l’Art de Louise Bourgeois: Fillette et les Evénements de 1968” [“Bourgeois Art: Fillette and the Events of 1968″ (in English)] , trans. Nicole Jaborska, Ligeia: Dossiers Sur l’Art 57-60 (Jan.-Juin 2005): 213-20 (special issue: Brancusi et la Sculpture)

Agnes Martin: On and Off the Grid, Ann Arbor: University of Michigan Museum of Art, 2004 (booklet, 6 pp.)

Statement, in Gloria: Another Look at Feminist Art of the 1970s, ed. Lauren Ross with Ingrid Schaffner and Catherine Morris, ex. cat., New York: White Columns, 2002, 10

Noguchi and Brancusi: ‘Towards a Larger Definition of Sculpture’,” Isamu Noguchi: Sculptural Design, ed. Alexander von Vegesack, Katarina V. Posch, Jochen Eisenbrand, ex. cat., Weil am Rhein, Germany: Vitra Design Museum, 2001, 27-65; further editions translated into German, Japanese, Spanish and Dutch

“Book”: review of James Meyer, Minimalism: Art and Polemics in the Sixties, Tate: The Art Magazine 6 (autumn 2001): 71-73

Minimalism and Biography,” Art Bulletin 82, no.1 (March 2000): 149-63; rpt. (abridged) in Reclaiming Female Agency: Feminist Art History After Postmodernism, ed. Norma Broude and Mary D. Garrard, Berkeley: University of California Press, 2005

Princess X/Prince’s Sex: le dimorphisme sexuel dans la sculpture de Brancusi,” trans. Marielle Tabart and Doina Lemny, in Princesse X, ed. Tabart, Paris: Editions du Centre Georges Pompidou, Les Carnets de l’Atelier Brancusi, 1999; rpt. in Romanian in Les Carnets de l’Atelier Brancusi, ed. le Centre Pompidou, Bucarest: Editura Est, 2001

Striking Poses: The Absurdist Theatrics of Eva Hesse,” in Sculpture and Photography: Envisioning the Third Dimension, ed. Geraldine A. Johnson, New York: Cambridge University Press, 1998, 166-80

Washington and New York: Mark Rothko,” exhibition review, Burlington Magazine 140, no. 1147 (October 1998): 712-14

Disorderly Order: The Art of Valerie Jaudon,” in Valerie Jaudon, ed. René Paul Barilleaux, ex. cat., Jackson: Mississippi Museum of Art, 1996, 9-47

Letter to the Editor, October 71 (winter 1995): 146-48

New Encounters with Les Demoiselles d’Avignon: Gender, Race, and the Origins of Cubism,” Art Bulletin 76, no. 4 (December 1994): 597-611; rpt. in Race-ing Art History, ed. Kymberly N. Pinder, New York: Routledge, 2002; rpt. (abridged) in Reclaiming Female Agency: Feminist Art History After Postmodernism, ed. Norma Broude and Mary D. Garrard, Berkeley: University of California Press, 2005

O’Keeffe’s Body of Art,” in Of, For, and By Georgia O’Keeffe, ex. cat., Stamford, Conn.: Whitney Museum of American Art, 1994 (booklet, 7 pp.)

Pollock and Krasner: Script and Postscript,” Res 24 (autumn 1993): 95-111; rpt. in Jackson Pollock: Interviews, Articles, and Reviews, 1943-1993, ed. Pepe Karmel, New York: Museum of Modern Art, 1999; rpt. in German in Abstrakter Expressionismus: Konstruktionen aesthetischer Erfahrung, ed. Roger M. Buergel, Vera Kockot, Dresden: Verlag der Kunst, 2000; rpt. in Pollock and After: The Critical Debate, ed. Francis Frascina, 2nd ed., London: Routledge, 2000

Constantin Brancusi: Shifting the Bases of Art, New Haven: Yale UP, 1993, 335 pp.

Agnes Martin: ‘Humility, the beautiful daughter… All of her ways are empty’,” in Agnes Martin, ed. Barbara Haskell, ex. cat., New York: Whitney Museum of American Art, 1992, 131-53

Eva Hesse: A ‘Girl being a Sculpture’,” in Eva Hesse: A Retrospective, ed. Helen Cooper, ex. cat., New Haven: Yale University Press and Yale University Art Gallery, 1992, 131-53

‘Who Will Paint New York?’: ‘The World’s New Art Center’ and the New York Paintings of Georgia O’Keeffe,” American Art 5, no. 1-2 (winter/spring 1991): 86-107; rpt. (abridged) in From the Faraway Nearby: Georgia O’Keeffe as Icon, ed. Christopher Merrill and Ellen Bradbury, Reading, Mass.: Addison-Wesley, 1992, 65-82+; rpt. (revised) in Critical Issues in American Art, ed. Mary Ann Calo, New York: Harper Collins, 1997, 253-67

Minimalism and the Rhetoric of Power,” Arts 64, no. 5 (January 1990): 44-63; rpt. in Slovene in Likovne besede [Words of Art] 17: 30-44; rpt. in Power: Its Myths and Mores in American Art, 1961-1991, ed. Holliday T. Day, ex. cat., Indiana University Press  and Indianapolis Museum of Art, 1991, 116-39; rpt. (abridged) in Art in Modern Culture: An Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris, London: Phaidon, 1993, 264-81; rpt. in German in Minimal Art: Eine Kritische Retrospektive, ed. Gregor Stemmrich, Dresden: Verlag der Kunst, 1995, 647-77; rpt. (abridged) in James Meyer, Minimalism, London: Phaidon: 2000; rpt. in Estonian, by Art Museum of Estonia and Estonian Academy of Arts, 2006

O’Keeffe and the Masculine Gaze,” Art in America 78, no. 1 (January 1990): 114-25+; rpt. in From the Faraway Nearby: Georgia O’Keeffe as Icon, ed. Christopher Merrill and Ellen Bradbury, Reading, Mass.: Addison-Wesley, 1992, 29-42+; rpt. (revised) in Reading American Art, ed. Marianne Doezema and Elizabeth Milroy, New Haven: Yale University Press, 1998, 350-70

“Don’t Send a Great American Art Collection into Austrian Exile,” Letter to the Editor, New York Times, 31 August 1990, p. A26 (re Solomon R. Guggenheim Museum’s plans for expansion overseas)

Mark Rothko: Subjects in Abstraction, New Haven: Yale University Press, 1989; paperback edition Yale University Press, 1991, 229 pp.; excerpts rpt. in Art and Design 5, no. 11-12: 89, 42-49

Contributed to entries on Arshile Gorky, Man Ray, and others for Robert L. Herbert et al., The Société Anonyme and the Dreier Bequest at Yale University, New Haven: Yale University Press, 1984

Mark Rothko’s Subjects, ex. cat., Atlanta: High Museum of Art, 1983, 31 pp.

“Vuillard’s La Lampe,” Yale University Art Gallery Bulletin 38, no.1 (fall 1980): 12-15


Video: Lynda Benglis in Conversation with Anna Chave, December 2010, available at
Interviewed in The Polka-dot Run Throughout the World [on Yayoi Kusama], for Asahi (Japanese broadcasting company), 2005 (Japanese language film)
Interviewer in Kathy Grove: An Interview About The Other Series, videotape, 2001
Interviewed in Georgia O’Keeffe film for The Late Show, BBC, 1993
“Entrevista a Anna C. Chave: Proliferan las estrategias feministas,” Jeffrey Swartz and Jorge Luis Marzo, La Vanguardia Suplemento: Cultura y Arte, Barcelona, 10 September 1991, 10-11