Co-editor with Cher Krause Knight, Public Art Dialogue, peer review journal published twice a year by Routledge, starting 2011.
“Epilogue: Reconsidering Failure.” In The Failures of Public Art and Participation, edited by Cameron Cartiere and Anthony Schrag. Routledge, 2022.
“How to think about a memorial,” The Boston Globe, May 10, 2022, https://www.bostonglobe.com/2022/05/10/opinion/how-think-about-memorial/.
“From the Tate to the MoMA: Cross-continental Perspectives of Matisse’s Cut-outs.” Interview with Fran Lloyd. The Conversation (blog), October 31, 2014. Accessed September 24, 2017. http://theconversation.com/from-the-tate-to-the-moma-cross-continental-perspectives-of-matisses-cut-outs-32931.
“Calder’s Public Art as Civic Sculpture: The Realization of a Modernist Ideal.” In Calder and Abstraction: From Avant-Garde to Iconic, edited by Stephanie Barron and Lisa Gabrielle Mark, 136-150. Los Angeles County Museum of Art, 2013.
“Commemorating the Oklahoma City bombing: Reframing Tragedy as Triumph,” Public Art Dialogue (Spring 2013): 80-109.
“Modest Actions and Big Impacts: A Conversation with Mary Miss.” In The New Earthwork: Art Action Agency, edited by Twylene and Glenn Harper, 294-301. Hamilton, NJ: ISC Press, 2011.
“Immediate Memorials: The Implicit Celebration of Communal Mourning.” Esse (Fall 2009): 56-63.
“Public Art in New York City Parks: Celebrating 40 Years.” Sculpture 27, no. 5 (June 2008): 18-21.
“A polemica em torno de Tilted Arc: um precedente perigoso?” Arte & Ensaios (December 2008): 148-166.
“Framing or Taming? Some Musings on Public Art as Collection.” Collections (Spring 2008): 143-44.
“Gendered in Stone: Women in New York City’s Public Art.” In Blaze: Discourse on Art, Women and Feminism, edited by Karen Frostig and Kathy A. Halamka, 153-62. Newcastle: Cambridge Scholars Publishing, 2007.
“Louise Nevelson’s Public Art.” In Sculpture of Louise Nevelson, edited by Brooke Kamin Rapaport, 49- 64. The Jewish Museum and Yale University Press, 2007.
“Art and Public Space.” In Encyclopedia of American Urban History, edited by David Goldfield. New York: Sage Publications, 2007.
“The Perils of Public Art: Louise Nevelson Plaza or Is It?” Sculpture 26, no. 6 (May 2007): 48-49.
“The Controversy that Wouldn’t Die: Tilted Arc and the Triumph of Spectacle,” Sculpture 26, no. 7 (September 2007): 10-11.
“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space.” In Spontaneous Shrines and the Public Memorialization of Death, edited by Jack Santino, 41-56. New York: Palgrave MacMillan, 2006.
“Interview.” In City Art: New York’s Percent for Art Program, edited by Marvin Heffernan, 33. London and New York: Merrell, 2005.
“Memorial Complexes or Why Are Architects Getting the Big Commissions?” Sculpture (December 2005):10.
“Reframing Public Art: Audience Use, Interpretation, and Appreciation.” In Art and its Publics: Museum Studies at the Millennium, edited by Andrew McClellan, 185-200. Malden, MA: Blackwell Publishing, 2003.
“Road Work: Reconfiguring the American Highway,” Public Art Review (Spring 2002): 4-9.
“Perpetual Tension: Considering Richard Serra’s Jewish Identity.” In Complex Identities: Jewish Consciousness and Modern Art, edited by Matthew Baigell and Milly Heyd, 206-22. New Brunswick, NJ: Rutgers University Press, 2001.
“Implicit Intimacy: The Persistent Appeal of Henry Moore’s Public Art.” In Henry Moore: Sculpting the Twentieth Century, edited by Dorothy Kosinski, 277-86. Dallas Museum of Art and Yale University Press, 2001.
“Public Art in Transit(ion).” In Points of Departure: Art on the Line, edited by Julie Courtney, 34-67. Philadelphia: Main Line Art Center, 2001.
“Glimpses of Infinity: Nature and Science in Athena Tacha’s Public Art.” In Dancing in the Landscape: The Sculpture of Athena Tacha, 8-13. Washington, DC: Grayson Publishing, 2000.
“Aus der Mitte: Das Vietnam Veterans Memorial: Ein Mahnmal mit zentripetaler und zentrifugaler Wirkung.” In Denkmale und kulturelles Gedachtnis nach dem Ende der Ost-West Konfronatation, edited by Gabi Dolff- Bonekamper and Edward van Voolen, 251-64. Berlin: Akademie der Kunste, Jovis Verlag, 2000.
“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space.” In “Constructions of Memory.” Harvard Design Magazine (special issue) (Fall 1999): 23-27.
“Disturbances in the Fields of Mammon: Towards a History of Artists’ Billboards.” In Billboard: Art on the Road, exhibition catalogue, 14-31. North Adams: MASS MoCA, and Cambridge: MIT Press, 1999.
“In Pursuit of Memory: Berlin, Bamberg, and the Specter of History.” Sculpture (April 1999): 45-61.
“Objects Left, Individuals Remembered: `Making Memory Real’ at the Vietnam Veterans Memorial.” In Memory and Oblivion: Acts of the XXIXth International Congress of the History of Art, Amsterdam 1996, edited by Wessel Reinink and Jeroen Stumpel,1085-2000. Amsterdam: Erasmus Boekandel,1999.
“Public Art and the Legal System.” Public Art Review 6 (Fall/Winter 1994): 13.
“USA: Offentliche Kunst un republikanische Administration.” Orte 2 (1992): 40-45.
“Some Thoughts on the Memorial Redefined.” In The Memorial Redefined, edited by Linda Cunningham, 1-4. New York: College Art Association, 1989.
“Critical Issues in Public Art,” special issue, Art Journal, Winter 1989. Includes “Richard Serra’s Tilted Arc: Art and Non-Art Issues.”
Introduction, Projects and Proposals: The New York City Percent for Art Program. New York City Department of Cultural Affairs, 1988.
Phillips Simkin: Is It or Isn’t It a Real Estate Office? Exhibition Catalogue. Temple Gallery, Tyler School of Art, Philadelphia, October 1987.
“King’s Kingdom” (profile William King). Artnews (June 1986).
Monthly art reviews, Artnews (1986-1987).
Public Art Fund Newsletter (on Serra controversy) (Summer 1985).
“The Right Stuff” (cover story, Richard Serra), Artnews (March 1984): 50-59.
“Urban Sculpture in Barcelona.” Artnews (May 1984): 136-37.
“William King.” Arts (Sept 1982).
“The Architecture of the Metropolitan Museum’s Primitive Wing.” Artnews (February 1982).
“Urban Sculpture: Cultural Tokens or Ornaments to Life?” Artnews. Sept. 1979, 108-114.
“The Tomb of Leo XI by Alessandro Algardi,” Art Bulletin (March 1978): 89-95.
Kamen, Michael. “Visual Shock.” Journal of American History (June 2009): 205.
Michele H. Bogart. The Politics of Urban Beauty: New York and Its Art Commission, Winterthur Portfolio (Winter 2007): 218.
Book reviews, Artnews. June 1981
“National Icon: The Transfiguration of the World Trade Center Towers (Max Protetch Gallery);” “Renewing, Rebuilding, Remembering (Van Alen Institute);” “Sonsbeek 9: LocusFocus,” Sculpture. Oct. 2002, 81-82.
“Engaging the Off-Campus Audience.” Public Art Review (Spring/Summer 2006): 38-42.
“The Blue Stone Project: Public Art as Discourse, Ritual, and Symbol of Unity.” Sculpture (January/February 2006): 12-13.
“Andy Goldsworthy’s Garden of Stones.” Public Art Review (Spring/Summer 2004): 34-35.
“Absence vs. Presence: The 9/11 Memorial Design.” Sculpture (May 2004):10-11.
“A Difference in Kind: Spontaneous Memorials after 9/11.” Area (Sweden) (Spring 2003): 56-59.
“A Difference in Kind: Spontaneous Memorials after 9/11.” Sculpture (special web edition) (August/September, 2003). Accessed October 3, 2017. http://www.sculpture.org/documents/scmag03/jul_aug03/webspecial/senie.shtml.
“Re-approaching Tony Smith.” Sculpture (November 1998): 35-43.
“Public Art in Brazil.” Sculpture (February 1998): 38-44.
“Louise Nevelson.” In Dictionary of Women Artists. London: Fitzroy Dearborn Publishers, 1997.
“Eden Revisited: The Contemporary Garden as Public Art.” Urban Paradise, Public Art Issues, no.3 (1994).
Art critic, New York Post, weekly column, 1978-1979.
“Monuments and Memorials.” In Encyclopedia of Genocide and Crimes Against Humanity, edited by Dinah Shelton. Detroit: Macmillan Reference, 2005.
Various entries, Encyclopedia of New York City. New Haven: Yale University Press, 1995.
Re-Considering Color: Postmodern Classical II, Olympic Tower lobby, NYC, 21 April – 23 May 2008.
- Arneson, N. Cherubini, I. de Obaldia, J. Dine, V. Frey, B. Kasten, A. Merback, A. Moore, K. Wiley.
(curated with MA students in museum studies at CCNY, catalog)
Re-Cast: Postmodern Classical, Olympic Tower lobby, NYC, 2002
- Baron, M. Castanis, A.Flack, G. Koren, Y. Kusama, A. McCollum, M. McGill, D. Potami, J. Shea
(curated with MA students in museum studies at CCNY, catalog)
Memory as Metaphor, juried exhibition, Pleides Gallery, NYC, 1996.
George Rickey: Projects for Public Sculpture, Neuburger Museum, SUNY, Purchase, New York, October 1987 (curator and author).
Sculptures for Public Places: Maquettes, Models and Proposals, Marisa del Re Gallery, New York, January 1986 (curator and author).
A Decade of Visual Arts at Princeton: Faculty 1975-1985, The Art Museum, Princeton University, 1985.
Landscape/Sculpture: Nancy Holt, Patricia Johanson, Patsy Norvell, Michelle Stuart, Athena Tacha, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).
South Africa-South Bronx: Photographs by Peter Magubane and Walter Rosenblum, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).
Spaces V: Charles Abramson, David Hammons, Jorge Rodriguez, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).
William King: Sculpture in Vinyl, Wood, and Aluminum, Wallace Gallery, SUNY, Old Westbury, 1980 (curator and author).
Fabric into Art, Wallace Gallery, SUNY, Old Westbury, 1980 (curator and author).