Co-editor with Cher Krause Knight, Public Art Dialogue, peer review journal published twice a year by Routledge, starting 2011.
Anthology and Catalogue Essays
“Calder’s Public Art as Civic Sculpture: The Realization of a Modernist Ideal,” Stephanie Barron and Lisa Gabrielle Mark, eds. Calder and Abstraction: from Avant-Garde to Iconic. Los Angeles County Museum of Art, 2013. 136-150.
“Modest Actions and Big Impacts: A Conversation with Mary Miss,” in Twylene and Glenn Harper eds. The New Earthwork: Art Action Agency. Hamilton, NJ, isc Press, 2011, 294-301.
“Gendered in Stone: Women in New York City’s Public Art,” in Karen Frostig and Kathy A. Halamka, eds. Blaze: Discourse on Art, Women and Feminism. Newcastle, UK, Cambridge Scholars Publishing, 2007, 153-162.
“Louise Nevelson’s Public Art,” in The Sculpture of Louise Nevelson, ed. Brooke Kamin Rapaport. The Jewish Museum and Yale University Press, 2007, 49-64.
“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space,” in Spontaneous Shrines and the Public Memorialization of Death, ed. Jack Santino. New York: Palgrave MacMillan, 2006, 41-56.
“Commemorating the Oklahoma City bombing: Reframing Tragedy as Triumph,” Public Art Dialogue, Spring 013, 80-109.
“Immediate Memorials: The Implicit Celebration of Communal Mourning,” Esse. Fall 09, 56-63.
Book review: Michael Kammen, Visual Shock, Journal of American History. June 2009, 205.
“Public Art in New York City Parks: Celebrating 40 Years.” Sculpture, June 2008.
“A polemica em torno de Tilted Arc: um precedente perigoso?” Arte & Ensaios, Dec. 2008, 148-166.
“Framing or Taming? Some Musings on Public Art as Collection,” in Juilee Decker, ed. Collections, Spring 2008, 143-44.
“Art and Public Space,” in David Goldfield, ed. Encyclopedia of American Urban History. New York: Sage Publications, 2007.
“The Perils of Public Art: Louise Nevelson Plaza or Is It?” Sculpture, May 2007.
“The Controversy that Wouldn’t Die: Tilted Arc and the Triumph of Spectacle,” Sculpture, Sept. 2007.
Book review: Michele H. Bogart, The Politics of Urban Beauty: New York and Its Art Commission, Winterthur Portfolio, Winter 2007, 218.
“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, Jan/Feb 2006, 12-13.
Interview, Marvin Heffernan, ed. City Art: New York’s Percent for Art Program (London and New York: Merrell, 2005), 33.
“Monuments and Memorials,” in Encyclopedia of Genocide and Crimes Against Humanity, ed. Dinah Shelton. Detroit: Macmillan Reference, 2005.
“Memorial Complexes or Why Are Architects Getting the Big Commissions?” Sculpture, Dec. 2005,10.
“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;
Sculpture (web feature). Aug-Sept. 2003.
“Reframing Public Art: Audience Use, Interpretation, and Appreciation,” in Art and its Publics: Museum Studies at the Millennium, ed. Andrew McClellan. Malden, Mass.: Blackwell Publishing, 2003,185-200.
Reviews: “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.
“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, eds. Matthew Baigell and Milly Heyd, eds. Rutgers University Press, 2001, 206-22.
“Implicit Intimacy: The Persistent Appeal of Henry Moore’s Public Art,” in Henry Moore: Sculpting the Twentieth Century, ed. Dorothy Kosinski. Dallas Museum of Art and Yale University Press, 2001, 277-86.
“Public Art in Transit(ion),” in Points of Departure: Art on the Line, ed. Julie Courtney. Philadelphia Main Line Art Center, 2001, 34-67.
“Glimpses of Infinity: Nature and Science in Athena Tacha’s Public Art,” in Dancing in the Landscape: The Sculpture of Athena Tacha. Grayson Publishing, 2000, 8-13.
“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. Eds. Gabi Dolff- Bonekamper and Edward van Voolen. Berlin: Akademie der Kunste, Jovis Verlag, 2000, 251-64.
“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space,” in “Constructions of Memory,” special issue, Harvard Design Magazine, Fall 1999, 23-27.
“Disturbances in the Fields of Mammon: Towards a History of Artists’ Billboards,” in Billboard: Art on the Road, exh. cat. North Adams: MASS MoCA, and Cambridge: MIT Press, 1999, 14-31.
“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. eds. Wessel Reinink and Jeroen Stumpel. Amsterdam: Erasmus Boekandel,1999,1085-2000.
“Re-approaching Tony Smith,” Sculpture, Nov 1998, 35-43.
“Public Art in Brazil,” Sculpture, February 1998, 38-44.
“Louise Nevelson,” Dictionary of Women Artists. London: Fitzroy Dearborn Publishers, 1997.
Contributor, Encyclopedia of New York City .New Haven: Yale University Press, 1995 (entries on public sculpture, individual sculptors, the Art Commission, public art at Battery Park City).
“Public Art and the Legal System,” Public Art Review, Fall/Winter 1994.
“Eden Revisited: The Contemporary Garden as Public Art,” Urban Paradise, Public Art Issues, No.3, 1994.
“USA: Offentliche Kunst un republikanische Administration,” Orte, n.2, 1992, 40-45.
Co-editor, “Critical Issues in Public Art,” special issue, Art Journal, Winter 1989. Includes “Richard Serra’s Tilted Arc: Art and Non-Art Issues.”
“Some Thoughts on the Memorial Redefined,” in The Memorial Redefined. ed. Linda Cunningham. College Art Association, 1989, 1-4.
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? exh. cat. 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. Mar.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.
Book reviews, Artnews. June 1981.
“Urban Sculpture: Cultural Tokens or Ornaments to Life?” Artnews. Sept. 1979, 108-114.
Art critic, New York Post, weekly column, 1978-1979.
Selected Curated Exhibitions
Re-Considering Color: Postmodern Classical II, Olympic Tower lobby, NYC, 21 April – 23 May 2008.
R. 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, catalogue)
Re-Cast: Postmodern Classical, Olympic Tower lobby, NYC, 2002
R. 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, catalogue)
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).