Taste Matters, Oxford Art Journal (June 2012)

Photography’s Method in Jens Hoffmann, More American Photographs (Wattis Institute for Contemporary Arts, 2012)

Review of Reaktion Books’s “Exposures” series (Etudes photographiques, 2011)

The True and the Blurry in Achim Borchardt-Hume, Walid Raad Miraculous Beginnings (Whitechapel Gallery 2010)

Krasinski and Totality in Gabriela Switek, ed., Avant-garde in the Bloc (JRP | Ringier). In Polish and English.

Institutional Critique: An Anthology of Artists’ Writings, co-edited with Alexander Alberro (MIT 2009). Introduction: What Was Institutional Critique?

I am nothing and I should be everything (Artforum, February 2009)

The Meaning of Photography, co-edited with Robin Kelsey (Clark/Yale, 2008)

Photography and Nationalism, Click!, an online publication of the Smithsonian Institute, 2008. Published in book form under the title Photography Changes Everything by Aperture in 2012.

The Pivot of the World: Photography and Its Nation (MIT Press, 2006) An excerpt, “The Photography of Social Form,” has been published in David Campany, ed., The Cinematic (MIT Press, 2007) and the book as a whole was published in Spanish in 2009 under the title El eje del mundo; Fotografía y nación by Editorial Gustavo Gili. See reviews by Nancy Armstrong, Sarah James, and John Roberts.

Collectivism After Modernism: The Art of Social Imagination After 1945, co-edited with Gregory Sholette (Minnesota, 2006). See reviews by Eda Cufer, Philip Glahn, Jan Baetens, Jens Kastner, Sarah James, and Niels Van Tomme. Chinese translation of the introduction, “Periodizing Collectivism,” in Art Map (Beijing); Swedish translation in Glanta. Translations of the whole book in Serbian and forthcoming in Spanish.

Visual Worlds, co-edited with John R. Hall and Lisa Tamiris Becker (Routledge, 2005). See review by Sam Binkley.

Gesture and Abstraction in Carrie Noland and Sally Ann Ness, Migrations of Gesture (Minnesota, 2008)

A Modern Man (Artforum, October 2007)

The Artiste (Oxford Art Journal, Winter 2007) also published in a alightly different form as The Photography of Social Form: Jeff Wall and the City as Subject Condition (Quaderns portàtils, no. 09, MACBA, 2007)

The Crowd in the Machine (New Left Review Nov/Dec 2004)

Periodizing Collectivism, co-authored with Gregory Sholette (Third Text, November 2004); translated into Swedish in Glänta (1-2.06)

The Shimmer of Industrial Form (in Chris Townsend, ed., The Art of Rachel Whiteread, Thames & Hudson, 2004)

The Photographic Comportment of Bernd and Hilla Becher (Tate Papers, Spring 2004); also in Gail Finney, ed., Visual Culture in 20th-Century Germany: Text as Spectacle (Indiana University Press, 2006)

I am the Social: The Line of Edward Krasinski (Artforum, November 2003)

Bonjour, Mademoiselle Collins (Hannah Collins: La Calle / The Street, 2003)

Die Leidenschaft des Konzepts in Christoph Metzger, Conceptualisms (Saarbrücken: Pfau, 2003)

Conceptual Work and Conceptual Waste (Discourse, Spring 2002) and also in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice (Cambridge University Press, 2004)

Art History after the New Art History (Art Journal, Spring 2002)

Andy Warhol’s Red Beard (Art Bulletin, September 2001)

010101 versus OiOiOi (Ramona, August 2001)

Hysterics of the World Unite! (Exhibition catalogue essay, What is Left Over? Todd Ayoung and Carlos Andrade, North-udstillingssted, Copenhagen, Denmark, 2000)

Review of Benjamin H.D. Buchloh, Neo-Avantgarde and Culture Industry (CAA Reviews, 2000)

Review of Martha Rosler, Positions in the Life World (CAA Reviews, 2000)

Conceptual Art: A Critical Anthology (MIT Press, 1999)