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GLS_Double America 2_2014_02_9255

Glenn Ligon

Photo: Paul Mpagi Sepuya

Photo: Paul Mpagi Sepuya

Born in the Bronx, New York, in 1960, Glenn Ligon received a BA from Wesleyan University in 1982. His early practice was grounded in painting, and his canvases of this period built upon the legacies of such Abstract Expressionist artists as Philip Guston, Cy Twombly, Robert Rauschenberg, and Jasper Johns. In1984 – 1985, Ligon spent an academic year in the Whitney Museum of American Art’s Independent Study Program, developing a series of representational drawings of iconic sculptures by European artists such as Alberto Giacometti and Constantin Brâncuși, juxtaposed against images of African American hair products rendered in acrylic and ink.

This early deployment of objects as signifiers did not fully meet Ligon’s desire for expression: ‘I had a crisis of sorts when I realized there was too much of a gap between what I wanted to say and the means I had to say it with.’ Nevertheless, these works crystallized Ligon’s commitment to using signifiers within formalist procedures as a means to explore the complexities of deep cultural tensions.

Soon Ligon began incorporating text into his paintings, using the stenciled words that would become a hallmark of his oeuvre, in order to say more. Just as Guston returned to figuration after a long exploration in Abstract Expressionist painting as a response to the Vietnam War, Ligon pursued language as a means of commentary on the cultural milieu of the 1980s and ‘90s, and more specifically on African American identity within a turbulent landscape. Among key works from this period is ‘Untitled (I Am a Man)’ (1988), an oil and enamel painting derived from a black-and-white photograph by Ernest C. Withers, depicting black sanitation workers striking in Memphis and carrying identical signs printed with the text ‘I AM A MAN.’ These words still carry the force of a heavy assertion: a demand for visibility and humanity in response not only to the injustices thrust upon African Americans in the present time, but also to the history of slavery, the effects of which continue to permeate the entire American experience.

Ligon’s 1991 work ‘Untitled (I Am an Invisible Man)’ borrows lines from the 1955 Ralph Ellison novel ‘Invisible Man.’ Ligon strategically blends, muddles, and merges written words in oil stick and graphite, thereby juxtaposing presence and absence, comprehension and illegibility; by claiming these words in a new context, he points to the possibility of how meaning can slip or evolve. Works such as ‘Untitled (I Feel Most Colored When I Am thrown Against a Sharp White Background)’ (1990), which draws text from Zora Neale Hurston’s 1928 essay ‘How It Feels to Be Colored Me,’ or ‘Untitled (There is a consciousness we all have…)’ (1988), in which Ligon uses a comment made in the New York Times about African American artist Martin Puryear, engage not only the language itself but the visual expression of that language to comment on the subject matter. Painted language becomes the construct of the self, and the stencil is a mechanism of reconstruction, with both pop and expressionist qualities, allowing for a complication of Ligon’s address. In the moments of blurred illegibility, Ligon alludes to the systemic exclusion and erasure of African Americans – including the ways in which black artists have been situated in the margins of canonical art history.

Over the past two and a half decades, Ligon has expanded his practice radically to incorporate new media and structures in large-scale installations, prints, photographs, and sculptures. While sweepingly broad in style and composition, these works engage not only with text-based resources but found images, reworked by the artist in order to amplify the conversation: from the re-appropriation of Robert Mapplethorpe’s photographs of black male nudes, to silkscreen paintings from the Nation of Islam’s Million Man March in Washington D.C., to his seminal ‘Untitled’ (2008), a neon work that spells out the word ‘AMERICA.’ Expressed through this broader range of mediums, Ligon’s engagement with words takes on greater physicality. In ‘Self- Portrait Exaggerating My Black Features and Self-Portrait Exaggerating My White Features’ (1998), Ligon riffs upon Adrian Piper’s seminal work ‘Self-Portrait Exaggerating My Negroid Features’ (1981) to address the complexities in our perceptions of race using two towering images made from the exact same silkscreen, with the title of the work printed clearly at the bottom of each image. The artist appears here in a rare instance of self-portraiture, provoking questions about the gaze and racist stereotyping.

In 2004, Ligon wrote a major essay for Artforum titled ‘Black Light: David Hammons and the Poetics of Emptiness.’ Shortly after, inspired by the notion of working with light, he presented his first neon relief: ‘Warm Broad Glow’ (2005) outlining the words ‘negro sunshine’ in neon letters. Ligon has continued to question the relationship between light and dark in his work, most recently using neon in the handwriting of his friends and colleagues in a work titled ‘Some Black Parisians’ (2019), included in the exhibition ‘Black Models: From Géricault to Matisse’ at the Musée d’Orsay in Paris. This sculptural work displays the names of black models whose identities are the focus of the exhibition. While centering and celebrating the individuals whose likenesses are rendered in these works, Ligon also uses the phrase ‘nom inconnu’ (name unknown) to remind viewers that many of these subjects still remain lost to history.

Ligon engages the state of the world – and urges us to do the same – by posing questions rather than proposing answers. His art demonstrates the ways in which a given subject has permeated culture over time, magnetizing our attention to the mutability of images and our perceptions of them. His questions concern not only the identity of his subject; he interrogates the viewer, the history, the institution, and the cultural context by rendering a portrait of America as a concept, a place, and a nation.

The artist’s important recent exhibitions include ‘Glenn Ligon: Encounters and Collisions,’ a curatorial project organized with Nottingham Contemporary and Tate Liverpool (2015), and ‘Blue Black,’ an exhibition curated by the artist at the Pulitzer Arts Foundation in St. Louis (2017). A retrospective of Ligon’s work, ‘Glenn Ligon: America,’ organized by Scott Rothkopf, opened at the Whitney Museum of American Art in March 2011 and traveled to the Los Angeles County Museum of Art (2011) and the Modern Art Museum of Fort Worth (2012).

Ligon’s work has been included in major international exhibitions such as the Biennale di Venezia, Venice, Italy (1997, 2015); Berlin Biennale, Berlin, Germany (2014); Istanbul Biennale, Istanbul, Turkey (2011); Documenta XI, Kassel, Germany (2002); Gwangju Biennale, Gwangju, South Korea (2000); and the Whitney Biennial, New York NY (1991, 1993). He has received numerous awards for his work, including the Joan Mitchell Foundation Grant (1997), the John Simon Guggenheim Memorial Foundation Fellowship (2003), the Skowhegan Medal for Painting (2006), and the Studio Museum’s Joyce Alexander Wein Artist Prize (2009).

He is also represented by Regen Projects in Los Angeles, Thomas Dane in London, and Chantal Crousel in Paris.

Biography

Born New York, NY, 1960

Education

1985 Whitney Museum Independent Study Program, New York NY
1982 Wesleyan University, Middletown CT
1980 Rhode Island School of Design, Providence RI

Resides Lives and works in New York

Selected Awards, Residencies and Fellowships

2018 Honorary Degree, The New School, New York NY

2017 Archives of American Art Medal

2016 American Academy of Arts and Sciences Fellow

2013 18th Annual Medal Award, School of the Museum of Fine Arts, Boston MA

2012 International Association of Art Critics Award

2010 United States Artists Fellowship, Los Angeles CA

2009 Studio Museum's Joyce Alexander Wein Artist Prize, New York NY

2007 Creative Capital Arts Writers Grant

2006 Skowhegan Medal for Painting, New York NY
Academy Awards in Art, American Academy of Arts and Letters, New York NY

2003 John Simon Guggenheim Memorial Foundation Fellowship, New York NY

2001 DAAD, Berlin, Germany

1999-00 Walker Art Center Residency, Minneapolis MN

1998 ArtPace International Artists-in-Residence Program, San Antonio TX

1997 Joan Mitchell Foundation Grant

1994 Residency, Rockefeller Foundation, Bellagio Study Center, Bellagio, Italy

1991 National Endowment for the Arts, Visual Artist Fellowship, Painting

1990 Art Matters, Inc. Fellowship/Dewar's Young Artist's Recognition Award

1989-90 P.S. 1 National Studio Program, The Clocktower, New York NY

1989 National Endowment for the Arts, Visual Artist Fellowship, Drawing

1982 National Endowment for the Arts, Curatorial Internship,
The Studio Museum in Harlem, New York NY

Solo Exhibitions

2019 Des Parisiens Noirs, Musée d'Orsay, Paris, France.
Glenn Ligon: Selections from the Marciano Collection, Marciano Art Foundation, Los Angeles, CA.
Glenn Ligon: To be a Negro in this country is really never to be looked at., Maria & Alberto De La Cruz Art Gallery, Georgetown University, Washington D.C.
Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World, Regen Projects, Los Angeles CA.

2018 Debris Field/Notes for a Poem on the Third World/Soleil Negre, Galerie Chantal Crousel, Paris, France (catalogue).
Tutto Poteva, Nella Poesia, Avere Una Soluzione / In Poetry, A Solution To Everything, Thomas Dane, Naples, Italy (brochure).

2017 Glenn Ligon, Baltimore Museum of Art, MD.

2016 Glenn Ligon, A Small Band, ReBuild Foundation, Chicago, IL.
Glenn Ligon: Untitled (Bruise/Blues), Michael Stevenson Gallery, Johannesburg, South Africa.
What we said the last time, Luhring Augustine, New York, NY.
We need to wake up cause that's what time it is, Luhring Augustine Bushwick, NY.

2015 Live, Regen Projects, Los Angeles, CA.
Well, it's bye-bye If you call that gone, Regen Projects, Los Angeles, CA.

2014 Glenn Ligon: Call and Response, Camden Arts Centre, London, UK.
Glenn Ligon: Come Out, Thomas Dane Gallery, London, UK (catalogue).
Glenn Ligon: Narratives, Schmucker Art Gallery, Gettysburg College, Gettysburg, PA.

2013 Glenn Ligon, Rat Hole Gallery, Tokyo, Japan.

2012 Glenn Ligon: Neon, Luhring Augustine, New York, NY (catalogue).

2011 America, Whitney Museum of American Art, New York, NY (catalogue); Los Angeles County Museum of Art, Los Angeles, CA; Modern Art Museum of Fort Worth, Fort Worth, TX.
Glenn Ligon: Recent Prints, Greg Kucera Gallery, Seattle, WA.

2010 Neither Here nor There, Michael Stevenson Gallery, Cape Town, South Africa.

2009 ‘Nobody’ and Other Songs, Thomas Dane Gallery, London, UK.
Off Book, Regen Projects II, Los Angeles, CA.

2008 Figure/Paysage/Marine, Galerie Yvon Lambert, Paris, France (catalogue).
Love and Theft, Power House Memphis, TN.

2007 No Room (Gold), Regen Projects II, Los Angeles, CA.
Unauthorized, Bill Hodges Gallery, New York, NY (catalogue).

2006 Brilliant Corners, Thomas Dane Gallery, London, UK.
Grossman Gallery, Lafayette College, Easton, PA.
We Had Everything Before Us–We Had Nothing Before Us, Galerie Yvon Lambert, Paris, France.

2005 Drawings, Baldwin Gallery, Aspen.
Glenn Ligon – Some Changes, The Power Plant Center for Contemporary Art, Toronto, Ontario Canada (catalogue); Contemporary Art Museum, Houston, TX; The Andy Warhol Museum, Pittsburgh, PA; Wexner Center for the Arts, Columbus, OH; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, Canada; Mudam—Musée d’Art Moderne Grand-Duc Jean, Luxembourg.

2004 Circa 1971, ’72 or ’73, The Gallery at Dieu Donné Papermill, New York, NY (brochure).
Text Paintings: 1990–2004, Regen Projects, Los Angeles, CA (brochure).

2003 Annotations, web-based project, Dia Center for the Arts, New York, NY.
Going There, D’Amelio Terras, New York, NY.

2002 Glenn Ligon, Anthony Meier Fine Arts, San Francisco, CA.

2001 Colored, D’Amelio Terras, New York, NY.
Portraits and Not Portraits, Kunstverein München, Germany (brochure).
Stranger, The Studio Museum in Harlem, NY (catalogue).

2000 Coloring: New Work by Glenn Ligon, Walker Art Center, Minneapolis, MN (catalogue).
Currents 81: Glenn Ligon, Saint Louis Art Museum, MO (brochure).

1998 International Artist-In-Residence, ArtPace, San Antonio, TX (brochure).
Miami Arts Project, Public Installation, FL (brochure).
Nothing Under the Sun, Max Protetch Gallery, New York, NY.
Unbecoming, Institute of Contemporary Art at University of Pennsylvania, Philadelphia (catalogue).

1997 Day of Absence, Ezra and Cecile Zilkha Gallery, Center for the Arts, Wesleyan University, Middletown, CT (brochure).
Runaways, MOSAIC: Museum Study Center, Samuel P. Harn Museum of Art, University of Florida, Gainesville (brochure).

1996 The Evidence of Things Not Seen: Drawings by Glenn Ligon, Brooklyn Museum, NY (brochure).

1995 Glenn Ligon, Des Moines Art Center, IA (brochure).
Photos and Notes, Max Protetch Gallery, New York, NY.
Skin Tight, MIT List Visual Arts Center, Cambridge, MA.

1994 Project Room, Ruth Bloom Gallery, Santa Monica, CA.

1993 Project Room, Ruth Bloom Gallery, Santa Monica, CA.

1992 Glenn Ligon/MATRIX 120, Wadsworth Atheneum, Hartford, CT (brochure).
Paintings, Max Protetch Gallery, New York, NY.

1991 Project Room: Glenn Ligon, Jack Tilton Gallery, New York, NY.
White Room: Glenn Ligon, White Columns, New York, NY.

1990 How It Feels to be Colored Me: A Project by Glenn Ligon, BACA Downtown, Brooklyn, NY.
Open Studios, National Studio Program Exhibition Series, P.S.1 Institute of Contemporary Art at The Clocktower Gallery, New York, NY.

1982 Davison Art Center, Wesleyan University, Middletown, CT.

Curatorial Projects

2017 Blue Black, Pulitzer Arts Foundation, St. Louis, MO (catalogue).

2016 Entanglements, Luhring Augustine, New York, NY.

2015 Glenn Ligon: Encounters and Collisions, curated with Alex Farquharson and Francesco Manacorda, Nottingham Contemporary; traveled to Tate Liverpool, UK (catalogue).

2012 Contact: Gordon Parks, Ralph Ellison, and “Invisible Man”, Howard Greenberg Gallery, New York, NY.

2007 Karen Azoulay, CUE Foundation, NY (catalogue).

2006 Have Another Piece: ‘Just a little piece…smaller…smaller…’, Andy Warhol Museum, Pittsburgh, PA.

2000 Art in Our Time: 1950 to the Present (Givens Collection), Walker Art Center (Andersen Window Gallery), Minneapolis, MN (brochure).

Group Exhibitions

2019 Black Refractions: Highlights from The Studio Museum in Harlem, Studio Museum, Harlem, NY(catalogue). Traveling to Museum of the African Diaspora, San Francisco; Gibbes Museum of Art, Charleston; Kalamazoo Institute of Arts; Smith College Museum of Art, Northampton; Frye Art Museum, Seattle; Utah Museum of Fine Arts, Salt Lake City.
From Theory to Practice: Artistic Legacies of the Whitney Independent Study Program, University Hall Gallery at the University of Massachusetts Boston, MA.
Get Up, Stand Up! Somerset House, London, England.
God Made My Face: A Collective Portrait of James Baldwin, David Zwirner, New York, NY.
How the light gets in, Herbert F. Johnson Museum of Art, Cornell University, Ithica, NY.
In a Few Words, Sikkema Jenkinns & CO, New York, NY.
Inaugural Exhibition, Ruby City, San Antonio, TX.
Prints and Editions, Luhring Augustine, New York, NY.
Prisoner of Love, Museum of Contemporary Art Chicago, IL.
Some Bodies: Gober, Ligon, Prince, Binghamton University Art Museum, Binghamton, NY.

2018 A Journey That Wasn't, The Broad Museum, Los Angeles, CA.
Adam McEwen Selects: Exhibition and Sale to Benefit the Foundation for Contemporary Arts, Gladstone Gallery, New York, NY.

(cont'd) Bending Light: Neon Art 1965 to Now, Neuberger Museum of Art, Purchase College, SUNY, NY.
Both, and, Stevenson Gallery, Cape Town and Johannesburg, South Africa.
Chi Utopia mangia le mele / Those who Utopia eat apples. From dream to project in four steps, ArtVerona, Verona, Italy (catalogue).
Dialogues: Tim Rollins & K.O.S. and Glenn Ligon, Bronx Museum of the Arts, NY.
DO I HAVE TO DRAW YOU A PICTURE?, Heong Gallery, Downing College, Cambridge, UK (catalogue).
Edge of Visibility, International Print Center, New York, NY.
From Enslavement to Mass Incarceration, The Legacy Museum, Montgomery, AL.
Graphic Revolution: American Prints 1960 to Now, Saint Louis Art Museum, MO (catalogue).
Histórias afro-atlânticas, Museu de Arte de São Paulo, Brazil (catalogue).
In Tribute to Jack Tilton: A Selection from 35 Years, Tilton Gallery, New York, NY.
Jason Moran, Walker Art Center, Minneapolis, MN (catalogue). Traveling to ICA Boston, Wexner Center for the Arts, Columbus; Whitney Museum, NY.
Michael Jackson: On the Wall, National Portrait Gallery, London, UK (catalogue); traveling to Grand Palais, Paris, France; Bundeskunsthalle, Bonn, Germany; Espoo Museum of Modern Art, Espoo, Finland.
MoMA AT NGV: 130 Years of Modern and Contemporary Art, National Gallery of Victoria, Melbourne, Australia (catalogue).
Nothing Stable under Heaven, San Francisco Museum of Modern Art, CA.
Remember to React: 60 Years of Collecting, NSU Art Museum, Fort Lauderdale, FL.
Sculpture, Luhring Augustine, New York, NY.
Second Sight: The Paradox of Vision in Contemporary Art, Bowdoin College Museum of Art, Brunswick, ME (catalogue).
The Street. Where the World Is Made, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy (catalogue).
Studio Visit: Selected Gifts from Agnes Gund, Museum of Modern Art, NY.
Reds, Mnuchin Gallery, New York, NY (catalogue).
Resident Whiteness, The Kitchen, New York, NY.
Riots: Slow Cancellation of the Future, IFA Galerie Berlin, Germany.
Walls Turned Sideways: Artists Confront the Criminal Justice System, Contemporary Arts Museum, Houston, TX (catalogue).

2017 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Pittsburgh, PA.
All Things Being Equal..., Zeitz MOCAA, Cape Town, South Africa.
An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017, Whitney Museum of American Art, New York, NY.
American dream: pop to present, British Museum, London, UK (catalogue).
Blue Black, Pulitzer Foundation, St. Louis, MO (catalogue).
Bodies of Work, National Gallery of Art, Washington DC.
Change of State, Essex Street Gallery, New York, NY.
Divided States of America, Lesbian Gay Bisexual Transgender Center, New York, NY.
Doubles, Dobros, Pliegues, Pares, Twins, Mitades, The Warehouse, Dallas, TX (catalogue).
Elements of Vogue: A Case Study on Radical Performance, CA2M Centro de Arte Dos de Mayo, Madrid, Spain.
Excerpt, Studio Museum Harlem, NY.
Fast Forward: Painting from the 1980s, Whitney Museum of American Art, New York, NY.
Frans Masereel and Contemporary Art: Images of Resistance, Mu.ZEE Ostend, Belgium (catalogue).
Harlem: Found Ways, The Ethelbert Cooper Gallery of African and African American Art, Harvard University, Cambridge, MA (catalogue).
Hold: A Meditation on Black Aesthetics, Princeton University Art Museum, NJ.
The Humours, Monash University Museum of Art (MUMA), Melbourne, Australia (catalogue).
An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017, Whitney Museum of American Art, New York, NY.
The Intricacies of Love, curated by Phyllis Rosenzweig, Bronx Arts Space, NY (brochure).
The Legacy of Lynching: Confronting Racial Terror in America, Brooklyn Museum, NY; traveled to Cantor Fitzgerald Gallery, Haverford, PA.
Making History Visible: Of American Myths and National Heroes, Princeton University Art Museum, NJ.
Making Home: Contemporary Art from the DIA, The Detroit Institute of Arts, MI.
Milwaukee Collects, Milwaukee Art Museum, WI.
Minimalism and Beyond, Mnuchin Gallery, New York, NY (catalogue).
Off the Shelf: Modern & Contemporary Artists' Books, Baltimore Museum of Art, MD.
Picture Industry, curated by Walead Beshty, Center for Curatorial Studies, Bard College, New York, NY; traveled to LUMA Foundation Arles, France (catalogue).
Ready. Fire! Aim, Hall Art Foundation, Reading, VT.
The Restless Earth, Fondazione Nicola Trussardi, Palazzo della Triennale, Milan, Italy (catalogue).
So Lightly Here, Paul Petro Contemporary Art, Toronto, ON.
Solidary and Solitary: The Joyner / Giuffrida Collection, Ogden Museum of Southern Art, New Orleans, LA; traveled to Nasher Museum of Art, Durham, NC; Snite Museum of Art, Notre Dame, IN; Smart Museum of Art, Chicago, IL; Baltimore Museum of Art, MA; Berkeley Art Museum, CA.
Sonic Rebellion: Music as Resistance, Museum of Contemporary Art Detroit, MI (catalogue).
Third Space, Birmingham Museum of Art, AL.
Unpacking: The Marciano Collection, Marciano Art Foundation, Los Angeles, CA (catalogue).
Urban Planning: Contemporary Art and the City 1966–2017, Contemporary Art Museum St. Louis, MO.
We need to talk..., Petzel Gallery, New York, NY (catalogue).
What Absence Is Made Of, Smithsonian Hirshhorn Museum and Sculpture Garden, Washington, DC.
What are the Clouds?, Kunstgebäude Stuttgart, Germany.
What I Loved: Selected Works from the '90s, Regen Projects, Los Angeles, CA.
WORD: Text in Contemporary Art, Jamestown Arts Center, RI.
You & I, A4 Arts Foundation, Cape Town, South Africa.

2016 65 Works Selected by James Welling, David Zwirner, NY.
A Deeper Dive, Leslie Lohman Museum of Gay and Lesbian Art, NY.
A History. Contemporary Art from the Centre Pompidou, Haus der Kunst, Munich, Germany.
Becoming Animal/Becoming Landscape, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver.
Between the World and Me: Contemporary African American Artists Respond to Ta-Nehisi Coates, Jordan Schnitzer Museum of Art, Denver, CO.
Black and White with a Splash, Dubner Projects, Lugano, Switzerland.
Blackness in Abstraction, Pace Gallery, NY (catalogue).
Cock, Paper, Scissors, ONE National Gay & Lesbian Archives at the USC Libraries, Los Angeles, CA (catalogue).
Entanglements, Luhring Augustine, New York, NY.
George Grosz: Politics and His Influence, David Nolan Gallery, New York, NY.
Glenn Ligon: Encounters and Collisions, curated with Alex Farquharson and Francesco Manacorda, Nottingham Contemporary; traveled to Tate Liverpool, UK (catalogue).
Good Dreams Bad Dreams; Selections from the Aishti Foundation Collection, Aishti Foundation, Beirut, Lebanon.
Human Interest: Portraits from the Whitney’s Collection, Whitney Museum of American Art, NY.
Identity, Amon Carter Museum of Art, Fort Worth, TX.
Invisible Adversaries, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY.
L.A. Exuberance: New Gifts by Artists, Los Angeles County Museum of Art, CA.
Let There Be Light, Jessica Silverman Gallery, San Francisco, CA.
Lexicon, Gagosian Gallery, Paris, France (brochure).
Present Tense: Prints from the Collection of Jordan D. Schnitzer and His Family Foundation, Montana Museum of Art & Culture, Missoula, MT.
Progressive Praxis, De la Cruz Collection, Miami, FL.
Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné, Ruth and Elmer Wellin Museum, Hamilton College, NY (catalogue).
REMIX: Themes & Variations in African American Art, Columbia Museum of Art, NY.
Singing Our History: People and Places of Red Lake Nation, University of Minnesota, Minneapolis, MN.
Statements: African American Art from the Museum’s Collection, The Museum of Fine Arts Houston, TX.
Surface Area: Selections from the Permanent Collection, The Studio Museum in Harlem, NY.
The Color Line: African-American Artists and the civil rights in the United States, The Musée du quai Branly - Jacques Chirac, Paris, France.
The Making of a Fugitive, Museum of Contemporary Art Chicago, Il.
The Revolution will not be Gray, Aspen Art Museum, CO (brochure).
The Soul of Black Art: A Collector's View, Upfor Gallery, Portalnd, OR.
This is a Portrait If I Say So: Re-imagining Representation in American Art, 1912—Today, Bowdoin College Museum of Art, Brunswick, ME (catalogue).
Vision and Justice, Harvard Art Museums, Cambridge, MA.
Who We Be, Cantor Arts Center Stanford University, CA.
With Open Eyes: The Wake Forest University Student Union Collection of Contemporary Art, Southeastern Center for Contemporary Art, Winston-Salem, NC.
Wordplay: Matthias Buchinger's Drawings from the Collection of Ricky Jay, Metropolitan Museum of Art, NY.

2015 50 for 50: Gifts on the Occasion of LACMA's Anniversary, Los Angeles County Museum of Art, CA.
75 Gifts for 75 Years, Walker Art Center, Minneapolis, MN.
A Life Journey: Melva Bucksbaum & Raymond Learsy Collection, The Granary, Sharon, CT.
All the Worlds Futures: 56th International Venice Biennale, Giardini-Central Pavilion, Italy (catalogue).
America Is Hard to See, Whitney Museum of American Art, New York, NY.
Andy Warhol to Kara Walker: Picturing the Iconic / From the Collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation, Sonoma County Museum, Santa Rosa, CA.
Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, CA; traveled to the Menil Collection, Houston, TX (catalogue).
Art AIDS America, Tacoma Art Museum, WA (catalogue); traveled to The Bronx Museum of the Arts, NY.
Black: Color, Material, Concept, The Studio Museum in Harlem, NY.
By the Book, Sean Kelly, New York, NY.
Carte Blanche to Luhring Augustine, Galerie Patrick Seguin, Paris, France.
Cavaliers Collect: A Celebration of 80 Years of Art at the Bayley, The Fralin Museum, University of Virginia, Charlottesville (brochure).
Collecting and Sharing: Trevor Fairbrother, John T. Kirk, and the Hood Museum of Art, Hood Museum of Art, Darthmouth College, Hanover, NH (catalogue).
Collection Intervention: Ellen Gallagher’s DeLuxe, Addison Gallery of American Art, Andover, VA.
Come As You Are, Montclair Art Museum, NJ (catalogue).
First Edition: Mario Merz Prize Finalists, Fondazione Merz, Torino, Italy (catalogue).
Greater New York, MoMA PS1, New York, NY (catalogue).
I am a Lie and I am Gold, Yossi Milo Gallery, New York, NY.
Laugh-in: Art, Comedy, Performance, Museum of Contemporary Art San Diego, San Diego, CA.
Museum Studies, The Berman Museum of Art, Ursinus College, Collegeville, PA.
New Skin, Aïshti Foundation, Jal el Dib, Lebanon.
Once Upon A Time and Now, curated by Ian Alteveer, The Lesbian, Gay, Bisexual & Transgender Community Center, New York, NY.
Open This End: Contemporary Art from the Collection of Blake Byrne, Nasher Museum of Art, Duke University, Durham, NC (catalogue).
Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich, Germany (catalogue).
Portraits and Other Likenesses from SFMOMA, Museum of the African Diaspora, San Francisco, CA.
Represent: 200 Years of African American Art, The Philadelphia Museum of Art, PA (catalogue).
San Diego Collects, Museum of Contemporary Art San Diego, CA.
Showing Off: Recent Modern & Contemporary Acquisitions, Denver Art Museum, CO.
Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York, NY.
The Art of Our Time, Museum of Contemporary Art Los Angeles, CA.
The Freedom Principle: Experiments in Art and Music, 1965 to Now, Museum of Contemporary Art Chicago, IL (catalogue).
The Inaugural Installation, The Broad Museum Los Angeles, CA (catalogue).
The World is Made of Stories, Astrup Fearnley Museet, Oslo, Norway.
Transcending Material, Institute of Contemporary Art, Boston, MA.
Wild Noise: Artwork from The Bronx Museum of the Arts and El Museo Nacional de Bellas Artes, Bronx Museum of Art, NY; traveled to Museo Nacional de Bellas Artes, Havana, Cuba.
Word by Word, Luxembourg & Dayan, London, UK.
Words, Words, Words An Exhibition of Text Based Artwork, Elizabeth Leach Gallery, Portland, OR.
You've Got to Know the Rules... to Break Them, De La Cruz Collection Contemporary Space, Miami, FL.

2014 8th Berlin Biennale for Contemporary Art, Germany.
Beneath the Surface, De La Cruz Contemporary Art Space, Miami, FL.
Bloodflames Revisited, curated by Phong Bui, Paul Kasmin Gallery, New York, NY.
Civil Rights: We have it in our power to begin the world over again, Void, Derry, Ireland.
Danjuma Collection: One Man's Trash (is Another Man's Treasure), 33 Fitzroy Square, London, UK.
In Black and White: Prints form Africa and the Diaspora, Victoria & Albert Museum, London, England.
in print / imprint: works from the permanent collection, Bronx Museum of the Arts, NY.
Literary Devices, Fisher Landau Center for Art, New York, NY.
Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium.
More Material, curated by Duro Olowu, Salon 94, New York, NY.
Other Ways; Other Times Influences of African-American Tradition from St. Louis Collections, Philip Slein Gallery, St. Louis, MO.
Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collection, Flint Institute of Arts, MI (catalogue).
Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, NC.
Reliable Tension, Yale University Art Gallery, New Haven, CT.
Somos Libres II: Works from The Mario Testino Collection, Pinacoteca Gianni e Marella Agnelli, Turin, Italy.
Speaking of People: Ebony, Jet and Contemporary Art, The Studio Museum in Harlem, NY (catalogue).
Stars + Stripes: American Art of the 21st Century from the Goldberg Collection, Bathurst Regional Art Gallery, Bathurst, Australia (catalogue); travels to Grafton Regional Art Gallery, Grafton, Australia; Manly Art Gallery and Museum, Sydney, Australia; Cowra Regional Art Gallery, Cowra, Australia; Manning Regional Art Gallery, Taree, Australia; Western Plains Cultural Centre, Dubbo, Australia; Wagga Wagga Art Gallery, Wagga Wagga, Australia; Latrobe Regional Art Gallery, Morwell, Australia; travels to Ipswich Art Gallery, Ipswich, UK.
Take It or Leave It: Institution, Image, Ideology, Hammer Museum, Los Angeles, CA.
To Have and to Hold, Rubell Collection, Miami, FL.
UNE HISTOIRE (art archi design/des années 80 à nos jours) / A HISTORY (art architecture design, from the 80s to now), Centre Pompidou, Paris, France (catalogue).

2013 Black and White, Galerie Sho Contemporary Art, Tokyo, Japan.
Black Is, Black Ain’t, The Renaissance Society, Chicago, IL (catalogue).
Brothers and Sisters, The Studio Museum In Harlem, Harlem, NY.
Cinematic Visions: Painting at the Edge of Reality, Victoria Miro Gallery, London, UK.
Color Blind: The MCA Collection in Black and White, Museum of Contemporary Art, Chicago, IL.
Each One As She May: Ligon, Reich, & De Keersmaeker, Institute of Contemporary Art at University of Pennsylvania, Philadelphia (brochure).
Fiction/Nonfiction, Esker Foundation, Calgary, Alberta, Canada (brochure).
Finish Fetish: Textural Play, Vivian Horan Fine Art, New York, NY.
I, YOU, WE, Whitney Museum of American Art, New York, NY.
In A Silent Way, Seattle Art Museum, WA.
Network of Mutuality: 50 Years Post-Birmingham, The Art Gallery, University of Maryland, College Park, MD (catalogue); Levine Museum of the New South, Charlotte, NC.
NYC 1993: Experimental Jet Set, Trash and No Star, New Museum of Contemporary Art, New York, NY (catalogue).
Postscript: Writing After Conceptual Art, MCA Denver, Denver, CO.
Recent Editions/Recent Additions, Greg Kucera Gallery, Seattle, WA.
Speak, Memory, Wallach Gallery, Columbia University, New York, NY (brochure).
The Unphotographable, Fraenkel Gallery, San Francisco, CA (catalogue).
We Hold These Truths…, Hofstra University Museum, Hempstead, NY.
Word and Image, Hood Museum of Art at Dartmouth College, Hanover, NH.

2012 At the Crossroads: Exploring Black Identity in Contemporary Art, Saint Louis Art Museum, MO.
Blues For Smoke, MOCA, Los Angeles, CA (catalogue); traveled to Whitney Museum, New York, NY.
Contact: Gordon Parks, Ralph Ellison, and “Invisible Man” curated by Glenn Ligon, Howard Greenberg Gallery, New York (curatorial project).
Decade: Contemporary Collecting 2002-2012, Albright-Knox Art Gallery, Buffalo, NY.
Invisible: Art about the Unseen, 1957-2012, Hayward Gallery, London, UK (catalogue).
Material Assumptions: Paper as Dialogue, Center for Book and Paper Arts, Columbia College Chicago, Chicago, IL.
Material, curated by Duro Olowu, Salon 94 Freemans, New York, NY.
New to the Print Collection: Matisse to Bourgeois, Museum of Modern Art, New York, NY.
Painting in Space: An Exhibition to Benefit CCS Bard, Luhring Augustine Gallery, New York, NY.
Regarding Warhol: Sixty Artists, Fifty Years, The Metropolitan Museum of Art, New York, NY (catalogue).
Self-Portraits, Louisiana Museum of Modern Art, Humlebaek, Denmark.
Terrain: Selected Works from the Collection, Linda Pace Foundation, San Antonio, TX.
Text as Image: Mel Bochner, Graham Gillmore, Glenn Ligon, Senior & Shopmaker, New York, NY.
The Annual 2012. National Academy, New York, NY.
The Expanding Grid, Churchill P. Lathrop Gallery, Hood Museum of Art, Dartmouth College, Hanover, NH.
The Painting Factory, Los Angeles MOCA, Los Angeles, CA (catalogue).
The Residue of Memory, Aspen Art Museum, Aspen, CO.
Weighted Words, Zabludowicz Collection, London, UK (catalogue).

2011 12th Istanbul Biennial (catalogue).
After Hours: Murals on the Bowery, New York, NY.
American Exuberance, Rubell Family Collection, Miami, FL (catalogue).
ARTiculate: Links Between Visual and Verbal Expression, Camden Stedman Gallery, Rutgers University, NJ.
Black Swan: The Exhibition, Regen Projects, Los Angeles, CA.
Distant Star/Estrella Distante, Kurimanzutto, Mexico City; Regen Projects, Los Angeles, CA.
Face Off: Portraits by Contemporary Artists, Lyman Allyn Art Museum, New London, CT.
Human Nature: Contemporary Art from the Collection, Los Angeles County Museum of Art, CA.
If you Lived Here You’d be Home, Curated by Josiah McElheny, Tom Eccles and Lynne Cook, CCS Bard Hessel Museum, Annandale-on-Hudson, NY (brochure).
Jean Genet, Nottingham Contemporary, Nottingham, UK.
Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York, NY.
Mixed Messages, La MaMa Galleria, New York, NY.
Nothing in the World But Youth, Turner Contemporary, Kent, UK (catalogue).
Robert Mapplethorpe: Night Works, Alison Jacques Gallery, London, UK.
Seeing Gertrude Stein: Five Stories, Contemporary Jewish Museum, San Francisco, CA (catalogue); the National Portrait Gallery, Washington, D.C.
T_XT_RT, Jenkins Johnson Gallery, New York, NY.
The Bearden Project, The Studio Museum In Harlem, Harlem, NY (catalogue).
The Last First Decade, Ellipse Foundation, Portugal.
We Will Live, We Will See, Zabludowicz Collection, London (brochure).

2010 Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK (catalogue); Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain.
America: Now + Here, a travelling exhibition in multiple expandable trucks, in many US Cities including Kansas City, Detroit, and Chicago, and Aspen, curated by Eric Fischl (catalogue).
Collecting Biennials, Whitney Museum of American Art, New York, NY.
Contemporary Art from the Collection, The Museum of Modern Art, New York, NY.
Desire, The Jack S. Blanton Museum of Art, University of Texas at Austin (catalogue).
Embodied: black identities in American art from the Yale University Art Gallery, David C. Driskell Center, University of Maryland, College Park, MD; traveled to Yale University Art Gallery, New Haven, CT (catalogue).
From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Cleveland, OH.
HIDE/SEEK: Difference and Desire in American Portraiture, Brooklyn Museum, Brooklyn, NY (catalogue).
Imitation and Invention, Davison Art Center, Wesleyan University, Middletown, CT.
Library of Babel, Zabludowicz Collection, London, UK (catalogue).
Living with Art: Collecting Contemporary in Metro New York, Neuberger Museum of Art, Purchase, NY.
Minima Moralia, Marvelli Gallery, New York, NY.
Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present, Renia Sofia, Madrid, Spain (catalogue).
Picture Industry (Goodbye to All That), Regen Projects, Los Angeles, CA.
Self-Consciousness, VeneKlasen/Werner, Berlin, Germany.
Substitute Teacher, Atlanta Contemporary Arts Center, GA.
Territories, Left of Center, The Luckman Fine Arts Complex, Los Angeles, CA.
This Girl Bends: Art and Feminism since 1960, Williams College Museum of Art, Williamstown, MA.
Twenty Five, Luhring Augustine, New York, NY.
Until Now: Collecting the New (1960–2010), Minneapolis Institute of Arts, MN.

2009 30 Seconds off an Inch, The Studio Museum in Harlem, NY (catalogue).
A Subject Full of Suggestion, Selected works from the Latner Family Collection, Georgia Scherman Projects, Toronto, Ontario.
Beg, Borrow and Steal, Rubell Family Collection, Miami, FL (catalogue).
Between Art and Life: Contemporary Works from the Collection, San Francisco Museum of Modern Art, CA.
Collected: Propositions on the Permanent Collection, The Studio Museum in Harlem, NY.
Commentary, Paula Cooper Gallery, New York, NY.
Connections, Jenkins Johnson, New York/San Francisco.
Exposed! – Revealing Sources in Contemporary Art, Delaware Art Museum, Wilmington, DE.
Extended Family: Contemporary Connections, Brooklyn Museum, NY.
FAX, Independent Curators International (ICI), New York, NY, and The Drawing Center, New York, NY (catalogue); Contemporary Museum, Baltimore, MD; Plug in ICA, Winnipeg, Manitoba, Canada; Torrance Art Museum, CA; Para/Site Art Space, Hong Kong; Burnaby Art Gallery, Burnaby, British Columbia, Canada; Museo de Arte Carrillo Gil, Mexico City, Mexico; Dowd Gallery, State University of New York College at Cortland; New Galerie, Paris, France.
I.D.: Individual Demographics, Greg Kucera Gallery, Seattle, WA.
Infinitesimal Eternity, 32 Edgewood Avenue Gallery, Yale School of Art (catalogue).
Racism: An American Family Value, The Center for Book Arts, New York, NY (catalogue).
Reflection: a video program, Gallery 400, University of Illinois at Chicago.
Word, William Shearburn Gallery, Saint Louis, MO.

2008 30 Americans, Rubell Family Collection, Miami, FL (catalogue); Corcoran Gallery, Washington D.C.
A Collaborative Effort, Bill Hodges Gallery, New York, NY.
Across the Divide: Reconsidering the Other, Illinois State Museum, Springfield, IL (catalogue); Illinois State Museum, Chicago.
African-American Master Artists, Bill Hodges Gallery, New York, NY.
Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York, NY (catalogue).
Black Is, Black Ain’t, The Renaissance Society at The University of Chicago, IL; H&R Block Artspace, Kansas City Art Institute, MO.
Confronting History: Contemporary Artists Envision the Past, Middlebury College Museum of Art, Middlebury, VT.
Eminent Domain: Contemporary Photography and the City, Gottesman Exhibition Hall, Humanities and Social Sciences Library, The New York Public Library, NY (catalogue).
Here Is Every. Four Decades of Contemporary Art, The Museum of Modern Art, New York, NY.
Intimacy, The Fireplace Project, East Hampton, NY.
Listen Darling . . . The World is Yours, Ellipse Foundation Art Centre, Cascais, Portugal.
More Than Words, Von Lintel Gallery, New York, NY.
Notations: The Closing Decade, Philadelphia Museum of Art, PA (brochure).
On the Road/Position Papers/Insertions: The 7th Gwangju Biennale, South Korea (catalogue).
Progress, Whitney Museum of American Art, New York, NY.
The Summer Exhibition, Bill Hodges Gallery, New York, NY.
The Wizard of Oz, CCA Wattis Institute for Contemporary Arts, San Francisco, CA (catalogue).
Under Pain of Death, Austrian Cultural Forum in association with the Center for the Study of Human Rights, New York, NY (catalogue).
Working History: African American Art & Objects. Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, OR.
You & Me, Sometimes . . . , Lehmann Maupin Gallery, New York, NY.

2007 Art in America: Three Hundred Years of Innovation, The Solomon R. Guggenheim Foundation and the Terra Foundation for American Art (catalogue); National Art Museum of China, Beijing; Shanghai Museum and the Museum of Contemporary Art, Shanghai, China [as Art in America: Now]; Pushkin Museum of Fine Arts, Moscow, Russia; Guggenheim Museum Bilbao, Spain.
ART PROTECTS, Galerie Yvon Lambert, Paris, France.
Collected Identities: Gifts from the Blake Byrne Collection, Nasher Museum of Art, Duke University, Durham, NC.
Contemporary Art from the Harvard University Art Museums Collections, Fogg Art Museum, Harvard University, Cambridge, MA.
Fast Forward: Contemporary Collections for the Dallas Museum of Art [Part II], Dallas Museum of Art, TX (catalogue).
For the Love of the Game: Race and Sport in America, Wadsworth Atheneum, Hartford, CT.
Gallery Artists, Regen Projects, Los Angeles, CA.
Learn to Read, Tate Modern, London, UK.
Lines, Grids, Stains, Words: Minimal Art Drawings from the Collection of The Museum of Modern Art, New York, The Museum of Modern Art, New York, NY (catalogue); Museu de Arte Contemporânea de Serralves, Porto, Portugal; Museum Wiesbaden, Germany.
Mario Testino: At Home, Yvon Lambert Gallery, New York, NY.
Modern Times: Alumni Collect, Bowdoin College Museum of Art, Brunswick, ME.
Not For Sale, P.S.1 Contemporary Art Center, Long Island City, NY.
Novel Readings, Center for Curatorial Studies Galleries, Bard College, Annandale-on-Hudson, NY.
The Paintings of Mike Cloud: In Celebration of Black History Month, Lincoln Center Gallery, New York, NY, Lincoln Center Gallery, Fordham University, New York.
Paper Trail: A Decade of Acquisitions, Walker Art Center, Minneapolis, MN.
Paper, Fisher Landau Center for Art, Long Island City, NY.
Read Me! Text in Art, Armory Center for the Arts, Pasadena, CA.
Repicturing the Past/Picturing the Present, The Museum of Modern Art, New York, NY.
Simply Red, The Fabric Workshop and Museum, Philadelphia, PA.
Sparkle Then Fade, Tacoma Art Museum, WA.
Substance & Surface, Bortolami Gallery, New York, NY.
Taking Aim: Selections from the Elliot L. Perry Collection, Clough-Hanson Gallery, Rhodes College, Memphis, TN.
What is Painting? Contemporary Art from the Collection, The Museum of Modern Art, New York, NY.

2006 black alphabet: conTEXTS of contemporary african-american art, Zacheta National Gallery of Art, Warsaw, Poland (catalogue).
Collective Histories/Collective Memories: California Modern, Orange County Museum of Art, Newport Beach, CA.
Dark Places, Santa Monica Museum of Art, Los Angeles, CA (catalogue).
Defamation of Character, P.S.1 Contemporary Art Center, Long Island City, NY.
Down by Law, curated by The Wrong Gallery, Whitney Museum of American Art, New York, NY (catalogue).
Ernest C. Withers and Glenn Ligon: I Am A Man, Contemporary Art Museum St. Louis, MO.
Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY.
Expressing Identity: American Prints Since 1980, Sheldon Museum of Art (formerly Sheldon Memorial Art Gallery), University of Nebraska–Lincoln.
Gifts Go in One Direction, Apexart, New York, NY (brochure).
Group Dynamic: Portfolios, Series, and Sets, Des Moines Art Center, IA.
Interstellar Low Ways, Hyde Park Art Center, Chicago, IL.
Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, NY.
Legacies: Contemporary Artists Reflect on Slavery, New-York Historical Society, New York, NY (catalogue).
Open House, Centro Cultural de Cascais, Cascais, Portugal; Ellipse Foundation Art Centre, Cascais, Portugal.
Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street, The Fabric Workshop and Museum, Philadelphia, PA.
Remix Identity and Abstraction, Albright-Knox Art Gallery, Buffalo, NY.
Skin Is a Language, Whitney Museum of American Art, New York, NY.
SUBJECT, Lyman Allyn Museum, New London, CT.
The Past Made Present: Contemporary Art and Memory, Museum of Fine Arts, Houston, TX.
Voodoo Macbeth, Brighton Photo Biennial, De La Warr Pavilion, Bexhill-on-Sea, East Sussex, UK (catalogue).
Yes Bruce Nauman, Zwirner and Wirth, New York, NY.

2005 A Brief History of Invisible Art, Logan Galleries, CCA Wattis Institute for Contemporary Arts, San Francisco, CA (catalogue).
A Thousand Words, Inman Gallery, Houston, TX.
African American Art: Masterworks of Contemporary Art, Saint Louis Art Museum, MO.
Beauford Delaney in Context: Selections from the Collection, Philadelphia Museum of Art, Philadelphia, PA.
Between Image and Concept: Recent Acquisitions in African American Art, Princeton University Art Museum, Princeton, NJ.
Collection Remixed, The Bronx Museum of the Arts, NY (catalogue).
Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum Houston, TX (catalogue).
Drawing from the Modern, 1975–2005, The Museum of Modern Art, New York, NY (catalogue).
Getting Emotional, Institute of Contemporary Art, Boston, MA (catalogue).
Landscape, Whitney Museum of American Art, New York, NY.
Linkages and Themes in the African Diaspora: Selections from the Eileen Harris Norton and Peter Norton Contemporary Collections, Museum of the African Diaspora, San Francisco, CA.
Looking at Words: The Formal Use of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery, New York, NY.
New Art, New York: Reflexionen zur menschlichen Existenz, Trierenberg Art, Traun, Austria.
ROMANCE [a novel], Cristina Guerra Contemporary Art, Lisbon, Portugal (catalogue).
Shades of Black(ness), Davison Art Center, Wesleyan University, Middletown, CT.
The Painted Word: Language as Image in Modern Art, Williams Center for the Arts Gallery, Lafayette College, Easton, PA (brochure).
The Shape of Time, Walker Art Center, Minneapolis, MN.
Very Early Pictures, Luckman Gallery, California State University, Los Angeles, CA; Arcadia University Gallery, Glenside, PA.
Wordplay: Text and Image from 1950 to Now, Davison Art Center, Wesleyan University, Middletown, CT.

2004 American Art on Paper from the 1960s to Present: Selections from the Permanent Collection, Mildred Lane Kemper Art Museum, Washington University in St. Louis, MO.
Experiments with Truth, The Fabric Workshop and Museum, Philadelphia, PA (catalogue).
Glenn Ligon: Runaways, Rhode Island School of Design Museum, Providence, RI.
Great White, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY.
Love/Hate: From Magritte to Cattelan, Masterpieces from the Collection of the Museum of Contemporary Art, Chicago, Villa Manin di Passariano, Italy (catalogue).
neoqueer: new visual art by lesbian, gay, bisexual and transgender artists, Center on Contemporary Art (COCA), Seattle, WA.
Open House: Working in Brooklyn, Brooklyn Museum, NY (catalogue).
Remembering, Sweeney Art Gallery, University of California, Riverside.
Robert Colescott & Glenn Ligon from the Logan Collection, University of Denver Victoria H. Myhren Gallery, CO (catalogue).
Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York, NY (catalogue).
Super-Sized: The Big Print Show, Greg Kucera Gallery, Seattle, WA.

2003 The Alumni Show: In Celebration of the Thirtieth Anniversary of the Center for the Arts, Wesleyan University, Ezra and Cecile Zilkha Gallery, Center for the Arts, Wesleyan University, Middletown, CT (brochure).
A Century of Collecting: African American Art in the Art Institute of Chicago, Art Institute of Chicago, IL (catalogue).
American Art Today: Faces and Figures, The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami (catalogue).
An American Legacy: Art from the Studio Museum in Harlem, The Parrish Art Museum, Southampton, NY.
Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Contemporary Arts Center, Cincinnati, OH.
The Disembodied Spirit, Bowdoin College Museum of Art, Brunswick, ME (catalogue); Kemper Museum of Contemporary Art, Kansas City, MO; Austin Museum of Art, TX.
DL: The “Down Low” in Contemporary Art, Longwood Art Gallery @ Hostos, Hostos Community College, Bronx, NY.
Drawing Modern: Works from the Agnes Gund Collection, Cleveland Museum of Art, OH (catalogue).
Family Ties, Peabody Essex Museum, Salem, MA (catalogue).
Fast Forward: 20 Years of White Rooms, White Columns, New York, NY (catalogue).
The Harlem Renaissance and Its Legacy, Worcester Art Museum, MA, January (brochure).
Influence, Anxiety, and Gratitude, MIT List Visual Arts Center, Cambridge, MA.
On the Wall: Wallpaper and Tableau, The Fabric Workshop and Museum, Philadelphia, PA (catalogue).
Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York, NY (catalogue); Seattle Art Museum, WA.
The Paper Sculpture Show, Independent Curators International (ICI), New York (catalogue); Sculpture Center, Long Island City, NY; Regina Gouger Miller Gallery, Carnegie Mellon University, Pittsburgh, PA; DiverseWorks, Houston, TX; Contemporary Art Center of Virginia, Virginia Beach; Hunter Museum of American Art, Chattanooga, TN; Gallery 400, University of Illinois at Chicago; The Ballroom, Marfa, TX; Orange County Museum of Art, Newport Beach, CA; Salina Art Center, Salina, KS; Dunlop Art Gallery, Regina, Saskatchewan, Canada; Memorial Art Gallery, University of Rochester, NY; Art Interactive, Boston, MA; Legion Arts, Cedar Rapids, IA; Coral Springs Museum of Art, Coral Springs, FL; University of Virgina Art Museum, Charlottesville; Purdue University Galleries, West Lafayette, IN; Atlanta Contemporary Art Center, GA; Contemporary Arts Center Cincinnati, OH; Austin Museum of Art, TX; Kresge Art Museum, Michigan State University, East Lansing.
Skin Deep, Numark Gallery, Washington, DC (brochure).
Stranger in the Village: Contemporary Drawings and Photographs from The Museum of Modern Art, Guild Hall, East Hampton, NY.
Structures of Difference, Wadsworth Atheneum Museum of Art, Hartford, CT.
Supernova: Art of the 1990s from the Logan Collection, San Francisco Museum of Modern Art, CA (catalogue).
The Space Between: Artists Engaging Race and Syncretism, Davis Museum and Cultural Center, Wellesley College, Wellesley, MA.
The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN (catalogue).
Today’s Man, John Connelly Presents, New York, NY; Hiromi Yoshii Gallery, Tokyo, Japan.
Visual Poetics: Art and the Word, Miami Art Museum, FL (brochure).
Visualizing Identity, The Jack S. Blanton Museum of Art, University of Texas at Austin.

2002 Documenta 11, Platform 5, Kassel, Germany (catalogue).
Drawings of Choice from a New York Collection, Krannert Art Museum, University of Illinois at Urbana-Champaign (catalogue); Arkansas Arts Center, Little Rock; Georgia Museum of Art, University of Georgia, Athens; Bowdoin College Museum of Art, Brunswick, ME; Cincinnati Art Museum, OH.
Fifty Years of Supporting the New: The Charles H. Carpenter Jr. Collection, Aldrich Museum of Contemporary Art, Ridgefield, CT.
In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King Jr., Smithsonian Institution Traveling Exhibition Service (catalogue); Charles H. Wright Museum of African American History, Detroit, MI; Bass Museum of Art, Miami Beach, FL; Frederick R. Weisman Art Museum, Minneapolis, MN; International Gallery, Smithsonian Institution, Washington, DC; Memphis Brooks Museum of Art, Memphis, TN; Montgomery Museum of Fine Arts, AL.
Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the MCA Collection, Museum of Contemporary Art, Chicago, IL (catalogue).
Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections, Solomon R. Guggenheim Museum, New York, NY (catalogue); Guggenheim Museum Bilbao.
New York Renaissance: Masterworks from the Collection of the Whitney Museum of American Art, Palazzo Reale, Milan, Italy (catalogue).
New York, New Work, Now!, Currier Museum of Art, Manchester, NH.
People See Paintings: Photography and Painting from the MCA Collection, Museum of Contemporary Art, Chicago, IL.
Recent Acquisitions, Fonds Régional d’Art Contemporain, Reims, France.
Tempo, The Museum of Modern Art, New York, NY (catalogue).
time/frame, The Jack S. Blanton Museum of Art, University of Texas at Austin (catalogue).

2001 A Private Reading: The Book As Image & Object, Senior & Shopmaker Gallery, New York, NY.
A Way with Words: Selections from the Whitney Museum of American Art, Whitney Museum of American Art at Philip Morris, New York, NY (brochure).
Camera Works: The Photographic Impulse in Contemporary Art, Marianne Boesky Gallery, New York, NY.
Digital: Printmaking Now, Brooklyn Museum of Art, NY (catalogue).
Drawing on Language, SPACES, Cleveland, OH (catalogue).
Everybody Now: The Crowd in Contemporary Art, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, NY (catalogue).
Kinds of Drawing, Herter Art Gallery, University of Massachusetts, Amherst (brochure).
Monochrome/Monochrome?, Florence Lynch Gallery, New York, NY.
New to the Modern: Recent Acquisitions from the Department of Drawings, The Museum of Modern Art, New York, NY.
Race in Digital Space, MIT List Visual Arts Center, Cambridge, MA (catalogue); The Studio Museum in Harlem, NY; Spelman College Museum of Fine Art, Atlanta, GA.
Red, Black and Green, The Studio Museum in Harlem, NY.
Rembrandt to Rauschenberg: Building the Collection, The Jack S. Blanton Museum of Art, University of Texas at Austin (catalogue).
Song Poems, Cohan Leslie and Browne Gallery, New York, NY.
Subject Plural: Crowds in Contemporary Art, Contemporary Arts Museum, Houston, TX (catalogue).
Take Two/Reprise, Ottawa Art Gallery, Ontario, Canada, April 26–June 24 (brochure).
Works on Paper: From Acconci to Zittel, Victoria Miro Gallery, London, UK.

2000 3rd Gwangju Biennale: Man and Space, Gwangju, South Korea (catalogue).
Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, IL.
AutoWerke, Deichtorhallen, Hamburg, Germany, November 10 (catalogue).
Drawings & Photographs: Foundation for Contemporary Performing Arts Benefit Exhibition, Matthew Marks Gallery, New York, NY.
Dream Machines, Hayward Gallery, South Bank Centre, London, for the Arts Council of England (catalogue); Dundee Contemporary Arts, Scotland; Mappin Art Gallery, Sheffield, UK; Camden Arts Centre, London, UK.
“Good Business Is the Best Art”: Twenty Years of the Artist in the Marketplace Program, The Bronx Museum of the Arts, New York (CD-ROM).
Looking Forward, Looking Black, Elaine L. Jacob Gallery, Wayne State University, Detroit (catalogue); Houghton House Gallery, Hobart and William Smith Colleges, Geneva, NY; Weatherspoon Art Gallery, University of North Carolina at Greensboro; Scottsdale Museum of Contemporary Art, Scottsdale, AZ; Yager Museum, Hartwick College, Oneonta, NY; Georgia State University School of Art and Design Gallery, Atlanta; Aidekman Arts Center, Tufts University, Boston, MA; Ezra and Cecile Zilkha Gallery, Center for the Arts, Wesleyan University, Middletown, CT; Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA; Victoria H, Myhren Gallery, University of Denver, CO; Baltimore Museum of Art, MD; Dayton Art Institute, Dayton, OH; YMI Cultural Center, Asheville, NC.
The Marriage of Reason and Squalor, The Museum of Modern Art, New York, NY.
Open Ends: White Spectrum, The Museum of Modern Art, New York, NY (brochure).
Point of Reference: Frederick Hayes, Glenn Ligon, Gary Simmons, Kara Walker, Addison Gallery of American Art, Phillips Academy, Andover, MA.
Pollock to Today: Highlights from the Permanent Collection, Whitney Museum of American Art, New York, NY.
Refresh: The Art of the Screensaver, Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University, Palo Alto, CA.
Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA.

1999 The American Century: Art & Culture Part II 1950–2000, Whitney Museum of American Art, New York, NY (catalogue).
Calendar 2000, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY.
Collectors Collect Contemporary: 1990–99, Institute of Contemporary Art, Boston, MA (catalogue).
Compliments, Ernest Rubenstein Gallery, The Educational Alliance, New York, NY.
Con(text): Words, Texts, and Meaning in the Permanent Collection, The Bronx Museum of the Arts, NY.
Contemporary Narratives in American Prints, Whitney Museum of American Art at Champion, Stamford, CT (brochure).
Crosscurrents: New Art from MoMA, New York, The Museum of Modern Art, New York (catalogue); Hara Museum of Contemporary Art, Tokyo, Japan.
Drawing in the Present Tense, Arnold and Sheila Aronson Gallery, Parsons School of Design, New York, NY (catalogue); Julian Akus Gallery, Eastern Connecticut State University, Willimantic, CT.
The Ecstatic, Trans Hudson Gallery, New York, NY.
Glenn Ligon/Kara Walker, Brent Sikkema Gallery, New York, NY (brochure).
Life Cycles, Galerie für Zeitgenössische Kunst Leipzig, Germany (catalogue).
Negotiating Small Truths, The Jack S. Blanton Museum of Art, University of Texas at Austin (catalogue).
Other Narratives, Contemporary Arts Museum, Houston, TX (catalogue); ArtPace, San Antonio, TX [as Some Other Narratives].
Spaced Out: Late 1990s Works from the Vicki and Kent Logan Collection, California College of Arts and Crafts, San Francisco, CA (catalogue).

1998 100 Years of Sculpture: From the Pedestal to the Pixel, Walker Art Center, Minneapolis, MN (catalogue).
A Portrait of Our Times: An Introduction to the Logan Collection, San Francisco Museum of Modern Art, California (catalogue).
Cleveland Collects Contemporary Art, Cleveland Museum of Art, Cleveland, OH.
Cut on the Bias: Social Projects of the 90’s from the Permanent Collection, The Fabric Workshop and Museum, Philadelphia, PA.
Exterminating Angel, Galerie Ghislaine Hussenot, Paris.
Hindsight: Selections from the Permanent Collection, Whitney Museum of American Art, New York, NY.
Histories (Re)membered: Selections from the Permanent Collection of The Bronx Museum of the Arts, Paine Webber Art Gallery, New York, NY.
I’m Still In Love With You: Visual Artists and Writers Respond to the 1972 Album by Al Green, Women’s 20th Century Club, Eagle Rock, CA.
Miami Arts Project. Miami, FL (brochure).
Núcleo Historico, XXIV Bienal de São Paulo, Brazil (catalogue).
Postcards from Black America, Breda, De Bayerd Museum, The Netherlands (catalogue).

1997 A Decade of Collecting: Selected Recent Acquisitions in Contemporary Drawing, The Museum of Modern Art, New York, NY (brochure).
Blind Spot: Coming of Age, White Columns.
Civil Progress: Life in Black America, Greg Kucera Gallery, Seattle, WA (catalogue).
From Brixton to the South Bank, public installation, London Printworks Trust, UK (brochure).
Heart, Mind, Body, Soul: American Art in the 1990’s, Whitney Museum of American Art, New York, NY.
Heaven: Public View, Private View, PS.1. Contemporary Art Center, New York, NY.
Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee Art Museum, WI (catalogue); Aspen Art Museum, CO.
Kimchi Xtravaganza, Korean American Museum, Los Angeles, CA (catalogue).
Kind of Abstract, Seattle Art Museum, WA.
Presente/Passato/Futuro: XLVII Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice (catalogue).
Rhapsodies in Black, Hayward Gallery, South Bank Centre, London, UK (catalogue); Arnolfini Gallery, Bristol, UK; The Mead Gallery, Coventry, UK; California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, CA; The Corcoran Gallery of Art, Washington DC.
Sunny Days / Critical Times, The Bohen Foundation, New York, NY.
The Dual Muse: The Writer As Artist, The Artist As Writer, Washington University Gallery of Art, St. Louis, MO (catalogue).
Thirty-Third Annual Exhibition of Art on Paper, Weatherspoon Art Gallery, The University of North Carolina at Greensboro (catalogue).
Un Bel été, Casino Luxembourg, Luxembourg (catalogue).

1996 10th Biennale of Sydney: Jurassic Technologies Revenant, Art Gallery of New South Wales, Artspace, and Ivan Dougherty Gallery, Sydney, Australia (catalogue).
a/drift, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY (catalogue).
An American Story, Whitney Museum of American Art, New York, NY.
Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, Whitney Museum of American Art, New York (organizer) (catalogue); National Gallery, Alexandros Soutzos Museum, Athens, Greece; Museu d’Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Germany [as Multiple Identity: Amerikanische Kunst 1975–1995 aus dem Whitney Museum of American Art].
Burning Issues: Contemporary African-American Art, Museum of Art, Fort Lauderdale, FL (brochure).
Community of Creativity: A Century of MacDowell Colony Artists, The Currier Gallery of Art, Manchester, NH (catalogue); National Academy of Design, New York, NY; Wichita Art Museum, KS.
Exit festival, Maison des Arts de la Culture, Paris-Creteil, France.
Hotter Than July, Margo Leavin Gallery, Los Angeles, CA.
In the Flesh, The Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue).
Inklusion/Exklusion: Versuch einer neuen Kartografie der Kunst um Zeitalter von Postkolonialismus und globaler Migration [Inclusion/Exclusion: Attempt for a New Cartography of Art in the Age of Post-Colonialism and Global Migration], Steirischer Herbst ’96, Graz, Austria (catalogue).
The Inner Eye: Art Beyond the Visible, Hayward Gallery, South Bank Centre, London, UK (catalogue); City Art Galleries, Manchester, UK; Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, Wales; Dulwich Picture Gallery, London, UK.
The Mediated Object: Selections from the Eli Broad Collections, Fogg Art Museum, Harvard University, Cambridge, MA (catalogue); Forum for Contemporary Art, St. Louis, MO.
On Paper II, Schmidt Contemporary Art, St. Louis, MO.
Prospect 1996, Frankfurt Kunstverein, Germany (catalogue).
Screen, Friedrich Petzel Gallery, New York, NY (video catalogue).
Tangles, Otis College of Art and Design, Los Angeles, CA.
Thinking Print: Books to Billboards, 1980–95, The Museum of Modern Art, New York, NY (catalogue).

1995 25 Americans: Painting in the 90s, Milwaukee Art Museum, WI (catalogue).
Articulations: Forms of Language, Whitney Museum of American Art (organizer), Fisher Landau Center, Long Island City, NY (brochure).
Boxer, Walsall Museum and Art Gallery, Walsall, UK (catalogue); Oldham Art Gallery, Oldham, UK; Aspex Gallery, Portsmouth, UK; Centre for Contemporary Arts, Glasgow, Scotland.
Configura 2: Dialog der Kulturen, Angermuseum, Galerie am Fischmarkt, Erfurt, Germany (catalogue).
Face Forward: Self-Portraiture in Contemporary Art, John Michael Kohler Arts Center, Sheboygan, WI (catalogue).
fag-o-sites, Gallery 400, School of Art and Design, University of Illinois-Chicago.
Glenn Ligon and Gary Simmons, The Fabric Workshop and Museum, Philadelphia, PA (brochure); Beaver College Art Gallery, Glenside, PA.
In a Different Light, University of California, Berkeley Art Museum and Pacific Film Archive (catalogue).
The Masculine Masquerade: Masculinity and Representation, MIT List Visual Arts Center (catalogue).
Mirage: Enigmas of Race, Difference and Desire, Institute of Contemporary Arts, London, UK (catalogue).
Pervert, The Art Gallery, The University of California, Irvine (brochure).
Telling Tales, The Rotunda Gallery, Brooklyn, NY (brochure).
Word for Word, Beaver College Art Gallery, Glenside, PA.
XI Mostra da Gravura Cidade de Curitiba/Mostra America, Curitiba, Brazil (catalogue).

1994 Black Male: Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York, NY (catalogue); Hammer Museum, Los Angeles (formerly the Armand Hammer Museum of Art and Cultural Center, UCLA).
Dark O’Clock, Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Plug in ICA (formerly known as Plug In Inc., Video Pool, Ace Art), Winnipeg, Manitoba, Canada (catalogue).
Don’t Look Now, Thread Waxing Space, New York, NY (catalogue).
Drama, Max Protetch Gallery, New York, NY.
Duchamp’s Leg, Walker Art Center, Minneapolis, MN; Center for the Fine Arts, Miami, FL (brochure).
Equal Rights & Justice: Reflections on Rights, High Museum of Art, Atlanta, GA; The Center for African American History & Culture, Smithsonian Institution, Washington D.C.
The Label Show: Contemporary Art and the Museum, Museum of Fine Arts, Boston, MA (brochure).
The Magic Magic Book, Whitney Museum of American Art, New York, NY (catalogue).
New Painting: Feinstein, Ligon, Reed, Max Protetch Gallery, New York, NY.
Oliver Herring, Byron Kim, Glenn Ligon, Galerie Gilles Peyroulet, Paris, France.
Physical Evidence, Lehman College Art Gallery, Bronx, NY.
Stories, Max Protetch Gallery, New York, NY.
Transformers: The Art of Multiphrenia, Independent Curators Incorporated (ICI) (catalogue); Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY; Decker Galleries, Maryland Institute College of Art, Baltimore; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Nexus Contemporary Art Center, Atlanta, GA; Art Gallery of Windsor, Ontario, Canada; Illingworth Kerr Art Gallery, Alberta College of Art and Design, Calgary, Canada.

1993 1993 Biennial Exhibition, Whitney Museum of American Art, New York, NY (catalogue); National Museum of Contemporary Art, Seoul, South Korea.
42nd Street Art Street Project, Creative Time (organizer), Times Square, New York, NY (brochure).
Black & White: Paintings by Jerald Ieans, Julian Lethbridge, Glenn Ligon, David Ortins, Harvey Tulcensky and Christopher Wool, Schmidt Contemporary Art, St. Louis, MO.
Byron Kim & Glenn Ligon: Collaborations, A/C Project Room, New York, NY.
Drawing the Line Against AIDS, Peggy Guggenheim Collection, Venice, Italy (catalogue).
Drucksache/Prints and Issues, Kunst-Werke Berlin, Germany.
The Ever Present Moment: Contemporary Drawing, Ringling School of Art and Design, Sarasota, FL.
Everyday Life, Kim Light Gallery, Los Angeles, CA.
Extravagant: The Economy of Elegance, Russisches Kulturzentrum, Berlin, Germany.
In Transit, New Museum of Contemporary Art, New York, NY (brochure).
Markets of Resistance, White Columns, New York, NY (brochure).
Myths & Legends As Told and Retold, Barbara Krakow Gallery, Boston, MA.
The Return of the ‘. .Exquis,’ The Drawing Center, New York, NY (catalogue); The Corcoran Gallery of Art, Washington, D.C.; Santa Monica Museum of Art, CA; Forum for Contemporary Art, St. Louis, MO.

1992 A New American Flag, Max Protetch Gallery, New York, NY.
All Words Suck, Anders Tornberg Gallery, Lund, Sweden.
Allegories of Modernism: Contemporary Drawings, The Museum of Modern Art, New York, NY (catalogue).
Doubletake: Collective Memory and Current Art, Hayward Gallery, South Bank Centre, London, UK (catalogue); Kunsthalle Vienna, Austria.
Dream Singers, Story Tellers: An African-American Presence, Prefecture of Fukui, Japan, and New Jersey Department of State (organizers) (catalogue); Fukui Fine Arts Museum, Fukui City, Japan; The Tokushima Modern Art Museum, Tokushima City, Japan; Otani Memorial Art Museum, Nishinomiya City, Japan; New Jersey State Museum, Trenton.
Knowledge: Aspects of Conceptual Art, University Art Museum, University of California, Santa Barbara (catalogue); Santa Monica Museum of Art, CA; North Carolina Museum of Art, Raleigh.
Malcolm X: Man, Ideal, Icon, Walker Art Center, Minneapolis, MN (brochure), Institute of Contemporary Art, Boston, MA; The Valentine Richmond History Center, Richmond, VA; Anacostia Museum, Washington D.C.; Nexus Contemporary Art Center, Atlanta, GA; Yerba Buena Center for the Arts, San Francisco, CA.
Mistaken Identities, University Art Museum, University of California, Santa Barbara (catalogue); Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstrasse, Bremen, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark.
Slow Art: Painting in New York Now, The Institute for Contemporary Art, P.S.1 Museum, Long Island City, NY (brochure).
Somewhere Between Image and Text, Barbara Krakow Gallery, Boston, MA.
Update 1992, White Columns, New York, NY (brochure).
We Interrupt Your Regularly Scheduled ., White Columns, New York, NY (brochure); District of Columbia Arts Center, Washington, DC.

1991 1991 Biennial Exhibition, Whitney Museum of American Art, New York, NY (catalogue).
AIDS, A Community in Crisis, Jamaica Arts Center, Jamaica, NY.
Color Theory, Amelie A. Wallace Gallery, State University of New York College at Old Westbury, NY.
Interrogating Identity, Grey Art Gallery and Study Center, New York University, New York, NY (catalogue); Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Allen Memorial Art Museum, Oberlin College, OH.
Language: Body and Dream, P.S. 122, New York, NY.
Positions of Authority, Art in General, New York, NY.
Text out of Context, SoHo Center, New York, NY.

1990 Art of Resistance, El Arte de Resistencia, Galeria El Bohio, New York, NY.
Rutgers National ’90: Works on Paper, Stedman Art Gallery, Rutgers, the State University of New Jersey, Camden (brochure).
$pent: Currency, Security and Art on Deposit, New Museum of Contemporary Art at Marine Midland Bank, New York, NY.
Works on Paper, Salena Art Gallery, Long Island University, Brooklyn, NY.

1989 Selections 46, The Drawing Center, New York, NY.

1985 Open Studio, Whitney Museum Independent Study Program, New York, NY.

1984 Artist in the Marketplace, 4th Annual Group Show, The Bronx Museum of the Arts, NY (brochure).

Selected Public Collections

Albright-Knox Art Gallery, Buffalo
Art Institute of Chicago
Baltimore Museum of Art
Carnegie Museum of Art, Pittsburgh
Centre Pompidou, Paris
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Los Angeles County Museum of Art
Metropolitan Museum of Art, New York
Museum of Contemporary Art, Chicago
Museum of Modern Art, New York
Philadelphia Museum of Art
San Francisco Museum of Modern Art
Solomon R. Guggenheim Museum, New York
The Studio Museum in Harlem, New York
Tate Modern, London
Walker Art Center, Minneapolis
Whitney Museum of American Art, New York

Bibliography

Monographs

2018 Nadal–Melsió, Sara, Bordowitz, Gregg, ‘Debris Field/Notes for a Poem on the Third World/Soleil Nègre’, Paris: Galerie Chantal Crousel (exh. cat.)

Ligon, Glenn, Andrews, Stephen, ‘Glenn Ligon. Tutto Poteva, Nella Poesia, Avere Una Soluzione / In Poetry, A Solution To Everything’, London: Thomas Dane Gallery (exh. cat.)

Bordowitz, Gregg, ‘Glenn Ligon. Untitled (I Am a Man)’, London: Afterall

2016 Rat Hole Gallery, ‘Negro Sunshine’, Tokyo: Rat Hole Gallery (exh. cat.)

2015 Bordowitz, Gregg, Farquharson, Alex, Ligon, Glenn + [et al.], ‘Glenn Ligon. Encounters and Collisions’, London: Tate Publishing (exh. cat.)

Ligon, Glenn, ‘Housing in New York. A Brief History (Greater New York Reader)’, New York: MoMA PS1 (exh. cat.)

2014 Ratner, Megan, ‘Glenn Ligon Come Out’, London: Ridinghouse (exh. cat.)

Egan, Shannon, Conor, Kimberly Rae, ‘Glenn Ligon. Narratives’, Gettysburg: Schmucker Art Gallery, Gettysburg College (exh. cat.)

2013 Moran, Jason, Ligon, Glenn, ‘Glenn Ligon. Neon’, New York: Luhring Augustine (exh. cat.)

2011 Rothkopf, Scott (ed.), Als, Hilton, Enwezor, Okwui, Hartman, Saidiya + [et al.], ‘Glenn Ligon. AMERICA’, New York: Whitney Museum of American Art (exh. cat.)

2008 Koestenbaum, Wayne, ‘Glenn Ligon. Figure/Paysage/Marine’, Paris: Galerie Yvon Lambert (exh. cat.)

2007 Bill Hodges Gallery, ‘Glenn Ligon. Unauthorized’ New York: Bill Hodges Gallery

2005 Baerwaldt, Wayne, Golden, Thelma (eds.), ‘Glenn Ligon –Some Changes’, Toronto: The Power Plant (exh. cat.)

2004 Ligon, Glenn, Gaines, Malik, ‘Glenn Ligon. Text Paintings: 1990–2004’, Los Angeles: Regen Projects (exh. cat.)

2001 Koestenbaum, Wayne, Ilesanmi, Olukemi, ‘Coloring. New Work by Glenn Ligon’, Minneapolis: Walker Art Center (exh. cat.)

Ligon, Glenn, Golden, Thelma, Als, Hilton, ‘Glenn Ligon. Stranger’, New York: The Studio Museum in Harlem (exh. cat.)

1998 Arning, Bill, ‘Glenn Ligon. 98.1’, San Antonio: ArtPace (exh. cat.)

Tannenbaum, Judith, Meyer, Richard, Golden, Thelma, ‘Glenn Ligon. Unbecoming’, Philadelphia: Institute of Contemporary Art, University of Pennsylvania (exh. cat.)

1997 Wesleyan University, ‘Glenn Ligon. Day of Absence’ Middletown: Center for the Arts at Wesleyan University (exh. cat.)

1996 Kotik, Charlotta, ‘The Evidence of Things Not Seen. Drawings by Glenn Ligon’, Brooklyn: Brooklyn Museum (exh. cat.)

1992 Golden, Thelma, ‘Glenn Ligon. Good Mirrors Are Not Cheap’, New York: Whitney Museum of American Art (exh. cat.)

Miller–Keller, Andrea, ‘Glenn Ligon/MATRIX 120’, Hartford: Wadsworth Atheneum (exh. cat.)

Books and Exhibition Catalogues

2019 Choi, Connie ‘Black Refractions. Highlights from the Studio Museum in Harlem’ New York: American Federation of Arts/Rizzoli Electra (exh. cat.)

Mukherjee, Roopali, Banet–Weiser, Sarah, Grey, Herman (eds.), ‘Racism Postrace’, Durham: Duke University Press (exh. cat.)

Rankine, Claudia, ‘The White Card. A Play’, Minneapolis: Greywolf Press

2018 Bilyeu, Elizabeth Anne, ‘Witness’, New York: Distributed Art Publishers

Boris, Stacy (ed.), ‘Art AIDS America Chicago’, Chicago: Alphawood Foundation (exh. cat.)

Brodbeck, Anna Katherine, ‘TWO x TWO x TWENTY’, Dallas: Dallas Museum of Art (exh. cat.)

Cafritz, Peggy Cooper, ‘Fired Up! Ready to Go! Finding Beauty, Demanding Equity. An African American Life in Art’, New York: Rizzoli Electa (exh. cat.)

Campaña, Claudia, ‘Michael Jackson. Artes visuales y símbolos’, Santiago: Metales Pesados (exh. cat.)

Copeland, Huey, ‘Histórias afro–atlânticas antologia’, São Paulo: Museu de Arte de São Paulo Assis Chateaubriand (exh. cat.)

Cullinan, Nicholas, ‘Michael Jackson. On the Wall’, London: National Portrait Gallery (exh. cat.)

Heong Gallery at Downing College, ‘DO I HAVE TO DRAW YOU A PICTURE?’, Cambridge: Heong Gallery at Downing College (exh. cat.)

Edwards, Adrienne, ‘Jason Moran’, Minneapolis: Walker Art Center (exh. cat.)

Kastan, David Scott, ‘On Color’, New Haven: Yale University Press (exh. cat.)

National Gallery of Victoria, ‘MoMA AT NGV 130 Years of Modern and Contemporary Art’, Melbourne: National Gallery of Victoria (exh. cat.)

Naeem, Asma, ‘Black Out. Silhouettes Then and Now’ Washington D.C.: Smithsonian National Portrait Gallery (exh. cat.)

Petry, Michael, ‘The Word is Art’, London: Thames & Hudson

Polveroni, Adriana, Tosi, Gabriele, ‘Chi Utopia mangia le mele’, Bologna: Manfredi Edizioni (exh. cat.)

Puleo, Risa. ‘Walls Turned Sideways. Artists Confront the Criminal Justice System’, Miami: [NAME] Publications

Mnuchin Gallery, ‘Reds’ New York: Mnuchin Gallery (exh. cat.)

Tani, Ellen Y, ‘Second Sight. The Paradox of Vision in Contemporary Art’, New York: Scala Press/Bowdoin College (exh. cat.)

2017 Beckwith, Naomi, Oliver, Valerie Cassel, ‘Howardena Pindell. What Remains to Be Seen’, Chicago: Museum of Contemporary Art Chicago (exh. cat.)

Berry, Ian, ‘The Young Years’, Saratoga: Tang Teaching Museum (exh. cat.)

Ligon, Glenn, ‘Blue Black’, St. Louis: Pulitzer Arts Foundation (exh. cat.)

Boudou, Karima, ‘Frans Masereel and Contemporary Art. Images of Resistance’, Ostend: Mu.ZEE (exh. cat.)

Brambilla, Micola, Gioni, Massiliano (eds.), ‘The Restless Earth’, Milan: Trussardi Fondation (exh. cat.)

Coppel, Stephen, Daunt, Catherine, Tallman, Susan, ‘American dream. from pop to present’, London: Thames and Hudson (exh. cat.)

Crawford, Margo, ‘Black Post–Blackness. the Black Arts Movement and 21st Century Black Aesthetics’, Champaign: University of Illinois Press

Cutter, Martha, ‘The Illustrated Slave. Empathy, Pictorial Books, and the Visual Culture of the Transatlantic Abolition Movement, 1800–1852’, Athens: University of Georgia Press

Doss, Erika, ‘American Art of the 20th–21st Centuries’, Oxford: Oxford University Press

Farrington, Lisa, ‘African–America Art. A Visual and Cultural History’, New York: Oxford University

Gaines, Malik, ‘Black Performance on the Outskirts of the Left. A History of the Impossible’, New York: New York University Press

Grant, Vera Ingrid, ‘Harlem. Found Ways’, Cambridge: Harvard University Press (exh. cat.)

Hoffmann, Jens (ed.), ‘Sonic Rebellion. Music as Resistance’, Detroit: Museum of Contemporary Art Detroit (exh. cat.)

Manné, Jamie G. (ed.), ‘Unpacking the Marciano Collection’, Los Angeles: The Marciano Foundation/Del Monico Books (exh. cat.)

Moura, Rodgrigo, ‘Doubles, Dobros, Pliegues, Pares, Twins, Mitades’, Dallas: The Warehouse (exh. cat.)

Neary, Janet, ‘Fugitive Testimony. On the Visual Logic of Slave Narratives’, New York: Fordham University Press

Patrick, Martin, ‘Across the Art/Life Divide. Performance, Subjectivity, and Social Practice in Contemporary Art’, Chicago: Chicago University of Press

Pilcher, Alex, ‘A Queer Little History of Art’, London: Tate

Solomon–Godeau, Abigail, ‘Photography after Photography’, Durham: Duke University Press

2016 JPMorgan Chase & Co., ‘Art at Work. The JPMorgan Chase Art Collection’, New York: JPMorgan Chase & Co.

Carroll, Alisa, ‘Art House. The Collaboration of Chara Schreyer & Gary Hutton’, New York: Assouline Publishing

Donlon, Bridget, ‘Pure Pulp. Contemporary Artists Working in Paper at Dieu Donné’, New York: DelMonico Books (exh. cat.)

English, Darby, ‘1971. A Year in the Life of Color’, Chicago: University of Chicago Press

Frantz, David, ‘Cock, Paper, Scissors’, Los Angeles: ONE Archives at the USC Libraries/Leslie–Lohman Museum of Gay and Lesbian Art

Gale, Matthew, ‘Tate Modern. The Handbook’, London: Tate Publishing

Getlein, Mark, ‘Living with Art. Eleventh Edition’, New York: McGraw–Hill Education

Goodyear, Anne Collins, ‘This is a Portrait If I Say So. Re–imagining Representation in American Art, 1912–Today’, New Haven: Yale University Press

National Gallery of Art, Washington, ‘Highlights from the National Gallery of Art, Washington’ Washington: National Gallery of Art

Martin, Courtney J. (ed.), ‘Four Generations The Joyner/Giuffrida Collection of Abstract Art’, New York: Gregory R. Miller & Co.

Mercer, Kobena, ‘Travel & See. Black Diaspora Art Practices since the 1980s’, Durham: Duke University Press

Murrary, Derek Conrad, ‘Queering Post–Black Art’, London: I.B. Tauris

South, Will, ‘REMIX. Themes and Variations in African American Art’, Columbia: Columbia Museum of Art (exh. cat.)

Taylor, Paul C, ‘Black is Beautiful. A Philosophy of Black Aesthetics’, Hoboken: Wiley–Blackwell

2015 Baerwaldt, Wayne, ‘Wonder and Resonance. Fiction/Non–fiction. Calgary’, Canada: Esker Foundation (exh. cat.)

Beckwith, Naomi, Roelstraete, Dieter, ‘The Freedom Principle. Experiments in Art and Music, 1965 to Now’ Chicago: The University of Chicago Press (exh. cat.)

Blagho, Laura + [et al.], ‘Art | Basel Year 45’, Zurich: JRP/Ringier (exh. cat.)

The Fralin Museum, ‘Cavaliers Collect. A Celebration of 80 Years of Art at the Bayley’, Charlottesville: The Fralin Museum, UVA (exh. cat.)

DuBois Shaw, Gwendolyn, ‘Represent. 200 Years of African American Art’, New Haven: Yale University Press

Gioni, Massimiliano, ‘New Skin, Selections from the Aishti Foundation Collection’ New York: Rizzoli International Publications (exh. cat.)

Goergen, Stacey, Benchley, Amanda, ‘Artists Living with Art’, New York: Abrams

Gioni, Massimiliano, ‘Good Dreams, Bad Dreams. Selections from the Aishti Foundation Collection’ Milan: Skira (exh. cat.)

Hart, Katherine, ‘Collecting and Sharing. Trevor Fairbrother, John T. Kirk, and the Hood Museum of Art’, Hanover: Hood Museum of Art, Dartmouth College

Heyler, Joanne, ‘The Broad Collection’, New York/Los Angeles: Prestel/The Broad (exh. cat.)

Hochdrfer, Achim + [et al.], ‘Painting 2.0. Expression in the Information Age’, New York: Prestel

Katz, Jonathan David, Hushka, Rock, ‘Art AIDS America’, Seattle/London: University of Washington Press (exh. cat.)

Enwezor, Okwui, ‘La Biennale di Venezia—56th International Art Exhibition. All The World’s Futures’, Venice: Fondazione La Biennale di Venezia (exh. cat.)

Merz, Beatrice, ‘First Edition. Mario Merz Prize Finalists’, Via Limone: Merz Foundation (exh. cat.)

Miller, Dana, Weinberg, Adam D., ‘Whitney Handbook of the Collection’, New York: Whitney Museum

Phaidon Editors, ‘The Body of Art’, London: Phaidon Press Ltd.

Piano, Renzo,‘Whitney Museum. Renzo Piano’, Genoa: Fondazione Renzo Piano

Presenti, Allegra, ‘Apparitions. Frottages and Rubbings from 1860 to Now’, Houston: The Menil Collection

Sandler, Irving, ‘Swept Up By Art. An Art Critic in the Post Avant-Garde Era’, Brooklyn: Rail Editions

Schwartz, Alexandra, ‘Come As You Are’, Montclair: Montclair Art Museum/University of California Press (exh. cat.)

Stewart, Mary, ‘Launching the Imagination. a comprehensive guide to basic design’, New York: McGraw Hill

Wolin, Joseph R, ‘Open This End. Contemporary Art from the Collection of Blake Byrne’, Los Angeles: The Skylark Foundation (exh. cat.)

2014 The Foundation for Contemporary Arts, ‘Artists for Artists. 51st Anniversary exhibition to Benefit the Foundation for Contemporary Arts’, New York: The Foundation for Contemporary Arts (exh. cat.)

Baker, George + [et al.], ‘Regen Projects 25’, Munich/London: New York/Prestel

Bui, Phong, ‘Bloodflames Revisited’, New York: Paul Kasmin Gallery (exh. cat.)

Burton, Johanna, Ellegoog, Anne (eds.), ‘Take It or Leave It. Institution, Image, Ideology’, Los Angeles: University of California (exh. cat.)

Chang, Jeff, ‘Who We Be. The Colorization of America’, New York: St. Martin's Press

Dexter, Emma, Vanhaerents, Walter, ‘Man in the Mirror’, Tielt: Lannoo Publishing

Dzine Rolon, Carlos, ‘Boxed. a visual history and the art of boxing’, New York: Paul Kasmin Gallery

Gaitán, Juan, ‘8th Berlin Biennale for Contemporary Art’, Ostfilderum: Hatje Cantz Verlag (exh. cat.)

Gonzales–Day, Ken, Hayes, Jeffreen, Parks, Sheri, ‘Network of Mutuality’, College Park: University of Maryland

Greaney, Patrick, ‘Quotational Practices’, Minneapolis/London: University of Minnesota Press

Haynes, Lauren, ‘Speaking of the People. Ebony, Jet and Contemporary Art’, New York: The Studio Museum in Harlem (exh. cat.)

Macel, Christine (ed.), ‘A History: Art, Architecture, Design from the 1980s Until Today’, Paris: Centre Pompidou / Flammarion (exh. cat.)

Noreika, Sarah, ‘Philadelphia Museum of Art Handbook’, Philadelphia: Philadelphia Museum of Art

Perry, Elliot, ‘Point of View. African American Art from the Elliot and Kimberly Perry Collection’, Flint/Detroit: Flint Institute of Arts / Charles H. Wright Museum of African American History (exh. cat.)

Rankine, Claudia, ‘Citizen. An American Lyric’, Minneapolis: Graywolf Press

Ross, Leslie, ‘Language in the Visual Arts. The Interplay of Text and Imagery’, Jefferson: McFarland

Rubell Collection, ‘Rubell Family Collection. Highlights & Artists' Writings’, Miami: Rubell Family Collection

Steeds, Lucy, ‘Exhibition (Documents of Contemporary Art)’, Cambridge: The MIT Press

Testino, Mario, Ulrich Obrist, Hans, Wakefield, Neville, ‘Somos Libres II. Works from the Mario Testino Collection’, New York: Rizzoli (exh. cat.)

Ward, Ossian, ‘Ways of Looking. How to Experience Contemporary Art’, London: Lawrence King Publishing

2013 Amirsadeghi, Hossein, ‘Art Studio America. contemporary artist spaces’, London/New York: Thames & Hudson

Whitney Museum of American Art, ‘Artists for the Whitney of the Future. A Benefit Auction’, New York: Whitney Museum of American Art

Copeland, Huey, ‘Bound to Appear. Art, Slavery and the Sites of Blackness In Multicultural America’, Chicago/London: University of Chicago Press

Decter, Joshua, ‘Art Is a Problem’, Zurich: JRP/Ringier, 2013

Lord, Catherine, Meyer, Richard, ‘Art & Queer Culture’, London: Phaidon

Meyer, Richard, ‘What Was Contemporary Art?’, Cambridge, MA: MIT Press

Moszynska, Anna, ‘Sculpture Now’, London: Thames & Hudson

Raengo, Alessandra, ‘On the Sleeve of the Visual. Race as Face Value’, Hanover: Dartmouth College Press

Saunders, Gill, Whitley, Zoé, ‘In Black and White. Prints from Africa and the Diaspora’, London: Victoria & Albert Museum

Scott, Curtis R., Steward James Christopher, ‘Handbook of the Collections’, Princeton: Princeton University Press

Thompson, Krista (ed.), ‘Black Is, Black Ain’t’ Hamza Walker’, Chicago: The Renaissance Society (exh. cat.)

2012 Harris–Kelley, Diedra, Golden, Thelma, Haynes, Lauren + [et al.], ‘The Bearden Project’, New York: The Studio Museum in Harlem (exh. cat.)

Jeffrey, Deitch, ‘The Painting Factory. Abstraction After Warhol’, MOCA/ Los Angeles: Skira Rizzoli Publications (exh. cat.)

Rosenthal, Mark, ‘Regarding Warhol. Sixty Artists, Fifty Years’, New Haven: Yale University Press (exh. cat.)

Rugoff, Ralph, ‘Invisible. Art About the Unseen 1957–2012’, London: Hayward Publishing (exh. cat.)

Sollins, Susan, Dowling, Susan, ‘Art 21. Art in the 21st Century’, Vol. 6, Dalton: Studley Press

Young, Kevin, ‘The Grey Album. On the Blackness of Blackness’, Minneapolis: Graywolf Press

2011 Barrett, Terry, ‘Making Art. Form and Meaning’, New York: McGraw–Hill

Birnbaum, Daniel + [et al.], ‘Defining Contemporary Art–25 Years in 200 Pivotal Artworks’, London: Phaidon

Des Moines Art Center, ‘Black White Gray Blue’, Des Moines: Des Moines Art Center (exh. cat.)

Chaich, John, ‘Mixed Messages’, New York: La MaMa Galleria (exh. cat.)

Corn, Wanda M., Latimer, Tirza True, ‘Seeing Gertrude Stein. Five Stories’, Berkeley: University of California Press

De Salvo, Donna, Giovannini, Joseph, ‘Legacy. The Emily Fisher Landau Collection’, New York: Whitney Museum of American Art (exh. cat.)

Hoffmann, Jens, Pedrosa, Adriano, ‘Istanbul Biennial Catalogue’, Istanbul: Istanbul Foundation for Culture and Arts (exh. cat.)

Koestenbaum, Wayne, ‘Humiliation’, New York: Picador

Roselione–Valadez, Juan, ‘American Exuberance’, Miami: Rubell Family Collection (exh. cat.)

Touré, ‘Who's afraid of Post–Blackness?: What It Means to Be Black Now’, New York: Free Press

2010 Carlozzi, Annette DiMeo, ‘Desire’, Austin: The Jack S. Blanton Museum of Art, University of Texas at Austin

Cooke, Lynne, Crimp, Douglas, Poor, Kristin, ‘Mixed Use, Manhattan. Photography and Related Practices 1970s to the present’, Madrid: Museo Nacional Centro de Arte, Reina Sofia (exh. cat.)

Desai, Dipti, Hamlin, Jessica, Mattson, Rachel, ‘History as Art, Art as History. Contemporary Art and Social Studies Education’, New York: Routledge

Drutt, Matthew, ‘DreamWorks’, San Antonio: Artpace San Antonio (exh. cat.)

Finley, Cherly, Golden, Thelma + [et al.], ‘Harlem. A Century in Images’, New York: Skira Rizzoli International

Gwinn, Elizabeth, Haynes, Lauren + [et al.], ‘Re:collection. Selected Works from the Studio Museum in Harlem’, New York: The Studio Museum in Harlem

Katz, Jonathan D., Ward, David C., ‘Hide/Seek. Difference and Desire in American Portraiture’, Washington D.C.: Smithsonian Institution (exh. cat.)

McDaniel, Craig, Robertson, Jean, ‘Themes of Contemporary Art. Visual Art after 1980’, New York: Oxford University Press

Middleman, Rachel + [et al.], ‘In Critical Encounters with Texts’, Boston: Pearson Learning Solutions

Scott, Darieck, ‘Extravagant Abjection. Blackness, Power and Sexuality in the African American Literary Imagination’, New York: New York University Press.

2009 Azhderian, Nathan, Rush, George, ‘Infinitesimal Eternity—Images Made in the Face of Spectacle’, New Haven: Yale University Press (exh. cat.)

Beckwith, Naomi, ‘30 Seconds Off an Inch’, New York: The Studio Museum in Harlem (exh. cat.)

Campos, Alexander, Kennedy Jr., Amos Paul, ‘Racism. An American Family Value’, New York: The Center for Book Arts (exh. cat.)

Evans, David, ‘Appropriation’ London/Cambridge: Whitechapel Gallery/The MIT Press

Gates, Henry Louis, Jr., Brooks Higginbotham, Evelyn (eds.), ‘African American National Biography’ New York: Oxford University Press

McEvilley, Thomas, Salley, Rael, ‘Across the Divide. Reconsidering The Other’, Springfield: Illinois State Museum Society (exh. cat.)

Rattemeyer, Christian, ‘Compass in Hand. Selections from the Judith Rothschild Foundation Contemporary Drawings Collection’, New York: Museum of Modern Art (exh. cat.)

Ribas, João, ‘FAX’, New York: The Drawing Center/Independent Curators International (exh. cat.)

Roselione–Valadez, Juan (ed.), ‘Beg, Borrow and Steal. Rubell Family Collection’, Miami: Rubell Family Collection (exh. cat.)

2008 Cartwright, Derrick R + [et al.], ‘560 Broadway. A New York Drawing Collection at Work, 1991–2006’, New Haven: Yale University Press (exh. cat.)

Enwezor, Okwui, ‘Archive Fever. Uses of the Document in Contemporary Art’, New York/Göttingen: International Center for Photography/Steidl (exh. cat.)

Enwezor, Okwui, ‘The 7th Gwangju Biennale’, Gwangju: Gwangju Biennale Foundation (exh. cat.)

Hoffman, Jens, ‘The Wizard of Oz’, San Francisco: California College of the Arts (exh. cat.)

Kushner, Marilyn, ‘The Future Must Be Sweet. Lower East Side Printshop Celebrates 40 Years’, New York: Lower East Side Print Shop (exh. cat.)

Powell, Richard J, ‘Cutting a Figure. Fashioning Black Portraiture’, Chicago: University of Chicago Press

Rattemeyer, Christian, ‘Lines, Grids, Stains, Words. Minimal Art Drawings from the Collection of The Museum of Modern Art’, New York: The Museum of Modern Art (exh. cat.)

Weinberg, Adam, ‘Independent Study Program. 40 Years’, New York: Whitney Museum of American Art (exh. cat.)

2007 Davidson, Susan, ‘Art in America. 300 Years of Innovation’ London/New York/Chicago: Merrell/Solomon R. Guggenheim Museum/Terra Foundation for American Art (exh. cat.)

English, Darby, ‘How to See A Work of Art in Total Darkness’, Cambridge: Massachusetts Institute of Technology

Dallas Museum of Art, ‘Fast Forward. Contemporary Collections for the Dallas Museum of Art’, Dallas/New Haven/London: Dallas Museum of Art/Yale University Press (exh. cat.)

Pasternak, Anne, Brenson, Michael, Peltason, Ruth A, ‘Creative Time. The Book: 33 Years of Public Art in New York’, New York: Princeton Architectural Press

Phillips de Pury & Company, ‘New Museum Benefit Auction’, New York: Phillips de Pury & Company

Roberts, Rebecca, ‘MoMA. Highlights Since 1980’, New York: The Museum of Modern Art

2006 Bill Hodges Gallery, ‘African American Artists—IV’, New York: Bill Hodges Gallery (exh. cat.)

Cooke, Lynne, ‘Jurassic Technologies Revenant’, Sydney: The Biennial (exh. cat.)

Ellipse Foundation, ‘Contemporary Art Collection’ Canéjan: Ellipse Foundation Contemporary

Painter, Nell Irvin, ‘Meanings 1619 to the Present’, New York: Oxford University Press

Pedrosa, Adriano, ‘romance [a novel]’, Lisbon: Cristina Guerra Contemporary Art (exh. cat.)

Saltzman, Lisa, ‘Making Memory Matter. Strategies of Remembrance in Contemporary Art’, Chicago: University Of Chicago Press

Sims, Lowery Stokes, Hulser, Kathleen, Copeland, Cynthia R., ‘Legacies. Contemporary Artists Reflect on Slavery’, New York: New York Historical Society (exh. cat.)

Smalls, James, ‘The Homoerotic Photography of Carl Van Vechten. Public Face, Private Thoughts’, Philadelphia: Temple University Press

Tawadros, Gilane, ‘Brighton Photo Biennial’, Brighton: Photoworks/Brighton Photo Biennial (exh. cat.)

2005 Altshuler, Bruce, ‘Collecting the New. Museums and Contemporary Art’, Princeton: Princeton University Press

Baume, Nicholas (ed.), ‘Getting Emotional’, Boston: Institute of Contemporary Art (exh. cat.)

Bronx Museum of the Arts, ‘Collection Remixed’, Bronx: Bronx Museum of the Arts (exh. cat.)

Hentschel, Barbara, Schmidt, Hans–Werner, ‘Motor Blues. die Schenkung AutoWerke von BMW Financial Services an das Museum der bildenden Künste Leipzig’ Bielefeld: Kerber (exh. cat.)

Kantor, Jordan, ‘Drawing from the Modern, 1975–2005’, New York: The Museum of Modern Art (exh. cat.)

Oliver, Valerie Cassel, ‘Double Consciousness. Black Conceptual Art since 1970’, Houston: Contemporary Arts Museum (exh. cat.)

Richer, Francesca, Rosenzweig, Matthew (eds.), ‘No. 1. First Works by 362 Artists’, New York: D.A.P.

Rugoff, Ralph, ‘A Brief History of Invisible Art’, San Francisco: California College of the Arts (exh. cat.)

Trierenberg, Christian, ‘Trieremnergart’, Kunst im Werk’, Traun: Trierenberg Holding AG

2004 Apel, Dora, ‘Imagery of Lynching. Black Men, White Women, and the Mob’, New Jersey: Rutgers University Press

Bois, Yve–Alain + [et al.], ‘Art Since 1900’, London: Thames & Hudson

Bonami, Francesco, ‘Love/Hate. From Magritte to Cattelan’, Passariano: Villa Manin (exh. cat.)

Dennison, Lisa, Spector, Nancy, ‘Singular Forms (Sometimes Repeated). Art from 1951 to the Present’, New York: Solomon R. Guggenheim Museum (exh. cat.)

Foster, Carter E., Grove, Jeffrey D., ‘Drawing Modern. Works from the Agnes Gund Collection’, Cleveland: Cleveland Museum of Art (exh. cat.)

Hill, Shannen, ‘Robert Colescott & Glenn Ligon from the Logan Collection’, Denver: University of Denver, School of Art and Art History (exh. cat.)

Kotik, Charlotta, Mosaka, Tumelo, ‘Open House. Working in Brooklyn’, Brooklyn: Brooklyn Museum of Art (exh. cat.)

Nash, Mark, ‘Experiments with Truth’, Philadelphia: The Fabric Workshop and Museum (exh. cat.)

Petry, Michael, ‘Hidden Histories. 20th Century Male Same Sex Lovers in the Visual Arts’, London: Artmedia (exh. cat.)

Varnedoe, Kirk, Antonelli, Paola, Siegal, Joshua, ‘Modern Contemporary. Art since 1980 at MOMA’, New York: The Museum of Modern Art

Wallace, Michelle, ‘Dark Designs and Visual Culture’, Durham: Duke University Press

2003 Ceruti, Mary, Freedman, Matt, Najafi, Sina, ‘The Paper Sculpture Book. A Complete Exhibition in a Book with 29 Buildable Sculptures’, New York: Cabinet/Independent Curators International/SculptureCenter (exh. cat.)

Dennison, Lisa, Spector, Nancy, Young, Joan, ‘Moving Pictures. Contemporary Photography and Video from the Guggenheim Museum Collections’, New York/London: Solomon R. Guggenheim Museum/Thames & Hudson (exh. cat.)

Fairbrother, Trevor (ed.), ‘Family Ties’, Salem: Peabody Essex Museum/Marquand Books (exh. cat.)

Ferris, Alison, ‘The Disembodied Spirit’, Brunswick: Bowdoin College Museum of Art (exh. cat.)

Fusco, Coco, Wallis, Brian (eds.), ‘Only Skin Deep. Changing Visions of the American Self’, New York: International Center of Photography/Harry N. Abrams

Grynsztejn, Madeleine, ‘Supernova. Art of the 1990s from the Logan Collection’, San Francisco/New York: San Francisco Museum of Modern Art/D.A.P.

Pace, Linda, ‘Dreaming Red. Creating ArtPace’, San Antonio: ArtPace

Ross, Lauren, ‘Fast Forward. 20 Years of White Rooms’, New York: White Columns, 2003 (exh. cat.)

Tannenbaum, Judith + [et al.], ‘On the Wall. Contemporary Wallpaper’, Providence/Philadelphia: RISD Museum of Art/The Fabric Workshop and Museum (exh. cat.)

2002 Chassman, Gary, ‘In the Spirit of Martin. The Living Legacy of Dr. Martin Luther King Jr.’, Atlanta: Tinwood Books (exh. cat.)

Fineberg, Jonathan, Helfenstein, Josef (eds.), ‘Drawings of Choice from a New York Collection’, Champaign: Krannert Art Museum (exh. cat.)

Herkenhoff, Paulo, ‘Tempo’, New York: The Museum of Modern Art (exh. cat.)

Meyer, Richard, ‘Outlaw Representation. Censorship and Homosexuality in Twentieth Century American Art’, Boston: Beacon Press

Miller, Dana, Prather, Marla, ‘New York Renaissance. Masterworks from the Whitney Museum of American Art’, New York/Milan: Whitney Museum of American Art/Electa (exh. cat.)

Powell, Richard J., ‘Black Art. A Cultural History’, London: Thames & Hudson

Smith, Elizabeth, ‘Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the MCA Collection’, Chicago: Museum of Contemporary Art (exh. cat.)

Stroud, Marion Boulton, ‘New Material as New Media’, Philadelphia/Cambridge: The Fabric Workshop and Museum/MIT Press

2001 Anderson, Maxwell Lincoln, ‘American Visionaries. Selections from the Whitney Museum of American Art’, New York: Whitney Museum of American Art

Kushner, Marilyn, ‘Digital. Printmaking Now’, Brooklyn: Brooklyn Museum of Art (exh. cat.)

Morsiani, Paola, ‘Subject Plural. Crowds in Contemporary Art’, Houston: Contemporary Arts Museum (exh. cat.)

Muhammad, Erika Dalya, ‘Race in Digital Space’, New York: The Studio Museum in Harlem (exh. cat.)

Siegel, Katy, ‘Everybody Now. The Crowd in Contemporary Art’, New York: The Bertha and Karl Leubsdorf Art Gallery at Hunter College (exh. cat.)

2000 Connor, Kimberly Rae, ‘Imaging Grace. Liberating Theologies in the Slave Narrative Tradition’, Urbana: University of Illinois Press

Hiller, Susan, ‘Dream Machines’, London: National Touring Exhibitions (exh. cat.)

Gwangju Biennale Foundation, ‘Man + Space. Gwangju Biennale 2000’, Gwangju: Gwangju Biennale Foundation (exh. cat.)

Temkin, Ann, Rosenberg, Susan, Taylor, Michael, ‘Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art’, Philadelphia: Philadelphia Museum of Art (exh. cat.)

Bronx Museum of the Arts, ‘20 Years of the Artist in the Marketplace Program. Good Business is the Best Art’, New York: Bronx Museum of the Arts (exh. cat.)

1999 Broadhead, Caroline, Cooke, Lynne, ‘Life Cycles’, Leipzig: Galerie für Zeitgenössische Kunst (exh. cat.)

Carlozzi, Annette DiMeo, ‘Negotiating Small Truths’, Austin: The Jack S. Blanton Museum of Art/University of Texas at Austin (exh. cat.)

English, Darby, ‘Question Marks and Futures Already Alive. Glenn Ligon and Kara Walker, Together for the First Time’, New York: Brent Sikkema Gallery (exh. cat.)

Friis–Hansen, Dana, ‘Other Narratives’, Houston: Contemporary Arts Museum (exh. cat.)

Negroponte, George, Shepherd, Roger, ‘Drawing in the Present Tense’, New York: Parsons School of Design (exh. cat.)

Phillips, Lisa, ‘The American Century: Art and Culture, 1950–2000’, New York: Whitney Museum of American Art/W. W. Norton

Rinder, Lawrence, ‘Spaced Out. Late 1990s Works from the Vicki and Kent Logan Collection’, San Francisco: California College of the Arts (exh. cat.)

1998 Bright, Deborah + [et al.], ‘The Passionate Camera. Photography and Bodies of Desire’, New York: Routledge

Fischer, Rob, Larson, Chris, Cypis, Dorit, ‘Sculpture on Site’, Minneapolis: Walker Art Center (exh. cat.)

Garrels, Gary, ‘A Portrait of Our Times. An Introduction to the Logan Collection’, San Francisco: San Francisco Museum of Modern Art (exh. cat.)

Godfrey, Tony, ‘Conceptual Art’, London: Phaidon

Hinson, Tom, Jirousek, Carolyn S., ‘Cleveland Collects Contemporary Art’, Cleveland: Cleveland Museum of Art (exh. cat.)

Perée, Rob, ‘Postcards from Black America’, Amsterdam: Con Rumore

1997 Brouwn, Stanley, ‘Un bel été’, Luxembourg: Casino Luxembourg (exh. cat.)

Celant, Germano (ed.), ‘Future, Present, Past. XLVII Esposizione Internazionale d’Arte’, Venice/Milan: La Biennale di Venezia/Electa (exh. cat.)

Decter, Joshua, ‘a/drift’, Annandale–on–Hudson: Bard College (exh. cat.)

Dreishpoon, Douglas, Cappellazzo, Amy,‘Thirty–Third Annual Exhibition of Art on Paper’, Greensboro: The University of North Carolina (exh. cat.)

Drucker, Johanna, Gass, William H., ‘The Dual Muse. The Writer As Artist, The Artist As Writer’, St. Louis: Washington University Gallery of Art/International Writers Center/Washington University; Philadelphia: John Benjamins (exh. cat.)

Han, Ju Hui Judy, ‘Kimchi Xtravaganza!’, Los Angeles: Korean American Museum (exh. cat.)

Marcoci, Roxana, Murphy, Diana, Sinaiko, Eve, ‘New Art’, New York: Harry N. Abrams

Powell, Richard J, ‘Black Art and Culture in the 20th Century’, London: Thames & Hudson

Riggs, Thomas (ed.), ‘St. James Guide to Black Artists’, Detroit: St. James

Sobel, Dean, ‘Identity Crisis. Self–Portraiture at the End of the Century’, Milwaukee: Milwaukee Art Museum (exh. cat.)

Stecopoulos, Harry, Uebel, Michael, (eds.), ‘Race and the Subject of Masculinities’, Durham: Duke University Press

Weibel, Peter, ‘Inklusion. Exklusion, Versuch einer neuen Kartografie der Kunst im Zeitalter von Postkolonialismus und globaler Migration’, Cologne: DuMont Buchverlag (exh. cat.)

1996 Decter, Joshua, ‘Screen’, New York: Friedrich Petzel Gallery (exh. cat.)

Horne, Peter, Lewis, Reina, (eds.) ‘Outlooks. Lesbian and Gay Sexualities and Visual Culture’, London: Routledge

Ross, David A., Tsai, Eugenie, ‘Art at the End of the 20th Century. Selections from the Whitney Museum of American Art’, New York: Whitney Museum of American Art

Snyder, Jill, ‘In The Flesh’, Ridgefield: Aldrich Museum of Contemporary Art

Spahr, P. Andrew, ‘Community of Creativity. A Century of MacDowell Colony Artists’, Manchester: Currier Gallery of Art (exh. cat.)

Warner, Marina, ‘The Inner Eye. Art Beyond the Visible’, London: National Touring Exhibitions (exh. cat.)

Weiermair, Peter, ‘Prospect: Photography in Contemporary Art’, Frankfurt: Edition Stemmle

Wye, Deborah, ‘Thinking Print. Books to Billboards 1980–1995’, New York: The Museum of Modern Art

1995 Herkenhoff, Paulo, ‘XI Mostra da Gravura Cidade de Curitiba’, Curitiba: Fundação Cultural de Curitiba, Preifeitura da Cidade

Farr, Ragnar (ed.), ‘Mirage. Enigmas of Race, Difference, and Desire’, London: Institute of Contemporary Arts

Lord, Catherine, ‘Pervert’, Irvine: The Art Gallery, University of California (exh. cat.)

Painter, Nell Irvin, ‘Creating Black Americans. African American History and Its Meanings 1619 to the Present’, New York: Oxford University Press

Perchuk, Andrew, Posner, Helaine, ‘The Masculine Masquerade. Masculinity and Representation’, Cambridge: MIT List Visual Arts Center/MIT Press (exh. cat.)

Sobel, Dean, ‘25 Americans. Painting in the 90s’, Milwaukee: Milwaukee Art Museum (exh. cat.)

1994 Walker Art Center, ‘Duchamp’s Leg’, Minneapolis: Walker Art Center (exh. cat.)

Decter, Joshua, ‘Don't Look Now’, New York: Thread Waxing Space (exh. cat.)

Golden, Thelma, ‘Black Male. Representations of Masculinity in Contemporary American Art’, New York: Whitney Museum of American Art (exh. cat.)

Jay, Ricky, Castleberry, May, ‘The Magic Magic Book’, New York: Library Fellows of the Whitney Museum of American Art (exh. cat.)

Lucie–Smith, Edward, ‘Race, Sex, and Gender in Contemporary Art’, New York: Harry N. Abrams

Rugoff, Ralph, ‘Transformers: The Art of Multiphrenia’, New York: Independent Curators Incorporated (exh. cat.)

Baerwaldt, Wayne (ed.), ‘Dark O’Clock’, Winnipeg: Plug–In Editions

1993 Cheim, John, Diego Cortez, Gimenez, Carmen, Kertess, Klaus, ‘Drawing the Line against AIDS’, New York: Rizzoli

Philbrick, Jane, ‘The Return of the Cadavre Exquis’, New York: The Drawing Center (exh. cat.)

Solomon–Godeau, Abigail, Lewallen, Constance D., ‘Mistaken Identities’, Santa Barbara: University of California.

Sussman, Elisabeth, ‘1993 Biennial Exhibition’, New York: Whitney Museum of American Art/Harry N. Abrams (exh. cat.)

1992 Colpitt, Frances, Plous, Phyllis, ‘Knowledge. Aspects of Conceptual Art’, Santa Barbara: University Art Museum, University of California (exh. cat.)

Cooke, Lynne, Curiger, Bice, Hilty, Greg, ‘Doubletake: Collective Memory and Current Art’, London/New York: The South Bank Centre/Parkett (exh. cat.)

Kunsthalle Wien, ‘Doubletake: kollektives Gedächtnis & heutige’, Kunst: Kunsthalle Wien (exh. cat.)

Krane, Susan, ‘Equal Rights and Justice’, Atlanta: High Museum of Art/National Black Arts Festival

Rose, Bernice, ‘Allegories of Modernism. Contemporary Drawings’, New York: The Museum of Modern Art (exh. cat.)

Wallace, Michelle, Dent, Gina (eds.), ‘Black Popular Culture. A Project by Michele Wallace’, Seattle: Bay

Weld, Alison, Serikawa, Sadao, ‘Dream Singers, Story Tellers. An African–American Presence’, Trenton: New Jersey State Museum (exh. cat.)

1991 Armstrong, Richard, Hanhardt, John G., Marshall, Richard, Phillips, Lisa, ‘1991 Biennial Exhibition’, New York: Whitney Museum of American Art (exh. cat.)

Jones, Kellie, Sokolowski, Tom, Maharaj, Sarat, ‘Interrogating Identity’ New York: Grey Art Gallery/Study Center, New York University

Kwon, Miwon, ‘Positions of Authority. Leone & Macdonald, Glenn Ligon, Judith Weinperson’, New York: Art in General (exh. cat.)

Storr, Robert, ‘Crosscurrents. New Art from MoMA’, Tokyo: Foundation Arc–en–Ciel (exh. cat.)

Interviews and Artist Writings

2018 Bordowitz, Gregg, Ligon, Glenn, ‘Around 1962’, in: One Day at a Time: Manny Farber and Termite Art, Los Angeles: Museum of Contemporary Art

Elkayal, Heba, ‘One–on–ones with the word artists: Glenn Ligon’, in: Canvas Magazine, vol. 14, no. 5, Sept–October 2018, pp. 108–9

Ligon, Glenn, ‘Neon Sign, None Sing’, in: Bruce Nauman: Disappearing Acts, New York: Museum of Modern Art, pp. 162–66

____, ‘Pay It No Mind’, in: Andy Warhol—From A to B and Back Again, New York: Whitney Museum of American Art, pp. 78–81

____, ‘Roots/Routes’, in: Jason Moran, Minneapolis: Walker Art Center, pp. 113–128

Sollins, Susan, ‘Using Text’, in: An Artist: Artist Interviews with Art21, New York: Art21, pp. 153–58

____, ‘Warhol’s Shadows’, in: Artists on Andy Warhol, New York: Dia Art Foundation, pp. 54–89

2017 Ayers, Robert, ‘A conversation with Glenn Ligon’, on: www.ocula.com, London, 27 July 2017

Bickers, Patricia, ‘A Body of Work’, in: Talking Art 2: Art Monthly Interviews with artists since 2007, London: Ridinghouse, pp. 126–136

Brackens, Diedrick (ed.), [interview], in: Queer Threads, New York: AMMO Books, pp. 158–59

____, [interview], in: Auburn Avenue, Spring/Summer 2017

Green, Tyler, ‘No. 299: Glenn Ligon, Florine Stettheimer’, in: Modern Art Notes Podcast, 27 July 2017

Luckett, Kilolo, ‘Painting St. Louis Black and Blue’, in: CityLab, St. Louis, 19 July 2017

Sheets, Hilarie M., ‘Show Us Your Wall: For Glenn Ligon, Home Is Where History and Friends Are Inspirations’, in: New York Times, 27 January 2017, pp. C20

____, ‘Summer Reading’, in: Artforum, vol. 55, no. 10, Summer 2017, p. 83

‘Two Atlases’, in: Bretxa Erretatuak Atlas Subjetivo, vol. 3, 2010–2017, Donostia, San Sebastian: Gipuzkoako Foru Aldundia/Departamento de Cultura, Turismo, Juventud y Deportes, pp. 339–40

____, ‘Questionnaire’, on: www.frieze.com, 20 July 2017

2016 ____, ‘Beauford Delaney’, in: Pen to paper: Artists' Handwritten Letters from the Smithsonian's Archives of American Art, New York: Princeton Architectural Press, pp. 54–55

Olowo, Duro, ‘Duro Olowo in Conversation with Glenn Ligon’, in: Making and Unmaking, London: Camden Arts Centre and Ridinghouse, pp. 7–16

Lax, Thomas J., Ligon, Glenn, ‘You Without Me, Me Without You’, in: James 'Son Ford' Thomas: The Devil and His Blues, New York: Karma, pp. 121–143

Ligon, Glenn, ‘On the Ground’, in: Julie Mehretu: Grey Paintings, New York: Marian Goodman Gallery, pp. 79–85

Golden, Thelma, ‘Thelma Golden in conversation with Glenn Ligon’, in: Four Generations The Joyner/Giuffrida Collection of Abstract Art, New York: Gregory R. Miller & Co, pp. 162–69

2015 ____, ‘A People on the Cover’, London: Ridinghouse

Ligon, Glenn, ‘Artists’ Artists’, in: Frieze Masters, vol. 4, 2015, p. 101

Ligon, Glenn, ‘Glenn Ligon: Top Ten Books’, in: One Grand Books, 24 November 2015

Grant, Simon, ‘Inside My Head’, in: Tate Etc, no. 34, London, Summer 2015, pp. 88–9

Blackstone Gallery, ‘Hanneline Røgeberg: Modern Subjects’, in: Hanneline Røgeberg Off the Bone, New York: Blackstone Gallery

Ligon, Glenn, Andrews, Stephen, ‘In conversation: Glenn Ligon and Stephen Andrews’, in: Stephen Andrews: POV, Toronto, Ontario: Art Gallery of Ontario, pp. 78–110

Esker Foundation, ‘Interview with Wayne Baerwaldt, Quyen Hoang, and Glenn Ligon’, in: Wonder and Resonance: Fiction/Non–fiction, Calgary: Esker Foundation, pp. 61–78

Ligon, Glenn, [interview], Immediations, vol. 3, no. 4, December 2015, pp. 89–94

Ligon, Glenn, ‘The Rest is Silence: Glenn Ligon on Agnes Martin’, in: Artforum, vol. 53, no. 10, Summer 2015, p. 278

Ligon, Glenn, ‘My Bookshelf, Myself’, on: www.nytimes.com, New York, 28 August 2015

Ligon, Glenn, ‘Notes on a Performance by Kellie Jones’, in: On Value, New York: Triple Canopy

Serpentine Gallery, ‘On the Hour, On the Times’, in: Lynette Yiadom–Boakye: Verses After Dusk, London: Serpentine Gallery/Koenig Books Ltd, pp. 104–111

2014 Ligon, Glenn, ‘Blue Black’, in: Chris Ofili: Night and Day, New York: Skira Rizzoli, pp. 79–95

___, ‘When the Stars Begin to Fall: Imagination and the American South (Studio Museum)’, in: Artforum, vol. 53, no. 4, December 2014, p. 126

Ligon, Glenn, ‘Where the Feeling and Everything Is’, in: Zoe Leonard: Available Light, New York/London: Dancing Fox Press/Ridinghouse

2013 Ligon, Glenn, ‘Sound and Vision’, in: Sun Ra + Ayé Aton: Space, Interiors and Exteriors, 1972, Brooklyn: PictureBox

Maerkle, Andrew, ‘Interview: Glenn Ligon: Ecriture/Erasure/Ecstasis’, in: ARTiT, December 2013

___, ‘Thomas Is a Trip’, in: Artforum, vol. 52, no. 3, November 2013, pp. 228–232

2012 Ligon, Glenn, ‘Portrait of the Artist as a Young Man’, in: This Long Century, no. 165

___, ‘The Wire and the Blues’, in: Blues for Smoke, Munich/London/New York: Del Monico Books/Prestel

2011 ___, ‘Glenn Ligon and Adam Pendleton, Site of Engagement’, in: Flash Art, vol. 44, no. 279, Rome, July–September 2011, pp. 84–88

Scott Rothkopf (ed.), Glenn Ligon, ‘Yourself in the World: Selected Writings and Interviews’, New Haven: Yale University Press

2010 Drogin, David, ‘Glenn Ligon’, in: Museo, no. 14, April 2010

Ligon, Glenn, ‘Kelley Walker’s Negro Problem’, in: Parkett, no. 87, 2010, pp. 18–27

Copeland, Huey, ‘Post/Black/Atlantic: A Conversation with Thelma Golden and Glenn Ligon’, in: Afro Modern: Journeys Through the Black Atlantic, Liverpool/London: Tate Liverpool/TATE

Ligon, Glenn, ‘Remember the Revolution?’, in: Traveling the Spaceways: Sun–Ra, the Astro Black and Other Solar Myths, Chicago: WhiteWalls

2009 ___, ‘Lisa Sigal’, in: Art Review, no. 30, March 2009

Moran, Jason, ‘Glenn Ligon’, July 2009, 82–85

Thompson, Christy, ‘Check–in: Glenn Ligon’, in: Switch 1.1, Winter 2008–09, pp. 40–41

Ligon, Glenn, ‘To Miss New Orleans’, in: Artforum, vol. 47, no. 5, January 2009, pp. 168–71

2008 Bickers, Patricia, ‘A body of work: Glenn Ligon’, in: Art Monthly, vol. 317, June 2008, pp. 1–6

Ligon, Glenn, ‘Housing in New York: A Brief History, 1960–2007’, in: Eminent Domain: Contemporary Photography and The City, New York: The New York Public Library

Salon 94, [interview], in: Lorna Simpson: Ink, New York: Salon 94, pp. 63–71

___, ‘Report: Walking in Memphis’, in: Modern Painters, vol. 20, no. 8, October 2008, pp. 46–48

___, ‘Untitled’, in: 30 Americans, Miami: Rubell Collection.

2007 ___, ‘Books, Best of 2007’, in: Artforum, December 2007, p. 111

Koestenbaum, Wayne, ‘Hotel Blues: Conversations between Wayne Koestenbaum and Glenn Ligon’, in: Modern Painters, vol. 20, no. 8, May 2007, pp. 72–79, 110

Ligon, Glenn ‘My Felix’, in: Artforum, vol. 45, no. 10, Summer 2007, pp. 125–28

The Studio Museum in Harlem, ‘Wardell Milan II: A Child of Babel’, in: Midnight’s Daydream: Titus Kaphar, Wardell Milan II, Demetrius Oliver, New York: The Studio Museum in Harlem, pp. 7–9

2006 Anastas, Rhea, Bordowitz, Gregg, Ligon, Glenn + [et al.], ‘The Artist is a Currency’, in: Grey Room, no. 24, Summer 2006, pp.110–25

Ligon, Glenn, ‘Curator’s Statement’, in: Karen Azoulay, New York: Cue Art Foundation, p. 3

Golden, Thelma, ‘With Our Faces to the Rising Sun’, in: What Makes A Great Exhibition, Philadelphia: Philadelphia Exhibitions Initiative, pp. 62–75

Ligon, Glenn, ‘Greatest Hits [1954–1986]’, in: Pathways to Unknown Worlds: Sun Ra, El Saturn and Chicago’s Afro–Futurist Underground 1954–68, Chicago: WhiteWalls, pp. 11–16

Middleman, Rachel, ‘History With A Small ‘h’: A Conversation with Glenn Ligon’, in: GLQ: A Journal of Lesbian and Gay Studies, vol. 12, no. 3, 2006), pp. 465–74

2005 Andrews, Stephen, ‘Glenn Ligon: In Conversation’, in: Glenn Ligon: Some Changes, Toronto: The Power Plant, pp. 171–85

___, ‘Artists Abroad: Camille Norment & Glenn Ligon in Oslo, Norway’, in: Studio: The Studio Museum in Harlem Magazine, Fall–Winter 2005–06, p. 54

Ligon, Glenn, ‘Openings: Dave McKenzie’, in: Artforum, vol. 44, no. 1, September 2005, pp. 290–91

Phillip, Lyndon, ‘Glenn Ligon’, in: C Magazine, no. 187, Fall 2005, pp. 12–14

2004 Ligon, Glenn, ‘Black Light: David Hammons and the Poetics of Emptiness’, in: Artforum, vol. 43, no. 1, September 2004, pp. 242–49

___, ‘Generosity: A Conversation with Byron Kim, Janine Antoni, and Glenn Ligon’, in: Threshold: Byron Kim 1990–2004, Berkeley: University of California, Berkeley Art Museum, pp. 49–58

Littman, Brett, ‘Interview with Glenn Ligon’, in: Glenn Ligon: Circa 1971, ’72 or ’73, New York: Dieu Donné Papermill

2001 Firstenberg, Lauri, ‘Neo–Archival and Textual Strategies: An Interview with Glenn Ligon’, in: Art Journal, vol. 60, no. 1, Spring 2001, pp. 42–47

Ilesanmi, Olukemi, Rothfuss, Joan, ‘A Conversation with Glenn Ligon’, in: Coloring: New Work by Glenn Ligon, Minneapolis: Walker Art Center, pp. 31–2

Ligon, Glenn, ‘Improbable Duets’, in: Speaker Hole, Factory Girl, the Polar Soul, Houston: Inman Gallery, pp. 20–21

Ligon, Glenn, Golden, Thelma, Als, Hilton, ‘Interview with Glenn Ligon, Thelma Golden, and Hilton Als’, in: Glenn Ligon: Stranger, New York: The Studio Museum in Harlem

2000 Ligon, Glenn, Golden, Thelma, ‘Interview with Glenn Ligon and Thelma Golden’, in: Glenn Ligon and Gary Simmons, Philadelphia: Fabric Workshop, pp. 4–9

Lahs–Gonzales, Olivia, Ligon, Glenn, ‘Lahs–Gonzales, Olivia. An Interview with Glenn Ligon’, in: Currents 81: Glenn Ligon, St. Louis: St. Louis Art Museum, n.p.

1998 Kim, Byron, ‘An Interview with Glenn Ligon’, in: Glenn Ligon: Unbecoming, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, pp. 51–55

1997 Germano Celant, ed., ‘Artist Page’ in: Future, Present, Past: XLVII Esposizione Internazionale d’Arte, Venice: La Biennale di Venezia, p. 348


Ligon, Glenn, Golden, Thelma, ‘Interview with Glenn Ligon and Thelma Golden’, in: Glenn Ligon: Runaways, Gainesville, FL: Samuel P. Harn Museum of Art, University of Florida, Gainesville

1996 Perchuk, Andrew, Posner, Helaine (eds.), ‘A Feast of Scraps’, in: The Masculine Masquerade: Masculinity and Representation, Cambridge, MA: MIT List Visual Arts Center / MIT Press, pp. 89–99

Ligon, Glenn, Garrels, Gary, ‘Interview with Glenn Ligon and Gary Garrels’, in: Glenn Ligon: New Work, San Francisco: San Francisco Museum of Modern Art, n.p.

Chandler, David, (ed.), ‘Skin Tight’, in: Boxer: an anthology of writings on boxing and visual culture, London: Institute of International Visual Arts, pp. 58–69

___, ‘Red Portfolio’, in: Prospect –Photography in Contemporary Art, Frankfurt: Edition Stemmle, p. 212

1995 De Brugerolle, Marie, ‘Get the Picture?’ in: Documents sur l'art contemporaine, no. 7, 1995, pp. 28–9

1994 ___, ‘Artist Page’, in: Whitewalls, vol. 35, Fall–Winter 1994, pp. 22–3

1993 Rosenzweig, Phyllis, ‘Interview with Glenn Ligon’, in: Glenn Ligon: To Disembark, Washington, DC: Hirshhorn Museum and Sculpture Garden, n.p.

1992 Miller–Keller, Andrea, ‘Interview with MATRIX 120 Artist Glenn Ligon’, in: The Wadsworth Atheneum Bulletin, Autumn 1992, p. 6

1991 Ligon, Glenn, ‘Insert: Glenn Ligon’, in: Portfolio, in: Parkett, vol. 30, 1991, pp. 139–153

___, ‘Profiles’, in: Third Text, vol. 5, no. 14, Spring 1991, pp. 53–61

___, ‘Regarding racism: Why I stopped Answering Questions (and started talking a lot more)’, in: The Wesleyan Argus, February 16, 1981

Press and Articles

2019 De Brugerolle, Marie, ‘Post–performance Painting’, in: Mousse Magazine, vol. 66, Winter, p. 266–275

Taft, Catherine, ‘Glenn Ligon. Regen Projects’, in: Artforum, April 2019, p. 201, ill.

2018 Cole, Teju, ‘Resist, Refuse’, in: New York Times Magazine, New York, 8 September 2018

Cotter, Holland, ‘Where the Dream Is Always Alive’, on: www.nytimes.com, New York, 1 April 2018

Coxhead, Gabriel, ‘Famous Forever’ in: Art in America, November 2018, pp. 31–33

Harris, Gareth, ‘New Territory for Glenn Ligon with First Solo Show in Italy’, in: The Art Newspaper, London/New York City, 1 May 2018

Kraynak, Janet, ‘How to Hear What is Not Heard; Glenn Ligon, Steve Reich and the Audible Past’, in: Grey Room, Boston, vol. 70, Winter 2018, pp. 54–79

Segade, Manuel, ‘A Political Economy of Bodies That Vogue’ in: CURA 28, Fall 2018, pp.112–21

Steer, Emily, ‘Now Showing. Naples’ in: Elephant, vol. 35, Summer 2018, p. 26

Talwar, Savnet, ‘Identity Matters. Questioning Trauma and Violence through Art, Performance, and Social Practice’, in: In Art Therapy Social Justice: Radical Intersections, pp. 38–65

2017 Atallah, Lara, ‘Critics’ Picks. The intricacies of Love’ on: www.artfourm.com, 31 March 2017

Barry, Tim, ‘Social Medium. Artists Writing. 2000–2015’, on: www.brooklynrail.org, Brooklyn, June 2017

Bobier, Kim, ‘Exhibition Review: Blackness in Abstraction’, on: www.artinamericamagazine.com, 5 January 2017, pp. 29–28

Copeland, Huey, Thompson, Krista, ‘Afrotropes and Other Things on the Run. A Conversation with Huey Copeland and Krista Thompson’, in: October, vol.162, Fall 2017, pp. 3–18

Cotter, Holland, ‘Colors That Unite and Divide’, in: The New York Times, New York, 11 August 2017, pp. C13

Eler, Alicia, ‘The Queer Art that Helped Define Post–Blackness’, on: www.hyperallergic.com, Brooklyn, 1 March 2017 (ill.)

Erickson, Peter, ‘Transferring the Grace Note’, in: Nka: Journal of Contemporary African Art, vol. 41, November 2017, pp. 74–83

Furman, Anna, ‘How art is being used to explore America’s shameful legacy of lynching’, on: www.theguardian.com, London, 31 July 2017

Kennedy, Randy, ‘Show Us Your Wall. Calmer Living Through Minimalist Art’, on:www.nytimes.com, New York, 17 February 2017

Lebowitz, Rachel, ‘From Yayoi Kusama to Glenn Ligon, 7 Artists Using Light in Radical Ways’, on:www.artsy.com, 31 March 2017

Luckett, Kilolo, ‘Painting St. Louis Black and Blue’, in: CityLab, 19 July 2017 (ill.)

Michaels, Walter Benn, ‘Race, Class and Kelley Walker. a Tenth Disaster’, in: Flash Art, vol. 50, no. 312, January –February 2017, pp.18–23

Morano, Malcolm, ‘Persistence of Vision’, in: Glass: The UrbanGlass Art Quarterly, vol. 147, Summer 2017, pp. 22–31

Rittenbach, Kari, ‘Behind Enemy Lines. Black Power & Taboo’ in: May, vol. 17, April 2017, pp. 142–155

Rodney, Seph, ‘Surviving and Memorializing the AIDS Crisis’, on:www.hyperallergic.com, Brooklyn, 9 September 2016

Rosenfeld, Jason, ‘Blue Black. Curated by Glenn Ligon’ in: The Brooklyn Rail, Brooklyn, September 2017, p. 69

Rosenfeld, Jason, ‘Fast Forward: Painting From the 1980s’, on:www.brooklynrail.org, Brooklyn, 1 March 2017

Rosenzweig, Leah, ‘Divided States of America. Paste Interviews Art World Provocateur and Curator Alison Gingeras’, www.pastemagazine.com, 16 February 2017

Saltz, Jerry, ‘The One Piece Our Art Critic Can’t Stop Thinking About’ in: New York Magazine, New York, 6–19 February 2017, p. 123

Sheets, Hilarie M, ‘How Glenn Ligon Is Using Black and Blue to Begin a Dialogue’, in: New York Times, New York, June 2, 2017, pp. AR24, ill.

Simpson, Lorna, ‘The Artists’ Artists’ in: Artforum, vol. 56, no. 4, December 2017, p. 73

Smith, Roberta, ‘When Brash Met Flash’ in: New York Times, New York, 10 February 2017, pp. C19

Stapley–Brown, Victoria, ‘‘My America’. Whitney Museum of American art explores identity on inauguration day’, in: The Art Newspaper, 20 January 2017

Thorpe, Vanessa, ‘From pop art to the present: the dreams that shaped America’, on: www.theguardian.com, London, 4 March 2017, ill.

Totten, Gary, ‘Editor’s Introduction: Questions of Legibility’, in: MELUS: Multi–Ethnic Literature of the United States, vol. 42, no. 2, Summer 2017, pp. 1–5

Wendt, Selene, ‘The Stories That Need To Be Told. 56th Venice Biennale’, in: Nka: Journal of Contemporary African Art, vol. no. 40, May 2017, pp. 68–81

Williamson, Sophie J., ‘(MIS)TRANSLATION’, in: Art Monthly, vol. 406, May 2017, pp. 11–15

2016 Alipour, Yasaman, ‘Review I am a Lie and I am Gold’, on: www.brooklynrail.org, Brooklyn, 4 March 2016

Bailey, Jason, ‘Glenn Ligon Deconstructs Richard Pryor’s Stand–Up’, on: www.hyperallergic.com, Brooklyn, 4 April 2016

Battaglia, Andy, ‘Dark Matter at Pace Gallery’, on: www.wsj.com, New York, 26 June 2016, ill.

Bankowsky, Jack, ‘Review of ‘Painting 2.0: Expression in the Information Age’, in: Artforum, vol. 54, no. 10, Summer 2016

Billyou, Mary, ‘Glenn Ligon ‘We Need to Wake Up Cause That’s What Time It Is’ at Luhring Augustine’, on: www.screenslate.com, New York, 28 January 2016, ill.

Burke, Harry, ‘Views: A Deeper Dive’, ‘Art Quarterly Kunstmagazin’, vol. 49, Autumn 2016, p. 191

Christian, Re’al, ‘Glenn Ligon Knows What Time It Is’, in: Art Versed, 28 March 2016, ill.

Cotter, Holland, ‘Refracting Race Through the Comic Lens of Richard Pryor’, in: The New York Times, New York, 21 January 2016, pp. C21

Dailey, Jan, ‘African–American artists paint it black in Hong Kong’, in: Financial Times, London, 25 March 2016

Davis, Christine, Lyall, Scott, ‘Techniques of Exsistence’, in: Public 51: Colour, Summer 2016

___, ‘Goings On About Town. Art’ in: The New Yorker, New York, 28 March 2016, p. 13

Golden, Thelma, ‘Before and After: Thelma Golden on ‘Black Male (1994–95)’’ in: Artforum, vol. 54, no. 10, Summer 2016, pp. 141–42, ill.

Gopnik, Blake, ‘At Luhring Augustine, Glenn Ligon Shows Us the Silent Comedy of Richard Pryor’, on: www.news.artnet.com, 26 January 2016, ill.

Harakawa, Maya, ‘In Conversation with Jocelyn Miller’, in: The Brooklyn Rail, Brooklyn, March 2016

Saltz, Jerry, ‘It was the Most Reviled Show in the Museum History and the one that Changed the Course of Art’ in: New York Magazine, New York, 18 April–May 1 2016, pp. 42–51

___, ‘The Ten Best Art Shows of the Year’, in: New York Magazine, New York, 12–25 December 2016, pp. 128–9, ill.

Smith, Roberta, ‘The Best Art of 2016’, on: www.nytimes.com, New York, 7 December 2016

Steinhauer, Jillian, ‘Glenn Ligon and Claudia Rankine Talk Race at Art Basel Miami Beach’, on: www.hyperallergic.com, Brooklyn, 3 December 2016, ill.

Sussman, Elisabeth, ‘Mission Statements: Elisabeth Sussman on the 1993 Whitney Biennial’, in: Artforum, vol. 54, no. 10, Summer 2016, pp. 135–36.

Vartanian, Hrag, ‘Best of 2016: Our Top 15 Brooklyn Art Shows’, on: www.hyperallergic.com, Brooklyn, 23 December 2016, ill.

Yerebakan, O. C., ‘New York: Glenn Ligon’, in: Art Observed, New York, 14 April 2016

2015 Beckwith, Naomi, ‘The Sharp, White Background’ in: Frieze, vol.168, January/February 2015, pp. 33–34

Campbell–Johnston, Rachel, ‘Chastising the American dream’ in: The Times, 10 April 2015, ill.

Carey–Kent, Paul, ‘Glenn Ligon’ in: Bordercrossings, vol. 34, no. 1, March 2015, 111–113, ill.

Cole, Lori, ‘Critics’ Picks: Speaking of People’, on: www.artforum.com, 15 January 2015

Cooke, Lynne, ‘Glenn Ligon: Encounters and Collisions’, in: Artforum, vol. 54, no. 3, November 2015, pp. 294–295

Cotter, Holland, ‘At ‘Greater New York,’ Rising Art Stars Meet the Old School’, in: The New York Times, New York, 16 October 2015, pp. C23

Crow, Kelly, ‘Broad New World’, in: The Wall Street Journal Magazine, New York, no. 60, June 2015, pp. 64–83

Diehl, Travis, ‘Critics’ Picks: Live at Regen Projects’, on: www.artforum.com, October 2015

Droitcour, Brian, ‘Too Funny for Words’, in: Art in America, June/July 2015, pp.100–103

Edwards, Adrienne, ‘Oscar Murillo: Central Pavilion’, in: Studio: The Studio Museum in Harlem Magazine, New York, Summer/Fall 2015, p. 45

Farago, Jason, ‘He's Barack Obama's favourite artist. But is Britain ready for Glenn Ligon?’, on: www.theguardian.com, London, 2 April 2015, ill.

Gorman, Rachel, ‘Barack Obama–endorsed artist Glenn Ligon opens ‘personal museum’ at Nottingham Contemporary’, in: Nottingham Post, Nottingham, 2 April 2015

Halperin, Julia, ‘Whitney’s curators explore wide open spaces of new downtown home’, in: The Art Newspaper, vol. XXIV, no. 267, April 2015, pp. 17–18

Keith, Naima, ‘Glenn Ligon: Central Pavilion’, in: Studio: The Studio Museum in Harlem Magazine, New York, Summer/Fall 2015, p. 44, ill.

Knight, Christopher, ‘Glenn Ligon explores race in America’, on: www.latimes.com, Los Angeles, 27 March 2015, ill.

Kuo, Michelle, ‘Global Entry’, in: Artforum, vol. 53, no. 9, May 2015, pp. 85–90

Lucas, Julian (ed.), ___, in: Possession: The Harvard Advocate, Boston, Winter 2015, pp. 44–45

Mizota, Sharon, ‘Review: Glenn Ligon takes apart a Richard Pryor performance’, on: www.latimes.com, Los Angeles, 20 September 2015, ill.

Nelson, Solveig, ‘The Freedom Principle: Experiments in Art and Music, 1965 to Now’, in: Artforum, vol. 54, no. 3, November 2015, pp. 298–299

O’Toole, Sean, ‘Reviews: 56th Venice Biennale’, in: Frieze, vol. 172, June/July/August 2015, pp. 166–167

Sandhu, Sukhdev, ‘A People on the Cover, in: Icon, vol. 143, May 2015

Schultz, Charles, ‘ArtSeen: Speaking of People: Ebony, Jet and Contemporary Art’, in: The Brooklyn Rail, Brooklyn, 5 February 2015

Sumpter, Helen, ‘Glenn Ligon: Encounters and Collisions’, in: Art Review, vol. 67, no. 6, September 2015, p. 152

2014 Akel, Joseph, ‘Bloodflames Revisited’, on: www.frieze.com, September 2014

Baker, Lindsay, ‘Culture Calendar’, on: BBC Worldwide, 13 February 2014, ill.

Burke, Siobhan, ‘Reminders of the Protest Era Stirred Into a ‘Postmodern Gumbo’’, on: www.nytimes.com, New York, 28 September 2014

Burke, Siobhan, ‘Synergy and Dissonance, Amid the Weight of History’, on: www.nytimes.com, New York, 24 September 2014

Castjohn, Cheryl, ‘30 Americans Review: CAC Showcases Diverse Works from 30 Black Artists’, on: Nola Defender, New Orleans, 16 February 2014, ill.

Duguid, Hannah, ‘Glenn Ligon: When Barack Obama is your biggest fan’, on: www.independent.com, London, 12 March 2014, ill.

Dury, Dan, ‘Don’t Miss Glenn Ligon at Camden Arts Centre’, in: ARTNews, 13 October 2014

Haynes, Lauren, ‘EBONY/JET Inspires Harlem Studio Museum Art Exhibit’, on: www.ebony.com, 17 September 2014

___, ‘Exhibitions in Brief’, in: Art + Auction, May 2014

Finley, Cheryl, ‘Visual Legacies of Slavery and Emancipation’, in: Callaloo: Art & Culture in the African Diaspora, vol. 37, no. 4, 2014

George, Joseph, ‘Art: Creating Art with Line and Text’, in: The Scene, 26 February 2014

___, ‘Glenn Ligon. Come Out’, in: Aesthetica Blog, 10 February 2014

Halzack, Sarah, ‘Abraham.In.Motion’s choreography is ambitious, yes, but rightly so’, on: www.washingtonpost.com, Washington D.C., 9 November 2014

King, Daniella Rose, ‘Glenn Ligon: Call and Response’, in: Art Monthly, vol. 382, December–January 2014, pp. 26–27

Nairne, Eleanor, ‘Glenn Ligon. Thomas Dane Gallery’, in: Frieze, vol.163, May 2014

Neary, Janet, ‘Representational Static: Visual Slave Narratives of Contemporary Art’, in: MELUS: Multi–Ethnic Literature of the United States, vol. 39, no. 2, Summer 2014, pp.157–187

___, ‘New exhibit in Gettysburg examines African–American history and identity’, on: The Evening Sun, 21January 2014

Pobric, Pac, ‘Glenn Ligon –The Same, But Different’, in: The Art Newspaper, vol. XXIII, no. 260, September 2014, pp. 52–53, ill.

Sanghera, Sathnam, ‘The maverick who’s bringing the art of protest to the White House’, in: The Times of London, 29 November 2014

Smith, Roberta, ‘Creators Inspired by Ebony and Jet’, on: www.nytimes.com, New York, 8 November 2014

Spence, Rachel, ‘Glenn Ligon Interview’, on: www.ft.com, London, 17 October 2014, ill.

Valentine, Victoria L., ‘Art Studio America. Glenn Ligon Makes Those Text Paintings in an Old Canning Factory’, on: www.culturetype.com, 28 February 2014, ill.

Viveros–Fauné, Christian, ‘The 50 Most Exciting Artists of 2014’, on: www.news.artnet.com, 29 December 2014

Woodward, Richard B, ‘Culture War Hold–out’, on: www.wsj.com, New York, 12 March 2014

2013 Cotter, Holland, ‘A Time of Danger and Pain, Two Long Decades Ago’, on: www.nytimes.com, 14 February 2013

Gale, Nikita, ‘Q&A: Glenn Ligon explores sources, influences, racial politics of his text–based abstractions’, on: www.artsatl.org, Atlanta, 7 January 2013, ill.

Jones, Michelle, ‘Frist's ‘30 Americans’ is contemporary, provocative’ on: www.knoxnews.com, 21 December 2013

Simmons, William, ‘Glenn Ligon and Gertrude Stein: Beyond Words’, in: The Harvard Undergraduate Research Journal, vol. 6, no. 1, Spring 2013, pp. 28–32, ill.

Wei, Lilly, ‘Glenn Ligon – Luhring Augustine’, in: ARTnews, vol. 112, no. 2, February 2013, p. 89

2012 Blackley, Andrew, ‘Notes on the Prelude’, in: Art in Print, vol. 2, no. 1, April 2012, p. 31

Cantrell, Scott, ‘Otherwise: Ligon retrospective probes stereotypes of race and sex’, in: The Dallas Morning News, Dallas, 19 February 2012: pp. 1E, 5E

Kantor, Jordan, ‘The Painting Factory’, in: Artforum, vol. 50, no. 9, May 2012, p. 158

Sanders, Bob Ray, ‘Soft–spoken words, explosive images’, in: Star Telegram, 19 February 2012, pp. 11B

Robinson, Gaile, ‘At the halfway mark’, in: Star–Telegram, 11 February 2012, pp. 1E, 10E

Seyfarth, Ludwig, ‘Art and Language: From Concept to Activism’, in: Deutsche+Guggenheim Magazine, vol. Issue 18, Winter 2012, pp.18–22

Vogel, Carol, ‘National Gallery of Art Acquires Glenn Ligon Painting’, on: www.nytimes.com, New York, 16 November 2012, pp. C28, ill.

Winant, Carmen, ‘Critics’ Picks: Postscript. Writing After Conceptual Art’, on: www.artforum.com, November 2012

2011 ___, ‘100 Artists to Watch’, in: Modern Painters, December 2011

Berwick, Carly, ‘Stranger in America’, in: Art in America, no. 5, May 2011, pp. 120–131

Copeland, Huey, ‘Glenn Ligon and Other Runaway Subjects’, in: Representations, vol. 113, no. 1, Winter 2011, pp. 73–110

Cotter, Holland, ‘Messages That Conduct an Electric Charge’, in: New York Times, New York, 11 March 2011, pp. C21, ill.

Knight, Christopher, ‘Art Review. ‘Glenn Ligon: America’ at LACMA’, in: Los Angeles Times, Los Angeles, 24 October 2011, ill.

Kunitz, Daniel, ‘Studio Check: Glenn Ligon’, in: Modern Painters, vol. 23, no. 1, February 2011, pp. 32–33

L’Official, Peter, ‘Words, Words, Words: On Glenn Ligon’, in: Los Angeles Review of Books, 1 November 2001

Maltz–Leca, Leora, ‘Glenn Ligon’, in: Frieze, vol. 140, June–August 2011

Meyer, James, ‘Glenn Ligon. Whitney Museum of Art, New York’, in: Artforum, vol. 49, no. 10, Summer 2011, pp. 392–393, ill.

Saltz, Jerry, ‘Signs of Life’, in: New York Magazine, New York, 14–21 March 2011

Schjeldahl, Peter, ‘Unhidden Identities: A Glenn Ligon retrospective’, in: The New Yorker, New York, 11 March 2011, pp. 76–77, ill.

Sheets, Hilarie M., ‘The Writing on the Wall’, in: ARTnews, vol. 110, no. 4, April 2011, 86–91, ill.

Stokes, Emily, ‘Light and Dark’, on: www.ft.com, London, 4 March 2011

Vogel, Carol, ‘The Inside Story on Outsiderness’, on: www.nytimes.com, New York, 24 February 2011, ill.

Woolford, Donelle, ‘The Artists’ Artists: Glenn Ligon’, in: Artforum, vol. 51, no. 4, December 2011, p. 106

2010 Campagnola, Sonia, ‘Glenn Ligon. Regen Projects’, in: Flash Art, vol. 43, no. 271, March–April 2010, p. 117, ill.

Cumming, Laura, ‘Nice idea, shame it doesn’t hang together’, in: The Guardian, London, 2 July 2010

Derbyshire, Jonathan, ‘Continental Drifters’, on: www.newstatesman.com, 8 February 2010

Faires, Robert, ‘Depths of ‘Desire’, on: www.austinchronicle.com, Austin, 19 March 2010

Gopnik, Blake, ‘Race Issue a Two–edged Sword for Black Contemporary Artists’, in: Washington Post, Washington D.C., 24 January 2010

Harris, Jonathan, ‘Afro Modern: Journeys Through the Black Atlantic’, in: Art Monthly, vol. 334, March 2010, pp. 20–22

Lehrer–Graiwer, Sarah, ‘Glenn Ligon. Regen Projects’, in: Artforum, vol. 48, no. 7, March 2010, pp. 255–56, ill.

Mellema, Tatiana, ‘Glenn Ligon: Death of Tom and Untitled (Minnesota Massacre)’, in: C Magazine, no. 105, Spring 2010, pp. 40–41

Merjian, Ara H., ‘30 Seconds off and Inch’, in: Frieze, vol. 130, April 2010, ill.

Thorne, Sam, ‘Afro Modern’, in: Frieze, vol. 130, April 2010, pp. 112–13

2009 Coburn, Tyler, ‘Glenn Ligon: I Am . . . ’, in: Art Review, no. 29, January–February 2009, pp. 56–65

Drohojowska–Philp, Hunter, ‘Artist’s White House Vote’, in: Los Angeles Times, Los Angeles, 11 December 2009

Erickson, Peter, ‘Black Like Me: Reconfiguring Black Face in the Art of Glenn Ligon and Fred Wilson’, in: Nka: Journal of Contemporary African Art, no. 25, Winter 2009, pp. 30–47

Erickson, Peter, ‘Invisibility Speaks: Servants and Portraits in Early Modern Visual Culture’, in: Journal for Early Modern Cultural Studies, vol. 9, no. 1, Spring–Summer 2009, pp. 23–61

Foumberg, Jason, ‘Eye Exam: Splashes of Color (and Gender)’, on: www.art.newcity.com, New York, 2 March 2009

Garcia, Carnelia, ‘A Sea of Ink’, in: Art+Auction, vol. 33, no. 4, December 2009, p. 32

Knight, Christopher, ‘Rage Concealed Yet in Plain View’, in: Los Angeles Times, Los Angeles, 25 December 2009

Smith, Roberta, ‘A Beating Heart of Social Import’, on: www.nytimes.com, New York, 11 December 2009

Vogel, Carol, ‘A Bold and Modern White House’, on: www.nytimes.com, New York, 7 October 2009

2008 Bedford, Christopher, ‘Glenn Ligon: Regen Projects II’, in: Artforum, vol. 46, no. 5, January 2008, pp. 288–89

Cieply, Michael, Barnes, Brooks, ‘Art Fair as Outlet Mall at Art Basel Miami Beach’, in: New York Times, New York, 6 December 2008

Copeland, Huey, ‘The Blackness of Blackness’, in: Artforum, vol. 47, no. 2, October 2008, pp. 151–54, ill.

Damiani, Didier, ‘Wim Delvoye: Casino Luxembourg; Glenn Ligon: MUDAM’, in: Art Press, vol. 341, January 2008, pp. 77–78

Goddard, Peter, ‘Film’s Future Gets the Silent Treatment’, on: www.thestar.com, 13 September 2008

Nelson, Steven. ‘Darby English: How to See a Work of Art in Total Darkness’, in: Art Bulletin, vol. 90, no. 3, September 2008, pp. 496–500

Saltz, Jerry, ‘Fever Dreams: A Show about Archives Gets Brilliantly Lost in the Vaults’, in: New York Magazine, New York, 3 March 2008, p. 70

Villeneuve, Phil, ‘Glenn Ligon’s Death of Tom: The Living Ghosts of US History’, in: Daily Xtra, 11 September 2008

2007 Genocchio, Benjamin, ‘Glenn Ligon: Unauthorized’, on: www.nytimes.com, New York, 20 July 2007

Jentleson, Katherine, ‘Black Humor’, in: Art+Auction, vol. 31, no 2, October 2007, p. 60

Knight, Christopher, ‘Stencil Work a Nod to Richard Pryor’, in: Los Angeles Times, Los Angeles, 30 November 2007, ill.

Nichols, Matthew Guy, ‘Ligon’s Color Theory’, in: Art in America, vol. 95, no. 3, March 2007, pp. 154–59, 189

Wheadon, Nico, ‘Glenn Ligon: Give us a Poem’, in: Studio: The Studio Museum in Harlem Magazine, New York, Summer 2007, pp. 26–27

2006 Gehman, Geoff, ‘Irony, Satire Enlighten African–American Exhibit’, in: Morning Call, 16 February 2006

Kley, Elisabeth, ‘Glenn Ligon’, in: Art+Auction, vol. 28, no. 5, January 2006, pp. 40–42, 44

Meyer, Richard. ‘Light it up, or How Glenn Ligon Got Over’, Artforum, vol. 44, no. 9, May 2006, 240–47, ill.

Myers, Julian, ‘A Brief History of Invisible Art’, in: Frieze, vol. 97, March 2006, p. 157

Najafi, Sina, ‘Shadowplay: Four Artist Projects’, in: Cabinet, no. 24, Winter 2006, p. 89

Schwendener, Martha, ‘Review of Yes, Bruce Nauman’, in: Time Out New York, New York, 7–13 September 2006

Smith, Roberta, ‘Art Review: The Body Electric: Text and, Yes, Videotape’, on: www.nytimes.com, New York, 4 August 2006

Smith, Roberta, ‘Menace, Glitter and Rock in Visions of Dystopia’, on: www.nytimes.com, New York, 29 December 2006

Stocchi, Francesco, ‘Critics’ Picks: Glenn Ligon’, on: www.artforum.com, November 2006

2005 Demos, T. J., ‘Experiments with Truth’, in: Artforum, vol. 43, no. 6, February 2005, p. 167

Goddard, Peter, ‘More Thought Than Shock: Black History Looms Large for Glenn Ligon’, in: Toronto Star, Toronto, 30 June 2005

Jana, Reena, ‘Self–Portrait as Stevie Wonder: Glenn Ligon Creates a New Pulp–paper Edition at Dieu Donné Papermill’, in: Art on Paper, vol. 9, no. 3, January–February 2005, 38–39, ill.

Johnson, Christopher. ‘Rewind: Glenn Ligon’ in: Canadian Art, vol. 22, no. 4, Winter 2005, 104, 106

Jordan, Betty Ann, ‘Critical Revision: NYC Artist Glenn Ligon Colours Outside the Lines’, in: Toronto Life, Toronto, July 2005, p. 98.

Lynn, Victoria, ‘Glenn Ligon’, in: Art Review, vol. 3, no. 10, October–November 2005, p. 126

Milroy, Sarah, ‘Black on White and Brilliant All Over’, in: Globe and Mail, 5 July 2005

Nixon, Mignon, ‘On The Couch’, in: October, no. 113, Summer 2005, pp. 39–76

Pym, William, ‘Critics’ Picks: Very Early Pictures’, on: www.artforum.com, October 2005

Rogerson, Stephanie, ‘Not Unspoken’, in: Afterimage, vol. 23, no. 3, November–December 2005, p. 49

Rogerson, Stephanie, ‘Rage & Light: Into the Good Night of Blackness’, in: Xtra, 7 July 2005

Sandals, Leah, ‘Glenn Ligon’, in: Flash Art, vol. 38, no. 244, October 2005, pp. 126–27

Therrien, Marie–Josée, ‘Identités Multiples’, in : Vie des Arts, no. 50, Autumn 2005, pp. 71–72

2004 Burton, Johanna, ‘Glenn Ligon: D’Amelio Terras’, in: Artforum, vol. 43, no. 7, March 2004, p. 184

___, ‘Subject to Revision’, in: Artforum, vol. 43, no. 2, October 2004, pp. 258–62, 305

Chandler, Mary Voelz, ‘Provocative Show Tackles Race’, in: Rocky Mountain News, Denver, 9 January 2004

Gibbs, Michael, ‘Dia Web’, in: Art Monthly, no. 277, June 2004, p. 43

Knight, Christopher, ‘The Canvas Speaks Volumes’, in: Los Angeles Times, Los Angeles, 8 October 2004

MacMillan, Kyle, ‘Impressive Ethnic Art Masterworks at Myhren Gallery’, in: Denver Post, Denver, 9 January 2004

Murray, Soraya, ‘Glenn Ligon: Going There’, in: Nka: Journal of Contemporary African Art, no. 19, Summer 2004, pp. 88–89

Pollack, Barbara, ‘Glenn Ligon at D’Amelio Terras’, in: Art in America, vol. 92, no. 5, May 2004, pp.153–54

Pollack, Barbara, ‘What Lies Beneath’, in: Time Out New York, New York, January 1–8 2004, p. 52

Woodward, Richard, ‘Battleground Art: Revisiting the Culture Wars in Cincinnati’, on: www.nytimes.com, New York, 5 September 2004, p. 21

2003 Cotter, Holland, ‘Cameras as Accomplices, Helping Race Divide America Against Itself’, on: www.nytimes.com, New York, 19 December 2003

Ferris, Alison, ‘Disembodied Spirits: Spirit Photography and Rachel Whiteread’s Ghost’, in: Art Journal, vol. 62, no. 3, Autumn 2003, pp. 44–55

Firmin, Sandra, ‘Reviews: Philadelphia, Pennsylvania’, in: Art Papers, vol. 27, no. 6, November–December 2003, pp. 48–49

Genocchio, Benjamin, ‘Old Faces Inaugurate a Renovated Gallery for Wesleyan’, on: www.nytimes.com, New York, 16 November 2003

___, ‘Goings On about Town: Art’ in: New Yorker, New York, 22–29 December 2003, p. 34

Gopnik, Blake, ‘Art and Race, Making a Memorable Appearance’, on: www.washingtonpost.com, Washington D.C., 6 April 2003

Johnson, Ken, ‘Alumni Return, Juxtaposing Past and Present’, on: www.nytimes.com, New York, 28 November 2003

Lankford, E. Louis, Scheffer, Kelly A., Decker, Barbara + [et al.], ‘Instructional Resources: Quest and Questions: Learning in Our Time; Selections from the Saint Louis Art Museum’, in: Art Education, vol. 56, no. 1, January 2003, pp. 25–32

McQuaid, Cate, ‘Communing with the ghosts of technology past and present’, in: Boston Sunday Globe, Boston, 2 November 2003

Mirapaul, Matthew, ‘Artists Cast a Wary but Interested Eye on the Web’, on: www.nytimes.com, New York, 31 March 2003

Sozanski, Edward J., ‘Wallpaper as Art Gets Museum Wall of Honor’, in: Philadelphia Inquirer, Philadelphia, 1 June 2003

Temin, Christine, ‘Sprawling ‘Family’ Show Adopts Diverse Approach at the Peabody, an Extended ‘Family’’, in: Boston Globe, Boston, 11 July 2003

2002 ___, ‘Der Künstler der Documenta 11 im Kunstforum’, in: Kunstforum International, no. 161, August–October 2002, pp. 491–501

Galloway, David, ‘Review: Documenta 11’, in: ARTnews, vol. 101, no. 7, Summer 2002, pp.169–70

___, ‘Glenn Ligon’, in: Kunstforum International, no. 161, August–October 2002, pp. 176–77

Haase, Amine, ‘Keine Zukunft ohne Vergangenheit oder: Kunst als Mittel der Erkenntnis [No Future without a Past or: Art as a Means to Knowledge]’, in: Kunstforum International, no. 161, August–October 2002, pp. 52–67

Loria, Vivianne, ‘La Persistencia de la Ilusion Multicultural [The Persistence of the Multicultural Illusion]’, in: Lapiz, vol. 21, no. 185, Summer 2002, pp. 30–35

McEvilley, Thomas, ‘Documenta 11’, in: Frieze, vol. 69, September 2002, pp. 80–85

Murray, Soraya, ‘Okwui’s Opus Magnum’, in: International Review of African American Art, vol. 18, no. 3, 2002, p. 62

Parker, Ian, ‘Golden Touch: In Harlem, Thelma Golden Has Big Plans for Contemporary Art’, in: New Yorker, New York, 14 January 2002, pp. 44–49

2001 Dubin, Steven C, ‘Museen als umkampfte Orte [Museums as Places of Controversy]’, in: Texte zur Kunst, vol. 11, no. 41, March 2001, pp. 69–76

Glueck, Grace, ‘‘Everybody Now’ –– ‘The Crowd in Contemporary Art’’, on: www.nytimes.com, New York, 30 November 2001

Gockel, Cornelia, ‘Glenn Ligon—Portraits and Not Portraits: Kunstverein München’, in: Kunstforum International, vol. 157, November–December 2001, pp. 364–65

___, ‘Goings On about Town: Art’, in: New Yorker, New York, 28 May 2001, p. 25

Honigman, Ana, ‘Glenn Ligon: D’Amelio Terras’, in: Flash Art, vol. 34, no. 219, July–September 2001, p. 121

Kastner, Jens, ‘Klumpen im Diskurs’, in: Die Tageszeitung, 28 September 2001

Knighton, Andrew, ‘Glenn Ligon: Walker Art Center’, in: New Art Examiner, vol. 28, no. 7, April 2001, pp. 60–61

Morgan, Robert C., ‘Glenn Ligon: D’Amelio Terras’, in: Tema Celeste, no. 86, Summer 2001, p. 90

Pollack, Barbara, ‘‘Glenn Ligon: Stranger,’ Studio Museum in Harlem’, in: Artnews, vol. 100, no. 4, April 2001, p. 140

Richard, Frances, ‘A Private Reading: The Book as Image and Object’, in: Artforum, vol. 40, no. 4, December 2001, p. 119

Schwabsky, Barry, ‘Glenn Ligon: D’Amelio Terras’, in: Artforum, vol. 40, no. 2, October 2001, pp. 158–59, ill.

Smith, Roberta. ‘Art in Review: Glenn Ligon – Colored’, in: New York Times, New York, 11 May 2001

Smith, Roberta, ‘Quick as a Shutter, Group Shows Shatter Conventional Wisdom’, in: New York Times, New York, 6 July 2001

Sparks, Amy Bracken, ‘Hyper Text: No Simple Drawings at Spaces’ in: Cleveland Free Times, Cleveland, 30 May–5 June 5 2001

2000 Cotter, Holland, ‘A Showcase for Emerging Talent Nurtured Within the Same Environment’, in: New York Times, New York, 12 May 2000, p. E38

Gary, Willie E., Hitt, Jack, Pires Jr., Alexander J., + [et al.], ‘Making the Case for Racial Reparations: Does America Owe a Debt to the Descendants of its Slaves?’, in: Harper's Magazine, vol. 301, no. 1806, November 2000, p. 37–53, ill.

Sirmans, Franklin, ‘The Art of the Deal: The Bronx Museum Sees the Cash Register Behind a Higher Calling’, in: Time Out New York, 29 June–6 July, 2000

Sirmans, Franklin, ‘Mentorship’, in: FYI, vol. 16, Fall 2000

Turner, Grady, ‘Sexually Explicit Art: Not–So–Strange Bedfellows—Art and Pornography Get Cozy’, in: Flash Art, vol. 33, no. 212, May–June 2000, pp. 92–96

___, ‘Working Proof’, in: Art on Paper, vol. 4, no. 6, July–August 2000, p. 50

1999 Cameron, Dan, ‘Review of 1993 Whitney Biennial’, in: Artforum, vol. 38, no. 4, December 1999, p. 132

Carpenter, Stephen, ‘Thoughts on Black Art and Stereotypes: Visualizing Racism’, in: Journal of Multicultural and Cross–cultural Research in Art Education, vol. 17, Fall 1999, pp. 103–15

Dewan, Shaila, ‘Too Much for Words’, in: Houston Press, Houston, 10–16 June, 1999

Johnson, Patricia C, ‘Every Picture Tells a Story’, in: Houston Chronicle, Houston, 2 June 1999

Nathan, Jean, ‘For 82 Artists, Immortality Is Worth Rising Early’, on: www.newyorktimes.com, New York, 26 September 1999

Smith, Roberta, ‘Conceptual Art: Over, And Yet Everywhere’, on: www.newyorktimes.com, New York, 25 April 1999

1998 Cotter, Holland, ‘Stories About Race, Politics and Himself’, in: New York Times, New York, 1 February 1998, p. 48, ill.

Eli, Quinn, ‘Constructing Identity; The Institute of Contemporary Art’s New Show ‘Glenn Ligon: Unbecoming’ Addresses Questions of Identity, Race, Culture and Sexuality’, in: Philadelphia Weekly, Philadelphia, 14 January 1998, pp. 20–21

Harris, Juliette, ‘Have Fabric, Will Make Art’, in: International Review of African American Art, vol. 15, no. 4, 1998, pp. 32–35

Koestenbaum, Wayne. ‘Best of 1998.’ Artforum 37, no. 4 (December 1998): 100–101.

Rice, Robin, ‘Conversation Pieces’, in: Philadelphia City Paper, Philadelphia, 6–13 August 1998

Rice, Robin, ‘Textual Healing’, in: Philadelphia City Paper, Philadelphia, 16–22 January 1998

Salisbury, Stephan, ‘Exploring Ideas of Race, Sex, Identity in Black and White’, in: Philadelphia Inquirer Magazine, Philadelphia, 15 January 1998

Sozanski, Edward J., ‘Making Something Borrowed New’, in: Philadelphia Inquirer, Philadelphia, 1 February 1998

___, ‘Talent Knock, Knock’, in: New York Magazine, New York, 19 January 1998, p. 70

1997 Cotter, Holland, ‘Ideas From the Air, Wrapped in Paper’, in: New York Times, New York, 19 December 1997

Glueck, Grace, ‘Fruitful Months in the Country’, in: New York Times, New York, 3 February 1997

Haye, Christian, ‘Sweet Nothings’, in: Frieze, vol. 36, September–October 1997, p. 81

Meyer, Richard, ‘Glenn Ligon: The Limits of Visibility’, in: Art/Text, vol. 58, August–October 1997, pp. 32–35

Schwabsky, Barry, ‘Glenn Ligon, Brooklyn Museum’, in: Artforum, vol. 35, no. 5, January 1997, pp. 82–83

1996 Aukeman, Anastasia, ‘Glenn Ligon at Max Protetch’, in: Art in America, vol. 84, no. 2, February 1996, pp. 88

Bates–Rudd, Rhonda, ‘Artist Paints Original Portrait of Slavery: Ad for Runaway Slaves Introduces Viewer to Exhibit’, in: Detroit News, Detroit, 24 April 1996

Carrier, David, ‘Review of 10th Sydney Biennale’, in: Burlington Magazine, Burlington, vol. 138, no. 1123, October 1996, pp. 714–15

Clancy, Luke, ‘Low–tech on Top Down Under’ in: Sydney Times, Sydney, 22 August 1996

Colby, Joy Hakanson, ‘Ligon’s ‘Autobiography’ Packs a Powerful Punch’, in: Detroit News, Detroit, 18 April 1996

Conner, Kimberly Rae, ‘To Disembark: The Slave Narrative Tradition’, in: African American Review, vol. 30, no. 1, Spring 1996, pp. 35–57

Cotter, Holland, ‘‘The Evidence of Things Not Seen’: Drawings by Glenn Ligon’, in: New York Times, New York, 18 October 1996, ill.

Davies, Suzanne, Cooke Lynne, ‘The Biennale explained’ in: Art Monthly Australia, September 1996

Gaines, Charles. ‘‘Hotter Than July’: Margo Leavin Gallery, Los Angeles’, Art and Text, vol. 55, October 1996, p. 84

Green, Roger, ‘Metaphor, Meaning in Slave Symbols’, in: Ann Arbor News, Ann Arbor, 27 April 1996

Izdat, Sam, ‘Glenn Ligon’, in: Poliester, vol. 5, no. 17, Winter 1996–97, pp. 32–37

Maloney, Martin, ‘Mirage Season: Enigmas of Race, Difference, and Desire’, in: Flash Art, vol. 29, no. 186, January—February 1996, p. 47

McDonald, John, ‘The Sydney Biennale: not Australian enough?’ in: The Art Newspaper, vol. 61, July–August 1996, p. 8

McDonald, John, ‘Is That All There Is?; Jurassic Technologies Revenant: The 10th Biennale of Sydney’, in: Sydney Morning Herald, Sydney, 3 August 1996

Meyer, Richard, ‘The Thinker; Art Intellectual Glenn Ligon Hits His Stride’, in: Out, October 1996, p. 66

Pagel, David, ‘Retelling Stories of Fame and Misfortune’, in: Los Angeles Times, Los Angeles, 8 August 1996

Perrée, Rob, ‘Postcards from America 3: Het Zwarte Ideeëngoed Van Glenn Ligon’, in: Kunstbeeld, May 1996, pp. 33–35

Princenthal, Nancy, ‘Now You See It, Now You Don’t: The Magic Magic Book’, in: Parkett, no. 47, 1996, pp. 184–87

Schjeldahl, Peter, ‘Missing: The Pleasure Principle’, in: Village Voice, New York, 16 March 1993, pp. 34, 38

Schjeldahl, Peter, ‘Screenery’, in: Village Voice, New York, 13 February 1996

Schwendener, Martha, ‘Catch My Drift?’, in: Time Out New York, New York, 12–19 December 1996

Schwendener, Martha, ‘Glenn Ligon, Max Protetch’, in: Flash Art, vol. 29, no. 186, January–February 1996, pp. 101–102

Shottenkirk, Dena, ‘Back to the future: revisiting technology at the Sydney Biennale’, in: C Magazine, no. 50, July–September 1996, pp. 16–23

Smith, Roberta, ‘Review of Screen at Friedrich Petzel’, in: New York Times, New York, 2 February 1996

Tate, Greg, ‘Bring the Word’, in: Village Voice, New York, 17 September 1996

Wiggins, Cynthia, ‘Liberty, Fraternity, Inequality: Race, Rage, Regret’, in: LA Weekly, Los Angeles, 16–22 August 1996, pp. 43–44

Zimmer, William, ‘Eleven Artists Ponder Flesh’s Possibilities’, in: New York Times, New York, 10 March 1996, p. 16

1995 Cork, Richard, ‘Bigotry Trounced in Show of Wit’, in: The London Times, London, 27 June 1995

Craddock, Sacha, ‘Around the Galleries: Boxer’, in: The London Times, London, 8 August 1995

___, ‘Goings On about Town: Art’, in: New Yorker, New York, 31 July 1995, p. 19

Gillmor, Alison, ‘Critical Distance’, on: www.aceart.com, 1995

Halle, Howard, ‘Glenn Ligon, ‘Photos & Notes’; Max Protetch Gallery’, in: Time Out New York, New York, 18–25 October 1995

Hardy, Simon, ‘Taking a Swing at Art’, in: Evening Mail, 12 August 1995

Harrison, Helen, ‘Just an Illusion’, in: Frieze, vol. 24, September–October 1995, pp. 52–53

Kent, Sarah, ‘Body Politic’, in: Time Out London, London, 24–31 May 1995, p. 49

Levin, Kim, ‘Art Short List: Glenn Ligon’, in: Village Voice, New York, 18–25 October 1995, p. 8

Masterson, Piers, ‘Review of Boxer at Walsall Museum and Art Gallery’, in: Art Monthly, no. 189, September 1995, pp. 34–35

McQuaid, Cate, ‘Boxed in: Glenn Ligon Talks About Ali, Tyson, and O. J.’, in: Boston Phoenix (Supplement), 15 September 1995

___, ‘Multiples and Objects and Books: Glenn Ligon, Skin Tight (1995)’, in: Print Collector’s Newsletter, vol. 26, no. 4, September–October 1995, p. 140

Nochlin, Linda, ‘Learning from ‘Black Male’’, in: Art in America, vol. 83, no. 3, March 1995, pp. 86–91, ill.

Nusbaum, Eliot, ‘Ligon Show Spotlights Art’s ‘Human Toll’’, in: Des Moines Register, Des Moines, 29 January 1995

Sladen, Mark, ‘Black on Black’, in: Art Monthly, vol. 188, July–August 1995, pp. 13–15

Smith, Roberta, ‘Review of Glenn Ligon at Max Protetch’, in: New York Times, New York, 3 November 1995

Thorson, Alice, ‘Boxes of Blackness; Artist Glenn Ligon Draws from History, Friends, Impressions’, in: Kansas City Star, Kansas, 10 December 1995

Tomlinson, Glenn C., ‘Glenn Ligon’, in: Philadelphia Museum of Art Bulletin, Philadelphia, Winter 1995, pp. 38–39

Turner, Elisa, ‘Exhibit shows how many artists stand on Duchamp’s ‘leg’’, in: The Herald, 3 December 1995

Williams, Richard, ‘Blood on the Canvas’, in: The Guardian, London, 4 August 1995

1994 Amaki, Amalia, ‘Equal Rights and Justice: Thirty Years and Beyond’, in: Art Papers, vol. 18, no. 5 September–October 1994, pp. 51–52

Beasley, Tania, ‘Glenn Ligon: The New ‘Flyboy in the Buttermilk’’, in: Artistic Pedigree, vol. III, no. 3, 1994, pp. 10–13

Converse, Elizabeth, ‘Possible Identities’, in: Artweek, 19 May 1994, pp. 24–25

Cottingham, Laura, ‘Post—’68: The Aesthetic Legacies of Black Power, Women’s Liberation, and Gay Rights in American Art’, in: Flash Art, vol. 27, no. 174, January–February 1994, pp. 31–34

___, ‘De Kooning and Ligon at the Hirshhorn Museum and Sculpture Garden, Washington’, in: Flash Art, vol. 27, no. 174, January–February 1994, p. 47

Farr, Shelia, ‘Artists explore the fugitive was of identity’, in: Bellingham Herald, 8 January 1994

Fox, Catherine, ‘Equal Rights & Justice’, in: Atlanta Journal, 5 June 1994

Graham, Trey, ‘Art & Ambiguity: Black Gay Artist Glenn Ligon Revels in How Differently People Can Perceive Art’, in: Washington (DC) Blade, 11 February 1994

___, ‘High Museum of Art Schedules Major Civil Rights Exhibition’, in: Atlanta Inquirer, Atlanta, 14 May 1994

McEvilley, Thomas, ‘Dream Singers, Story Tellers’, in: Artforum, vol. 32, no. 7, March 1994, p. 91

Merino, Tony, ‘Glenn Ligon: To Disembark’, in: Art Papers, vol. 18, March–April 1994, p. 34

Pagel, David, ‘Works on Racism’, in: Los Angeles Times, Los Angeles, 21 April 1994

___, ‘Prints and Photographs Published: Glenn Ligon, Narratives (1993)’, in: Print Collector’s Newsletter, vol. 24, no. 6, January–February 1994, p. 226

Saltz, Jerry, ‘Missive The 1993 Whitney Biennial’, in: Galleries Magazine, no. 54, April–May 1993, pp. 57–59, 112

Thorson, Alice, ‘Long–ignored African American Artists Finally See Some Signs of Support’, in: Kansas City Star, Kansas, 20 March 1994

Williams, Patricia J., ‘The Black Male, Unbound’, in: New York Newsday, New York, 17 November 1994

1993 Als, Hilton, ‘Two Characters Play’, in: Frieze, vol. 10, May 1993, pp. 16–17

Bornstein, Lisa, ‘Glamour and Grime: Art Project Spruces up 42nd Street’, in: Midtown Resident, vol. 3, no. 8, 23 July–6 August 1993

Burchard, Hank, ‘Smart Stuff of One Self’, in: Washington Post, Washington D.C., 26 November 1993, p. 73

Cottingham, Laura, ‘The Pleasure Principled’, in: Frieze, vol. 10, May 1993, pp. 10–15

___, ‘Glenn Ligon, Untitled (Two White/Two Black) (1992)’, in: Print Collector's Newsletter, vol. 24, no. 1, March–April 1993

Hagen, Charles, ‘When All of New York is a Gallery to Browse’, on: www.nytimes.com, New York, 13 June 1993, ill.

Levin, Kim, ‘Village Choices: Byron Kim/Glenn Ligon’, in: Village Voice, New York, 27 April 1993

Lewis, Jo Ann, ‘Self–Portrait of the Artist as a Young Black Man’, on: www.washingtonpost.com, New York, 14 November 1993

Myers, Terry R., ‘Never Yell ‘Fire!’ in a Crowded Whitney Biennial’, in: New Art Examiner, vol. 20, no. 9, May 1993, pp. 20–23

Myles, Eileen, ‘Prints of Words’, in: Print Collector’s Newsletter, vol. 24, no. 4, September–October 1993, pp.132–35

Pagel, David, ‘‘Everyday’ Art’, in: Los Angeles Times, Los Angeles, 30 December 1993, pp. F9–F10

Rian, Jeff, ‘The 1993 Whitney Biennial Everyone Loves A Fire’, in: Flash Art, vol. 26, no. 170, May—June 1993, pp. 78–79

Richard, Paul, ‘New York’s Whitney Biennial Spits in the Face of Convention’, in: Washington Post, Washington D.C., 4 March 1993

Robertson, John A., ‘‘I Do Not Always Feel Colored’: the Postmodern Art of Glenn Ligon’, in: Reconstruction, 7 May 1993

Rubenstein, Meyer Raphael, ‘Fast Forward: Glenn Ligon’, in: Artnews, vol. 92, no. 9, November 1993, p. 124

Rugoff, Ralph, ‘Panic in the Tower: Who’s Afraid of the Whitney?’, in: LA Weekly, Los Angeles, 7–13 May 1993
`
Saltz, Jerry, ‘Missive The 1993 Whitney Biennial’, in: Galleries Magazine, no. 54, April–May 1993, pp. 57–59, 112

Smith, Roberta, ‘At the Whitney, a Biennial With a Social Conscience’, on: www.nytimes.com, New York, 5 March 1993

Smith, Roberta, ‘A 24–Hour–a–Day Show on Gaudy, Bawdy 42d Street’, in: www.nytimes.com, New York, 30 July 1993

1992 Alemayehu, Louis, Robeson, Susan, Mura, David, + [et al.], ‘Feature’ Arts community reactions to Interrogating Identity at Walker Art Center’, in: Artpaper, vol. 11, no. 4, February 1992, pp. 13–15

Conley, Kevin, ‘The Painted Word’, in: Departures, no. 12, December 1991–January 1992

Gillick, Liam, ‘Preview of Doubletake’, in: Art Monthly, no. 154, March 1992, p. 14–15

Johnson, Ken, ‘Glenn Ligon at Max Protetch’, in: Art in America, vol. 80, no. 11, November 1992, p. 131

Knight, Christopher, ‘An Ambitious Collection of Conceptualism’, in: Los Angeles Times, Los Angeles, 11 January 1992

Levin, Kim, ‘Voice Choices: Glenn Ligon/Judy Pfaff’, in: Village Voice, New York, 26 May 1992, p. 83

McNally, Owen, ‘Racist Tyranny of Language Goes Beyond Black and White’, in: Hartford Courant, 31 August 1992

1991 Aletti, Vince (ed.), ‘Glenn Ligon at Art in Genera’, in: Village Voice, New York, 18 June 1991

___, ‘Interrogating Identity’, in: New Yorker, New York, 29 April 1991, p. 18

Harris, Patty, ‘Artists and ‘Minority Identity’’, in: Downtown, 29 May 1991, pp. 22–23

Harrison, Helen, ‘Skin Pigmentation as a Determinant of Attitudes’, in: New York Times, New York, 1 December 1991

Kimmelman, Michael, ‘At the Whitney, a Biennial That’s Eager to Please’, in: New York Times, New York, 19 April 1991

Larson, Kay, ‘Review of exhibition at Jack Tilton Gallery’, in: New York Magazine, New York, 29 July 1991, p. 51

Levin, Kim, ‘Choices: Byron Kim/Glenn Ligon’, in: Village Voice, New York, 16 April 1991

___, ‘Choices: ‘Interrogating Identity’’, in: Village Voice, New York, 16 April 1991

Nesbitt, Lois E., ‘Interrogating Identity at Grey Art Gallery, New York’, in: Artforum, vol. 29, no. 10, Summer 1991, p. 115

Smith, Roberta, ‘Lack of Location Is My Location’, in: www.nytimes.com, New York, 16 June 1991, ill.

Smith, Roberta, ‘Interrogating Identity at Grey Art Gallery, New York’, in: New York Times, New York, 17 May 1991

Temin, Christine, ‘The Art of Questioning Identity’, in: Boston Globe, Boston, 4 August 1991

___, ‘‘Interrogating Identity’: The view from ‘outside’’, in: Boston Globe, Boston, 13 August 1991

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