B. Wurtz (b. 1948 Pasadena, California) was the subject of a retrospective exhibition at BALTIC Centre for Contemporary Art, Gateshead, United Kingdom in 2015. In 2016, the exhibition traveled to La Casa Encendida, Madrid. He has had additional solo exhibitions at Kunstverein Freiburg, Germany; White Flag Projects, St. Louis; Gallery 400, University of Illinois, Chicago, USA. His work has been included in group exhibitions at MoMA PS1, New York; Museum of Contemporary Art, Chicago, USA; and Musée d’Art Contemporain, Lyon, France. B. Wurtz lives and works in New York, USA.


Born 1948, California, USA
Lives and works in New York, USA 


MFA California Institute of the Arts, Valencia, CA, USA

BFA University of California at Berkeley, Berkeley, CA, USA 

Selected Solo Exhibitions

Institute of Contemporary Art, Los Angeles, USA (forthcoming)
Kitchen Trees, City Hall Park, New York, USA (forthcoming)
B. Wurtz and Paul P., Cooper Cole, Toronto, Canada
The First Twenty Years, Galerija Gregor Podnar, Berlin, Germany

Lulu, Mexico City, Mexico

Metro Pictures at 83 Pitt Street, New York, USA
Selected Works, 1970-2016, La Casa Encendida, Madrid, Spain
Office Baroque, Belgium

Selected Works, 1970-2016, Baltic Centre for Contemporary Art, Gateshead, United Kingdom
FOUR A.M., New York, USA
Daily Life, Continued, Kunstverein Freiburg, Germany
Four Collections, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, USA
Works in Handmade Paper 2013 – 2015, Dieu Donné, New York, USA
World Food Books, Melbourne, Australia

Maisterravalbuena, Madrid, Spain
B. Wurtz and Jim Isermann, Mary Boone Gallery, New York, USA
Richard Telles Fine Art, Los Angeles, USA
The Apartment, Vancouver, Canada

Galerija Gregor Podnar, Berlin, Germany
Kate MacGarry, London, United Kingdom
Recent Works, Metro Pictures, New York, USA

White Flag Projects, Saint Louis, USA

B. Wurtz: Works 1970-2011, Metro Pictures, New York, USA

The Apartment, Vancouver, Canada

Richard Telles Fine Art, Los Angeles
B. Wurtz : Photo/Objects, 871 Fine Arts, San Francisco

The Suburban, Oak Park, Illinois, USA
Feature Inc., New York, USA

Feature Inc., New York, USA

Feature Inc., New York, USA

B. Wurtz: 70+30=2000, Gallery 400, University of Illinois at Chicago, USA
Richard Telles Fine Art, Los Angeles, USA
buttons. part 1, Feature Inc., New York, USA
buttons. part 2, Feature Inc., New York, USA

Salle de Bains, Rotterdam, Netherlands
Spak, Umea, Sweden

Feature Inc., New York, USA

Feature Inc., New York, USA
Richard Telles Fine Art, Los Angeles, USA

Ynglingagatan 1, Stockholm, Sweden

Mandalas, Feature Inc., New York, USA

Daily Life, 1970–1993, Feature, New York, USA

Feature, New York, USA

Feature, New York, USA

Life, Feature, New York, USA

Survival, Feature, New York, USA

Bess Cutler Gallery, New York, USA

Feature, Chicago, USA
Bess Cutler Gallery, New York, USA

Group Exhibitions

Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington D.C., USA
When Geometry Smiles, Ortega y Gasset Projects, Brooklyn, USA

If I Had Possession Over Judgement Day, Tang Museum at Skidmore College, Saratoga Springs, New York, USA
aroundabout Jack Jaeger, Kunstverein Langenhagen, Germany

The Lulennial: A Slight Gestuary, Lulu, Mexico City, Mexico

Zabriskie Point, Jack Hanley Gallery, New York, USA
Joyride, Marlborough Broome Street, New York, USA
Displayed, Anton Kern Gallery, New York, USA
This One’s Optimistic: Pincushion, New Britain Museum of American Art, Connecticut, USA

Café Horizon (You slowly look around now – hold it), Arthur Boskamp-Stiftung, Hohenlockstedt, Germany
Goods, MoBY – Museums of Bat Yam, Israel
Work (organized Sara Greenberger Rafferty), Klaus Von Nichsstagend, New York, USA
LAT. 41° 7′ N., LONG. 72° 19′ W, Martos Gallery, East Marion, New York
Ten Years, Wallspace, New York, USA
The Cat Show, White Columns, New York, USA
Prague Biennial

Bulletin Boards, Venus Over Manhattan, New York, USA
B. Wurtz & Co., Richard Telles Gallery, curated by Matthew Higgs, Los Angeles, USA
Cheat Chains and Telephone, Kansas, New York, USA
Creature from the Blue Lagoon, Martos Gallery, Bridgehampton, New York, USA
Xylor Jane and B. Wurtz, Pacific Northwest College of Art, Portland, USA
Anagram City, Golden Gallery, Chicago, USA
Invitational Exhibition of Visual Arts, National Academy of Arts and Letters, New York, USA

Moment – Ynglingagatan 1, Moderna Museet, Stockholm, Sweden
Antic Measures, Gregor Podnar Gallery, Berlin, Germany
Underemployed, Zurcher Studio, curated by Josh Blackwell, New York, USA
The 2011 Bridgehampton Biennial, Martos Gallery, organized by Bob Nickas, Bridgehampton, New York, USA
Pandora’s Box: Joseph Cornell Unlocks the MCA Collection, Museum of Contemporary Art, Chicago, USA
Building Blocks: Contemporary Works from the Collection, Museum of Art, Rhode Island School of Design, Providence, USA
Two Fold, Michelle Grabner & Brad Killam home, Oak Park, Illinois, USA
Salon Zürcher, Zürcher Studio, New York, USA

Salad Days, The Journal Gallery, Brooklyn, USA
Stuff Art, U-turn Art Space, Cincinnati, USA
S(l)umm(er)ing on Madison Avenue, Notary Public, curated by Jo-ey Tang, New York, USA
The Same Sight Slighter, Renwick Gallery, New York, USA
“Mean and Sneaking”, FiveMyles, curated by Vicki Sher, Brooklyn, USA

Skulture, Feature Inc., New York, USA
Hello Goodbye Thank You, Again, Castillo/Corrales, curated by Anthony Huberman, Paris, France
Exposed Terrain, Martin Art Gallery, curated by Amra Brooks Allentown, Pennsylvania, USA
Another ’80s, Adam Baumgold Gallery, New York, USA
N’importe Quoi (Anything), Musée d’Art Contemporain de Lyon, curated by Vincent Pécoil and Olivier Vadrot, Lyon, France
Phot(o)bjects, Presentation House Gallery, curated by Bob Nickas, Seattle, USA

Peanut Gallery, The Journal Gallery, curated by Joe Bradley, Brooklyn, USA
Shit, Feature Inc., New York, USA
The Box, Norma Desmond Productions, Los Angeles, USA
Living Flowers: Ikebana and Contemporary Art, Japanese American National Museum, Los Angeles, USA
Stephen Prina, James Welling, B. Wurtz, Richard Telles Fine Art, Los Angeles, USA
Field Work, The Apartment, Vancouver, Canada
Object Salon, Honey Space, curated by Bob Nickas, Kathy Grayson, Pascal Spengemann, Brooke Geahan, and Thomas Beale, New York, USA
Styrofoam, Museum of Art, Rhode Island School of Design, Providence, USA

Chistopher Knowles and B. Wurtz, Allston Skirt Gallery, curated by Matthew Higgs, Boston, USA
Open End, Kinkead Contemporary, curated by David McDonald, Culver City, California, USA
You Always Move in Reverse, Leo Koenig Inc., curated by Bjarne Melgaard, New York, USA

B. Wurtz, Christopher Knowles, Herald Street Gallery, London, United Kingdom
The Chair, Reconsidered, Sun Valley Center for the Arts, Sun Valley, Idaho, USA
Eldorado, Mudam, Luxembourg, Luxembourg
Dereconstruction, curated by Matthew Higgs, Barbara Gladstone Gallery, New York, USA
Kresge Foundation Gallery, Ramapo College, Mahwah, New Jersey, USA

Looking at Words, Andrea Rosen Gallery, New York, USA
The O Show, Shore Institute of the Contemporary Arts, Long Branch, New Jersey, USA
Kresge Foundation Gallery, Ramapo College, Mahwah, New Jersey, USA
Studio: Seven Months of My Aesthetic Education (Plus Some) NYC Version and Climaxed, Metropolitan Museum of Art, New York, USA; Musée d’Orsay, Paris, France
The sun rises in the evening, Feature Inc., New York, USA

Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA
Curious Crystals of Unusual Purity, P.S.1 Contemporary Art Center, Long Island City, USA

All That Glitters, Islip Art Museum, curated by Karen Shaw, East Islip, New York, USA
GTt2, Yerba Buena Center for the Arts, curated by ANP, San Francisco, USA

Sharon Kaitz/B. Wurtz, Allston Skirt Gallery, Allston, Massachusetts, USA
Double Visions, Adam Baumgold Gallery, New York, USA
Texty, M du B, F, H & g, Montreal, Canada
W, Musée des Beaux-Arts, curated by Robert Nickas, Dole, France
Not a. Lear, Gracie Mansion Gallery, New York, USA
Allston Skirt Gallery, curated by ANP, Boston, USA
Een Goed In De Weg Staande Tafel, Galerie van Gelder, curated by Jack Jaeger, Amsterdam, Netherlands

Bubbles, Center for Contemporary Non-Objective Art, curated by Edith Doove, Brussels, Belgium
3ness, Museum Dhondt-Dhaenens, Deurle, Belgium
Not a. Lear, Torch, Amsterdam; Art Process, Paris, France; Galerie S. & H. De Buck, Ghent, Belgium

Would have had., Cabinet, London, United Kingdom
Cookie Snow Feature, Cokkie Snoei, Rotterdam, Netherlands
Pretty Happy Painting (with Michael Lazarus and David Moreno)M du B, F, H & g, Montreal, Canada
Sticker Shock: Artists’ Stickers, Institute of Contemporary Art, Philadelphia, USA
Surface As Structure, Claremont Graduate University, curated by Sue Spaid, Claremont, USA

Word Perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA
f.i.s.t., ANP, Antwerp, Belgium Science, Feature Inc., New York Opens, M du B, F, H & g, Montreal, USA

Fake Ecstasy With Me, Museum of Contemporary Art, Chicago, USA
Normotic, One Great Jones, curated by David Humphrey, New York, USA
At the Threshold of the Visible: Minuscule and Small-Scale Art, 1964–1996, Herbert F. Johnson Museum of Art, Cornell University, Ithaca; Maryland Institute College of Art, Decker Galleries, Baltimore; Art Gallery of Ontario, Toronto; Art Gallery of Windsor, Windsor, Ontario; Virginia Beach Center for the Arts, Virginia Beach; Center on Contemporary Art, Seattle; Edmonton Art Gallery, Edmonton, Alberta; Laguna Art Museum, Laguna Beach, USA
Bring Your Own Walkman, W139, curated by Jack Jaeger, Amsterdam, Netherlands
Hello, Feature Inc., with Dike Blair, Vincent Fecteau and Richard Hawkins, New York, USA
Flying Buttress Please, Torch, Amsterdam, Netherlands
Twist, Galerie Ghislaine Hussenot, with Jean-Philippe Antoine and Stephan Melzl, Paris, France

Acts of Obsession, Carla Stellweg Gallery, New York Invitational +, Adam Baumgold Fine Art, New York, USA

It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, Contemporary Arts Center, Cincinnati, USA
Representational Drawings, Feature Inc., New York, USA
Strung Into the Apollonian Dream…, Feature Inc., New York, USA
Smells Like Vinyl, Roger Merians Gallery, organized by Sarah Seager and Thaddeus Strode, New York, USA
Stretch Out and Wait, Richard Telles Fine Art, Los Angeles, USA

Lessons in Life: Photographic Works from the Boardroom Collection, Art
Institute of Chicago, Chicago, USA
Sex, Adam Baumgold Fine Art, New York, USA
Paintings, Feature Inc., New York, USA
Projets et Dessins, Galerie Claire Burrus, Paris Wood Works, Adam Baumgold Fine Art, New York, USA

Influx, Gallery 400, University of Illinois at Chicago, Chicago, USA
les petits riens de la vie, La Galerie Volée à Une Muse, Lyon, France
The Return of the Cadavre Exquis, The Drawing Center, New York, USA; Corcoran Gallery of Art, Washington, USA; Forum for Contemporary Art, St. Louis, USA; Fundación para el Arte Contemporáneo, Mexico City, Mexico; Santa Monica Art Museum, Santa Monica, USA

Another Subjectivity, Galerie Martina Detterer, Frankfurt, Germany
Jori Felice, Richard Hawkins, B. Wurtz, Roy Boyd Gallery, Santa Monica, USA
Tattoo Collection, Galerie Jennifer Flay and Urbi et Orbi, Paris, France; Daniel Buchholz, Cologne, Germany; Andrea Rosen Gallery, New York, USA; Centre Regional d’Art Contemporain, Nantes, France; Air de Paris, Nice, France; organized by Air de Paris and Urbi et Orbi

Objectionable Beauty, Jan Kesner Gallery, Los Angeles, USA
Rocking Horses for Children in Crisis, Lorence-Monk Gallery, New York
Directly On and Off the Wall, Palm Beach Community College, Museum of Art, Lake Worth, Florida, USA

Work on Paper, Paula Allen Gallery, New York, USA
The Thing Itself, Feature, New York, USA
Perspectives on Place: Attitudes Towards the Built Environment, State University Art Gallery, San Diego, USA
The New School Collects: Recent Acquisitions, Parsons School of Design, curated by Kathleen Goncharov, New York, USA

Marta Cervera Gallery, New York, USA
Buttinsky, Feature, New York, USA
Cinderella Rockefeller, Feature, New York, USA
Poetic Objectives, Curt Marcus Gallery, curated by Gordon VeneKlasen, New York, USA
Romancing the Stone, Feature, New York, USA
Dorothy, Center for Contemporary Art, curated by Hudson, Chicago, USA
Double Take, Contemporary Arts Center, Cincinnati, USA

Photo Poetics, Jack Shainman Gallery, Washington, USA
The Logic of Display, P.S.1, The Institute for Art and Urban Resources, Long Island City, USA
Re:Placement, Los Angeles Contemporary Exhibitions, Los Angeles, USA
A Visible Order, Otis/Parsons Exhibition Center, Los Angeles, USA
Near Miss, Feature, Chicago, USA
Photography on the Edge, Haggerty Museum of Art, Marquette University, Milwaukee, USA
Information as Ornament, Feature and Rezac Gallery, Chicago, USA
New Strategies, curated by Clayton Press and Gregory Linn, Jan Kesner Gallery, Los Angeles, USA

(of Ever-Ever Land i speak), Stux Gallery, curated by Christian Leigh, New York, USA
Small Scale Sculpture, Atlanta College of Art Gallery, Atlanta, USA
Actualities, Ledis Flam Gallery, Brooklyn, USA
Signs of Intelligent Life, Greathouse Gallery, New York, USA
Jan Baum Gallery, Los Angeles, USA
Sculpture, Bess Cutler Gallery, New York, USA
Post-Abstract Abstraction, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, USA
Gallery Artists, Bess Cutler Gallery, New York, USA
Nature, Feature, Chicago, USA
INTAR Latin American Gallery, curated by Hudson, New York, USA
CalArts: Skeptical Belief(s), Renaissance Society at the University of Chicago; Newport Harbor Art Museum, Newport Beach, California, USA

Promises, Promises, Feature, Chicago Six Sculptors, Artists Space, New York, USA
Religion: Painting and Sculpture, Tibor de Nagy Gallery, New York, USA

Post Olympic Art, Galerie Beau Lezard, Paris, France

Post Olympic Art, Los Angeles Contemporary Exhibitions, Los Angeles, USA

Lynne Henkel, B. Wurtz, Los Angeles Contemporary Exhibitions, Los Angeles, USA

Selected Bibliography

Jetzer, Gianni, Leah Pires, and Bob Nickas. Brand New: Art and Commodity in the 1980’s. Hirshhorn Museum, Washington, D.C. and Rizzoli Electa, New York: 135.

Kopel, Dana. “B. Wurtz: Lulu, Mexico City, Mexico,” Frieze (May 2017): 198-199.
Simonini, Ross. “B. Wurtz: ‘I don’t want to get obsessive,” ArtReview (Summer): 84-89.

Hainley, Bruce and Winer, Helene. B. Wurtz: Selected Works. BALTIC Center for Contemporary Art, Gateshead, UK and La Casa Encendida, Madrid.
Hainley, Bruce and Winer, Helene. B. Wurtz: Obras escogidas. BALTIC Center for Contemporary Art, Gateshead, UK and La Casa Encendida, Madrid.
“In conversation: B. WURTZ with Sara Roffino,” The Brooklyn Rail (June): 32-34.
Cumming, Laura. “B Wurtz: Selected works 1970-2015 review – everyday rubbish reimagined,” TheGuardian.com (January 3).
Krasinski, Jennifer. “The Slightest Move: On Two Artists Who Possess A Profoundly Light Touch,” VillageVoice.com (March 8).
Sam, Sherman. “B. Wurtz: Baltic Centre for Contemporary Art,” Artforum (February): 250. Hanley, Sarah Kirk. “Edition Reviews: B. Wurtz,” ArtInPrint.org (April 1).
O’Donnell, Annie. “Review: B. Wurtz, BALTIC Centre for Contemporary Art, Gateshead,” Corridor8.co.uk (January 31).
Russeth, Andrew. “Around New York,” ARTnews (Summer): 118-121.
Wurtz, B. “Rocks and Star Stuff,” Art in America (November): 58-59.
Higgs, Matthew. “Best of 2016,” Artforum (December): cover, 210.

Prince, Mark. “B Wurtz: Kunstverein Freiburg,” flashartonline.com (June 2).
Wurtz, B. “Collectors: The Sculptors on Recent Acquisitions,” Aperture (Summer): 12. Prince, Mark. “B. Wurtz at Gregor Podnar, Berlin,” Frieze d/e (March/April): 127-9. Vrancken, Judith. “B. Wurtz at Gregor Podnar, Berlin,” Flash Art (January/February): 103-4.

Hall, Emily. “B. Wurtz at Metro Pictures,” Artforum (Summer): 359.
Scheldahl, Peter. “B. Wurtz,” The New Yorker (April 15): 14.

Baran, Jessica. “B. Wurtz at White Flag Projects,” Art in America, Dec 192
“John Newman and B. Wurtz,” BOMB (Summer): 24-33.
Wurtz, B. and Steel Stillman. B. Wurtz: Food and Watercolors, Publication Studio, Portland, Oregon.

Reber, Simone. “Antic Measures,” Artnet.com (December 22).
Levin, Kim. “Review,” Artnews (November).
Reisman, David. “Review,” Frieze (October).
Wilson, Siona. “Review,” ArtReview (October).
Neustein, Andrea. “Review,” Flash Art (October).
Turvey, Lisa. Artforum (October).
MacQueen, Kathleen. “Shifting Connections: Summer Shorts.” BomBlog ( (September 2).
Rosenberg, Karen. “All Nooks, Crannies, Bedrooms and Trees Are Backdrops for Art,” New York Times (August 7).
Indrisek, Scott. “The Pleasures of the Prosaic at the Bridgehampton Biennial,” Modern Painters (15 August).
Sharp, Chris. “The Big Picture,” Ian Pedigo: 11-18.
“Goings On About Town,” New Yorker (August 8).
Salsbury, Britany. “B. Wurtz,” artforum.com (July 26).
Esplund, Lance. “Review,” Wall Street Journal (July 23).
Smith, Roberta. “An Artist Who Makes Much Out of Very Little,” New York Times (July 1): C23.
Kimball, Whitney. “B. Wurtz: Works at Metro Pictures,” artfagcity.com (June 29).
Sterns, Jamie. “B. Wurtz, 1970 – 2011—Metro Pictures,” Ya Ya Ya (June 27).
Baker, R.C. “Best in Show: B. Wurtz at Metro Pictures,” Village Voice (July 6).
Wilson, Michael. “B. Wurtz and Peter Nadin Prove It’s Easy Being Green,” New York Observer (July 5).
Barliant, Claire. “Review: B. Wurtz, Works 1970–2011,” Time Out New York (July 5).
Indrisek, Scott. “Simple Quirks: B. Wurtz Gets Appreciated,” Modern Painters (Summer): 21.
McClemont, Dough. “Dough McClemont’s Top Ten New York Shows in July,” Saatchi Online Magazine (July 13).
Miranda, Carolina. “This Week: Must-See Arts in the City,” WNYC Culture (June 23).
Rosenberg, Karen. “Review of Salon Zürcher,” New York Times (March 4): C25.

Killam Brad and Michelle Grabner. Can I Come Over to Your House? The First Ten Years of The Suburban, 1999-2009, Poor Farm Press, Manawa, Wisconsin.
Peck, Aaron. “Review,” Artforum.com (Summer).
Smith, Roberta. “Same Sight Slighter,” New York Times (May 13).

Adler, Dan. “Phot(o)bjects,” Frieze (September).
Griffin, Kevin. “Breaking through Dimensions: Photo Show Challenges Convention,” Vancouver Sun (May 22).
Vogel, Sabine. “Correspondences,” Artforum.com (May 18).
Horny, Henriette. “Fremde Herren in den eigenen Geschäften,” Kurier (May 4).
Fessler, Anne Katrin. “Alternativkommandos und geladene Störköche Der Standard (May 8). “Slideshow: Viennafair 2009,” Art – Das Kunstmagazin (May 11).
Cotter, Holland. “Review of Peanut Gallery,” New York Times (January 30).

Hodge, Brook. “Seeing Things: Flower Power,” The Moment: The New York Times Style Magazine Blog (June 26).
McQuaid, Cate. “Breaking Down the Beauty of Styrofoam,” Boston Globe (March 28).
Smith, Roberta. “Review of Begin Again Right Here,” New York Times (October 3). Steele, Robin. “RISD Museum’s Styrofoam’ Features Kilted Lincoln,” Brown Daily Herald (March 31).
Van Siclen, Bill. “Flights of Foam at RISD,” Providence Sunday Journal (March 9). Velasco, David. “Nayland Blake at Matthew Marks,” Artforum.com (February 22).

Baker, Kenneth. “Wurtz Plays with Architecture, Illusion,” San Francisco Chronicle (November 3): E10.
Brooks, Amra. “Our Favorite Shows and Artifacts: Art to Live For,” LA Weekly (December 26). Clark, E.K. “Back to Basics,” NY Arts (January/February).
Frank, Peter. “The Big Picture and the Small,” LA Weekly (February 14).
Helfand, Glen. “B. Wurtz at 871 Fine Arts,” Artforum.com (November 8).
Knight, Christopher. “When Mere Gray Is More Than Gray,” Los Angeles Times (April 20). McQuaid, Cate. “Arts and Entertainment,” Boston Globe (March 15).
Ollman, Leah. “Around the Galleries,” Los Angeles Times (January 12): E32.

Andrews, Betsy. “The Chair, Reconsidered,” Idaho Mountain Express (June 14).
Baker, R.C. “Chicken and Eggs,” Village Voice (September 13-19).
Jones, Kristin. “Review of Dereconstruction,” Frieze (October).
Masters, H.G. L Magazine (August 30).
McKinnon, John. Time Out Chicago (October 19).
Princenthal, Nancy. Art in America (December).
Velasco, David. “Critics’ Picks,” Artforum.com (September 18).
Velasco, David. “Review of Dereconstruction,” Artforum (September): 374.
Winkleman, Edward. “Artist of the Week,” edwardwinkleman.blogspot.com (July 10).
Review, Art MoCo (October 31).
Update, Interior Design (June): 38.

Cotter, Holland. “The Sun Rises in the Evening,” New York Times (June 10): E44.
Hainley, Bruce. “Only Connect : The Art of B. Wurtz,” Artforum (October): 242-247.

White, Roger. “Curious Crystals of Unusual Purity,” Brooklyn Rail (September): 17.

Olson, Marisa. “Guide to Trust No. 2 at the Yerba Buena Center for the Arts,” Artweek (May).

Cotter, Holland. “Review,” New York Times (December 14): E40.
Cotter, Holland. “Not a. Lear,” New York Times (October 12): E37. Grabner, Michelle. “Review,” Frieze (April): 96.
McQuaid, Cate. “Everyday Epiphanies,” Boston Globe (April 19): D6.

Johnson, Ken. “Review,” New York Times (January 28): E37.

Boström, Patrik. “Review,” Västerbottens Folkblad (March 15): 3.
Hainley, Bruce. “Best of the 90’s: Top Ten,” Artforum (December): 130.
Ivy, Angus. “Wop: ANP Antwerp, Belgium,” Zingmagazine (Spring/Summer): 230.

Hainley, Bruce. “Boys will be Boys,” Frieze (November/December): 42.
Schmerler, Sarah. “Review,” Time Out New York (September 24): 61.

Cotter, Holland. “A Show That Could Travel In Just a Carry-On Bag,” New York Times (December 14) : E44-45.
Doran, Anne. “Review,” Time Out New York (August 7): 47.
Kandel, Susan. “Review,” Los Angeles Times (May 16): F21. Madestrand, Bo. “Review,” Expressen (January 7): 4.
Peeters, Mark. “Review,” NRC Handelsblad (January 17).
Rian, Jeff. “Letter from Paris,” Artnet.com (March 24).

Ericsson, Lars. “Review,” Dagens Nyheter (December 20): B3.

Levin, Kim. Village Voice (March 28): 9.

Levin, Kim. Village Voice (May 11): 75.
Princenthal, Nancy. “Artist’s Book Beat,” Print Collector’s Newsletter (March/April): 28. Robinson, Walter. “Music to Your Eyes: CD Covers Play Tribute to Modern Masterpieces,” Mademoiselle (October): 102.
Saltz, Jerry. “Mayday, Mayday, Mayday,” Art in America (September): 41-45.
Smith, Roberta. “Review,” New York Times (May 14): C26.
Weidenbaum, Marc. “More Pictures + Music,” Pulse! (August): 17.

Pagel, David. “Review,” ArtIssues (March/April): 34.

“Goings On About Town,” New Yorker (April 29): 17.
Schjeldahl, Peter. “The Salon of April,” Village Voice (May 14): 86.
Schwan, Gary. “On and Off-The-Wall Art,” Palm Beach Post (April 5): 35.

Gutterman, Scott. “Natural and Unnatural Causes,” Art International (Autumn): 58.
Harris, Patty. “Four Summer Art Shows,” Downtown (August 29): 12-13.
Smith, Roberta. “The Group Show as Crystal Ball,” New York Times (July 6): C1.

Cooper, Dennis. “Review,” Artforum (Summer): 143.
Haus, Mary. “Review,” ARTnews (December): 169-170.
Hixson, Kathryn. “Review of Dorothy,” Chicago in Review (November): 110.
Smith, Roberta. “Romancing the Stone,” New York Times (August 11): C21.

Finnegan, Patrick. “Photo Poetics,” Washington Blade (April 1): 21.
Grundberg, Andy. “The Logic of Display,” New York Times (January 29).
Knight, Christopher. “Re:Placement Parts: Alternative Galleries Break Down Walls,” Los Angeles Herald Examiner (March 20): E10.
McCoy, Pat. “ (of Ever-Ever Land I speak) ,” Artscribe International (January/February): 73.
Raczka, Robert. “The Next Generation,” Afterimage (November): 20-21.
Richard, Paul. “Photo Poetics,” Washington Post (March 25).
Thorson, Alice. “Photo Poetics,” Washington Times (March 31).

Artner, Alan. “Review,” Chicago Tribune (March 12): 9F.
Handy, Ellen. “The Four Corners of Abstraction,” Arts (November): 108-109.
Zimmer, William. “Post-Abstract Abstraction in Ridgefield,” New York Times (July 5).

Drohojowska, Hunter. “An Exhibit to Lift Your Post-Olympic Spirits,” Los
Angeles Herald Examiner 
(September 7): 27.
Relyea, Lane. “Focus on Cultural Differences,” Artweek (September 29): 6.

Ricky, Carrie. “Art Attack,” Art in America (May): 41-48.

Selected Projects, Publications and Reproductions

Wurtz, B. and Steel Stillman. B.Wurtz: Food and Watercolors, Publication Studio, Portland, Oregon.

Sam Gordon & B. Wurtz, North Drive Press (#5).

Salon XXIV The Journal, curated by Joe Bradley (#24).
Begin Again Right Back Here, White Columns, curated by B. Wurtz, New York.

Untitled publication, Feature Inc., New York (#1 Spring).

Blocks, onestar press, Paris.
Some Blocks, Dinter Fine Art Project Room (March-April).

Waters, John, and Bruce Hainley. Art: A Sex Book, Thames and Hudson, New York: 115, 121, 124, 135, 180.

Chelsea, Connaissance des Arts (November): 14-15.

Hudson. “Stroboscopes,” Documents sur L’Art, (#7 Spring): 9.

L’Endroit Idéal (Ideal Place), edited by Eric Troncy, L’Ile du Roy, Centre d’Art et Jardin, Val de Reuil, France: 170–171.

Farm 5, with Raymond Pettibon and Dodie Bellamy, Feature and Instituting Contemporary Idea, New York.

LACE: 10 Years Documented, with Joy Silverman, Los Angeles Contemporary Exhibitions, Los Angeles: 36, 55, 82.

Farm 2 (Head Sex), Feature and Instituting Contemporary Idea, Chicago.

Farm, Feature and Instituting Contemporary Idea, Chicago.

Awards and Honours

The Lab Grant Program artist, Dieu Donné, New York

The Pollock-Krasner Foundation, Inc.

Peter S. Reed Foundation

Artist and Homeless Collaborative, Park Avenue Womens Shelter, New York

National Endowment for the Arts, Honorarium (Post-Olympic Art)


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