Dennis Adams Des Moines, IA, b. 1948

WRITINGS, INTERVIEWS, STATEMENTS AND MAGAZINE PROJECTS BY THE ARTIST

 

Adams, Dennis. "Afwerkplek for Small Cars." From #4 Witte de With, Center for Contemporary Art, Rotterdam: July 2001, pp. 74-81.

Adams, Dennis. Behind Social Studies. Self-published book. New York: 1977.

Adams, Dennis. "The Critical Frame." Art in America, April 1990, p. 33.

Adams, Dennis. "Farnsworth." Art Papers, January-February 1990, p. 32.

Adams, Dennis. "Freeload." roulotte: 01 Barcelona, May, 2006, pp. 48-53.

Adams, Dennis. "Leopard." From #5 Witte de With, Center for Contemporary Art, Rotterdam December 2001, pp. 36-39.

Adams, Dennis. "la foundation anon." Les Editions de L'observatoire, no. 2, 1992, pp. 1, 32-33, 66.

Adams, Dennis. "Artist Statement." Special Affects-The Photographic Experience in Contemporary Art. Milan: Giancarlo Politi Editore, 1989, p. 163.

Adams, Dennis. "Artist Statement." Manifest? La galerie de la mer. Symposium catalogue. Marseille: Mission pour l'art            contemporain, 1992.

Adams, Dennis. "Masquerade and Ambivalence". PPPP: Place, position, presentation, public. Symposium catalogue. Maastricht: Jan van Eyke Akademie; Amsterdam: De Balie1993, pp. 124-34.

Adams, Dennis. "Pas d'original." Les Editions de l'Observatoire, no. 3, 1993, pp. 26-27.

Adams, Dennis. "Patricia Hearst: A thru Z." So & So, San Francisco, Summer-Fall 1980, cover and p.9.

Adams, Dennis. "The Proscenium." Control Magazine, September 1990, pp. 14-15.

Adams, Dennis. "Questionnaire." Zone 1-2, 1986, pp. 423, 455.

Adams, Dennis. "Sky Writing." Historias:  VII Edición del Festival Internacional de Fotografia y Artes Visuales PhotoEspaña. Catalogue. Madrid: 2004, pp. 63-66, 168-170.

Adams, Dennis. "Theater Of Cruelty." Artscribe, Summer 1990, pp. 66-67.

Adams, Dennis. "Transit Authorities." Stroll, Spring-Summer 1985, p. 3.

Adams, Dennis, and Jean-Claude Decaux.  "A dialogue." Port of View. Project catalogue. Marseilles: L'observatoire, 1992.

Adams, Dennis, and Adele Duval.  Book interview. Public Difference. New York: Christine Burgin Gallery, 1989.

Adams, Dennis, and Eleanor Heartney. "Public Discourse, Private Interests, and the Public Street." Art Papers, March-April 1992, pp. 14-17.

Adams, Dennis, and Anna Novakov. "Markers: The Gender of Urban Space." Nonspectacle and the Limitations of Popular Opinion. Symposium catalogue. Northbrook, Illinois: Hirsch Farm Project, 1993.

Amar, Sylvie. "Interview with Dennis Adams: Le port et Musée Cantini." Artpress, October 1992, p. 92.

Aguiriano, Maya. "Interview with Dennis Adams." Zehar, December-January-February 1994-1995, pp. 6-8.

Berman, Avis. "Interview with Dennis Adams." GSA Oral History Project, Smithsonian Archives of American Art, 2009.

Beros, Nada. "A Puncture From Which The City Reveals Itself. An Interview with Dennis Adams." Takedown. Project brochure/poster. Zagreb: Museum of Contemporary Art, 1999

Beros, Nada. "Street Ventriloquist/An Interview with Dennis Adams." Artpress, December 1999, pp. 24-29.

Beros, Nada. "Street Ventriloquist/An Interview with Dennis Adams." M'ARS, no. 3-4, 1999, pp. 14-28.

Bleyer, Marcus. "Road To Victory/An Interview with Dennis Adams." MUSEO, no. 6, Spring 2003, 46-51.

Cruz, Amada. "Interview with Dennis Adams." Dennis Adams. Exhibition brochure. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1990.

De Bruijne, Ellen. "An Interview with Dennis Adams." 51˚ 48' -04˚ 40' Kalhaven NL Dordrecht. Exhibition catalogue.              Dordrecht, The Netherlands: Commissie Kunst & Architectuur, 1993.

Doroshenko, Peter. "Interview with Dennis Adams." Journal of Contemporary Art, Spring/ Summer 1991, pp. 5-11.

Doroshenko, Peter. "Interview with Dennis Adams." Dennis Adams/Selling History. Exhibition catalogue. Houston: Con   temporary Arts Museum, 1994.

Drobnick, Jim. "Contesting Urban Spaces: An Interview with Dennis Adams." Parachute, October-November-December          1992, pp. 47-51.

Ferguson, Bruce. "Interview compiled from previous interviews with the artist." Rhetorical Image. Exhibition catalogue.           New York: The New Museum of Contemporary Art, 1991, p. 30.

Goldmann, Daniela. "Kontradiktionen der Kunst: Daniela Goldmann im Gespräch mit Dennis Adams." Noema Art Journal, October/November 1991, pp. 58-65.

Halle, Howard. "An Interview with Dennis Adams." Dennis Adams: Building Against Image 1979-1987. Exhibition catalogue. New York: Alternative Museum, 1987.

Kazanjian, Dodie. "Portrait of the Artist 1987: Who Supports Him/Her?" Interview. Artsreview, Spring 1987, pp. 63-64.

Kihm, Christophe. "La réciprocité d'un don: entretien avec Christophe Kihm." Transmettre L'art/Figures et Méthodes     Quelle Histoire?, Christophe Kihm et Valérie Mavridorakis, eds. Genéve: Haute école d'art et de design/Les preesses du réel,         2013, pp. 317-327.

Kolbowski, Silvia. "Freeload/Interview with Dennis Adams." Scapes, no. 4, Fall  2005, pp. 27-32.

Marinkovic, Ana. "Dennis Adams - Arhitektura amnezije." Covjek i Prostor, March-April 1998 pp. 49-50.

Marí, Bartomeu. "Entretien avec Dennis Adams par Bartomeu Marí. " Saint- Denis: Memento Mori. Project brochure. Paris: Direction régionale des affaires culturelles d'lle-de-France, 1994.

Micchelli, Thomas. "Crime, Culture and Black Leather Shoes: A Talk with Dennis Adams." Hyperallergic, September 29,2012,

   http://hyperallergetic.com/57584/crime-culture-and-blackleather-shoes-a-talk-with-dennis-adams/.

Marzo, Jorge Luis. "The Impatient Glance: An Interview with Dennis Adams." Lapiz, November-December 1992, pp.               20-28.

Novakov, Anna. "Temporary Connections: A Conversation with Dennis Adams." Public Art Review, Spring/Summer 1994, pp. 18-19.

Pavelic, Tomislav. "Aktivisticam iz dokolice/An Interview with Dennis Adams." Kontura, Ljeto/Jesen 1999, p. 88.

Rinder, Larry. "An Interview with Dennis Adams." Art Papers, May 1988, pp. 9-10.

Rosen, Miriam. "Adams, pour faire valentir les gens." Libération, October 12, 1994, p. 44.

Sans, Jérôme. "An Interview with Dennis Adams." Flash Art, Summer, 1989, pp. 129-31.

Stimson, Blake. "Slow Provocation: An Interview with Dennis Adams." Views - The Journal of Photography in New England, Winter 1992, pp. 3-7.

Vermandel, Frank. "Dennis Adams. La mémoire en fuite: Une entretien avec Dennis Adams." Faces, Summer 1994, pp.           24-29.

 

ONE-PERSON EXHIBITION CATALOGUES AND BROCHURES

 

Building Against Image 1979-1987. New York: Alternative Museum, 1987. Essay by Patricia C. Phillips, interview with the artist by Howard Halle.

Dennis Adams Bus Shelter XII-Shattered Glass/The Confessions of Philip Johnson. Köln: Kunsthalle Bielefeld & Walther König, Introduction by Dr. Friedrich Messchede 

Dennis Adams. Pamplona: Galería Moisés Pérez de Albéniz, 2004.

Der Müll, (    ) und der Tod.  Frankfurt: Portikus, 1993.  Introduction by Martin Hentschel and Kasper König, essay by Maureen P. Sherlock.

Double Feature. New York: Kent Gallery. 2008.

Ederle. New York: Queens Museum of Art, 1996. Introduction by Jane Farver, essay by Thomas Keenan.

El Pavelló de l'Est. Barcelona: Sala Montcada de la Fundació "la Caixa," 1992. Introduction by Dennis Adams, essays by Susan Buck-Morss and Jorge Luis Marzo.

In The Red. Madrid: Galería Moisés Pérez de Albéniz. 2013.

Patricia Hearst-A thru Z. Minneapolis: Minneapolis College of Art and Design, 1979. Introduction by John Bowsher.

Port of View. Marseille: L'observatoire, 1992.

Procession. Paris: Programme art et architecture: La Grande Arche: foundation, l'Arche de la fraternité, Mission pour le Mécénat et l'action culturelle et Caisse des Dépôts, 1994. Essay by Elisabeth Lebovici.

Road to Victory. New York: Museum of Modern Art, 1991. Essay by Laura Rosenstock.

Selling History. Houston: Contemporary Arts Museum, 1994. Introduction by Marti Mayo, interview with Dennis Adams by Peter Doroshenko.

Takedown. Zagreb: Museum of Contemporary Art, 1999. Interview with the artist by Nada Beros.

10 thru 20. The Hague: Stroom HCBK, 1995. Introduction by Lily van Ginneken, interview with Dennis Adams by Hans Oerlemans.

The Archive. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1990. Introduction and interview with the artist by Amada Cruz.

The Architecture of Amnesia. New York: Kent Fine Art, 1990. Essay by Mary Anne Staniszewski.

Transactions. Antwerp: Museum van Hedendaagse Kunst Antwerpen, 1994. Introduction by Florent Bex, essays by Jan Foncé and Yves Michaud.

Vanities. New York: Kent Gallery, 1997. Introduction by Dennis Adams.

Walking on Wolves. Pamplona: Galería Moisés Pérez de Albéniz, 2011

 

BOOKS

Ault, Julie, ed. Alternative Art New York, 1965-1985. Minneapolis-London: University of Minnesota Press, 2002, pp. 44, 290.

Ault, Julie, ed. Show and Tell: A Chronicle of Group Material. London: Four Corner Books, 2010, pp. 78, 128.

Bard, George and Mark Lewis, eds. Queues, Rendezvous, Riots. Banff, Alberta: Walter Phillips Gallery, 1994, pp. 1, 10-12, 15, 29-36, 143, 146.

Bauer, Karen, ed. Everyone Talks About The Weather . . . We Don't/The Writings of Ulricke Meinhof.  New York: Seven Stories Press, 2008, p.91.

Baqué, Dominique. La Photographie Plasticienne/Un Art Paradoxal. Paris: Éditions du Regard, 1998, pp. 185-186, 195.

Baqué, Dominique. Photographie Plasticienne, L'Extréme Contemporain. Paris: Éditions du Regard, 2004, pp. 150-152, 265.

Baqué, Dominique. Pour Un Nouvel Art Politique/De L'Art Contemporain Au Documentaire. Paris: Éditions Flammarion, 2004, pp. 114, 139-141.

Bjone, Christian. Almost Nothing/100 Artists Comment on the Work of Mies van der Rohe. Zurich: Park Books AG, 2019,

   pp. 122-123.

Brand, Jan, Catelijne de Muynck and Jouke Kleerebezem, eds. Allocations: Art for a Natural and Artificial Environment. Den-Haag-Zoetermeer: Foundation World Horticultural Exhibition Floriade, 1992, pp. 60-61, 168-169, 231, 242.

Bullot, d'Érik, ed. pointligneplan/cinéma et art contemporain. Paris: Éditions Léo Scheer, 2002, pp. 17, 116-123.

Büttner Claudia. Art Goes Public/Von der Gruppenausstellung im Freien zum Projekt im nicht-institutionellen Raum. Munich: Verlag Silke Schreiber, 1997, pp. 94, 200, 207, 228.

Campany, David, ed. Art and Photography. London: Phaidon Press Limited, 2003, pp. 29, 117.

Cattelan, Maurizio, Massimiliano Gioni and Ali Subotnick, eds. Charley 03. Athens: Deste Foundation, 2006, pp. 139, 234-235, 279.

Celik, Zeynep, Clancy-Smith, Julia and Terpak, Frances, eds. Walls of Algiers/Narratives of the City Through Text and Image. Los Angeles: The Getty Research Institute and University of Washington, Seattle and London, 2009, pp. 7, 8-9, 10-11f.

Chabert, Garance and Aurélien Mole, eds. Les Artistes iconographes. Annemasse: Ville du Parc, centre d'art contemporain et les éditions Empire, and Soutien á l'édition du CNAP, Centre national des arts plastiques, 2018, pp. 184-185.

Charbonneaux, d'Anne-Marie and Norbert Hillaire, eds. oeuvre et lieu. Paris: Flammarion, 2002, pp. 218-219, 256.

Charbonneaux, d'Anne-Marie and Norbert Hillaire, eds. Les Vanités Dans L'Art Contemporain. Paris: Flammarion, 2005,      pp. 18-21.

Cohen, Michele. Public Art for Public Schools. New York: Monacelli Press, 2009, pp. 152,156.

Conkelton, Sheryl, ed. Invisible City:Philadelphia and the Vernacular Avant-garde. Philadelphia: University of the Arts, 2020.

Declercq, Joost, Jan Hoet, Peter Doroshenko. Collection Vanmoerkerke. Brussels: Rispoli Books, 2011, pp 8-9.

Corris, Michael, John Dixon Hunt and David Lomas. Art, Word and Image/Two Thousand Years of Visual/Textual

Interaction. London: Reaktion Books Ltd 2010, pp. 244-245.

D'Agostino, Peter, and Lew Thomas, eds. Still Photography: the problematic model. San Francisco: NFS Press, 1981, pp.         111-115.

Davila, Thierry. Marcher,Créer/Déplacements, fâneries, dérives dans l'art de la fin du XXe siécle. Paris: Editions du Regard, 2002, 169-173.

de Oliveira, Nicolas, Nicola Oxley, and Michael Petry. Installation Art. Washington, D.C.: Smithsonian Institution Press and London: Thames and Hudson Ltd, 1994, pp. 157, 163.

Deitch, Jeffrey, Louise Neri, and Sara Watson, eds. Everything That's Interesting is New/The Dakis Joannou Collection. Ostfildern-Ruit, Germany: DESTE Foundation for Contemporary Art and Cantz Verlag, 1996, pp. 30-31.

Devolder, Anne-Mie, ed. The Public Garden/The Enclosure and Disclosure of the Public Garden. Rotterdam: NAi, 2002, pp. 13, 120, 126-127, 142-43, 172.

Durand, Régis. La Part de l'ombre: Essais sur l'expérience photographique. Paris: La Différence, 1990, pp. 196-202.

Evans, Martin. The Memory of Resistance. Oxford and New York; Berg, 1997, cover.

Feldman, Hannah. From a Nation Torn/Decolonizing Art and Representation in France 1945-1962. Durham and London:

    Duke University Press, 2014, pp. 14, 201-8, 203, 217.

Freeman, Lucas, Ann Lui, Gediminas Urbonas. Public Space? Lost and Found. Cambridge, MA: MIT School of Architecture +

    Planning (SA+P): The MIT Press, 2017 pp. 222-227.

Glesmann, Amanda, ed. The Campaign for Art. San Francisco: San Francisco Museum of Modern Art, 2016, p. 172.

Goudal, Émilie. Des damné(e)s de l'Histoire/Les arts visuels face á la guerre d'Algérie. Dijon: Les presses du reel, 2019,

    pp. 164, 212-214, 216-220.

Gould, Claudia, and Valerie Smith, eds. 5000 Artists Return to Artists Space: 25 Years. New York: Artists Space, 1998, p. 108.

Grasskamp, Walter. André Malraux und das Imaginäre Museum/Die Weltkunst im Salon. Munich: C.H. Beck, 2014, pp. 175-177, 193, 215, 229.

Grasskamp, Walter. The Book on the Floor: André Malraux and the Imaginary Museum. Los Angeles: Getty Research Institute, 2016, pp. 169-171, 187.

Grout, Catherine. A propos de l'art dans la ville. Besançon, France: Association Unité Mobile, 1991, pp. 30-32.

Gaaon, Todd, ed. The Light Construction Reader.  New York:The Monacelli Press, 2002, pp. 44, 80.

Jacobson, Marjory. Art For Work: The New Renaissance in Corporate Collecting. Boston: Harvard Business School Press, 1993, pp. 28-29, 192, 194.

Jansen, Gregor, and Peter Weibel. Light Art from Artificial Light: Light as a Medium in 20th and 21st Century Art. Ostfildern, Germany: Hatje Cantz, 2006, p. 657.

Heartney, Eleanor. Art & Today. London: Phaidon Press Limited, 2008, pp. 328-29.

Heiferman, Marvin, ed. City Art. London/New York: Merrell Publishers Limited, 2005, pp. 11-13, 19, 20, 116, 166-8.

Horáková, Tamara, and Ewald Maurer, Johanna Hofleitner, Ruth Maurer-Horak, eds. Image:/images/Positionen zurzeitgenössischen Fotografie. Wien: Passagen- Verlag, 2001, pp. 230-232.

Kammerl, Sabine. Statements zu Theorie & Praxis von Kunst, Architektur, Design und deren Vermittlung im öffentlichenRaum. Regensburg, Germany: Lindinger + Schmid Verlag, 2001, pp. V-VIII.

Kelly, Liam. Thinking Long/Contemporary Art in the North of Ireland. Cork: Gandon Editions, 1996, pp. 60, 63, 73, 194.

Kelly, Liam, ed.  AICA Congress 1997: Art and Centres of Conflict-Outer and Inner Realities. Belfast: AICA Publishing, 2001, pp. 72, 121-124.

König, Kasper, and Hans-Ulrich Obrist, eds. Jahresring 38: Der öffentliche Blick. Munich: Silke Schreiber, 1991, pp. 9-17.

Koscevic, Zelimir. Fotografska Slika - 160 Godina Fotografske Umjetnosti. Zagreb: kolska knjiga, 2000, pp. XII and 131.

Lehmann, Ulrike, and Peter Weibel. ÄSTHETIK DER ABSENZ. Munich: Klinkhardt & Biermann, 1994, pp. 66,144, 186.

Lovejoy, Margot. Postmodern Currents/Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall, 1997, 1992, 1989.

Leffingwell, Edward, and Karen Marta, eds. Modern Dreams: The Rise and Fall and Rise of Pop. New York: The Clocktower Gallery, The Institute for Contemporary Art, and Cambridge, Massachusetts, and London: MIT Press, 1988, pp. 6, 9, 110-117.

Madoff, Steven Henry, ed. Art School/Propositions for the 21st Century. Cambridge, MA. and London: The MIT Press, 2009, pp. 257-269, 343-344.

Magnani, Gregorio, Daniela Salvioni, and Giorgio Verzotti. Special Effects: The Photographic Experience in Contemporary Art. Milan: Giancarlo Politi Editore, 1989, pp. 13, 25-27, 162, 165, 191.

Mair, Kimberly. Guerrilla Aesthetics: Art, Memory, and the West German Urban Guerrilla. Montreal & Kingston, London and Chicago: McGill-Queen's University Press, 2016, pp. 51, 210, 215-23.

Marcus, George E., and Fred R. Myers, eds. The Traffic in Culture/Refiguring Art and Anthropology. Berkeley, Los Angeles, London: University of California Press, 1995, pp. 201, 203, 211.

Michaud, Yves. Les marges de la vision: essais sur l'art (1978-1995). Marseille: Critiques d'art: éditions Jacqueline                 Chambon, 1996, pp. 232-239.

Michaud, Yves. El Arte en Estado Gaseoso/Ensayo Sobre El Triunfo de lla Estética. México: Fondo de Cultura Económica, 2007. plates 7 &14.

Monvoisin, Alain. Dictionnaire International de la Sculpture/Moderne and Contemporaine. Paris: Editions du Regard, 2008. p.10.

Novakov, Anna, ed. Veiled Histories/The Body, Place and Public Art. San Francisco: Critical Press, 1997. pp. 4-5, 7, 37-61, 174.

Novakov, Anna, ed. Carnal Pleasures/Desire, Public Space and Contemporary Art. San Francisco: Clamor Editions, 1998. pp. 122-135.

O'rourke, Karen. Walking and Mapping/Artists as Catographers. Cambridge, Ma. and London: The MIT Press, 2013, pp. 56-57, 59, 62-63.

Okun, Rob A. The Rosenbergs: Collected Visions of Artists and Writers. New York: Universe Books, 1988, pp. 24, 76-77.

Phillips, Glen, and Marcia Reed. Artists and their Books/Books and their Artists. Los Angeles: The Getty Research Institute, 2018, pp. 26-27.

Plagemann, Volker, ed. Kunst im öffentlichen Raum: Anstösse der 80er Jahre. Cologne: DuMont Buchverlag, 1989, pp. 125, 129, 142-43, 148, 242.

Robin, Régine. Mégapolis: Les derniers pas du flâneur. Paris: Éditions Stock, 2009, pp. 146-150.

Ross, Andrew. No Respect: Intellectuals & Popular Culture. New York and London: Routledge, Chapman and Hall, Inc., 1989, pp. 152-153.

Rouillé, André. La Photographie: Entre Document Et Art Contemporain. Paris: Éditions Gallimard, 2005, pp. 520, 534-536, 542, 592.

Senie, Harriet F. Contemporary Public Sculpture: Tradition, Transformation, and Controversy. New York: Oxford University Press, 1992, pp. 193, 198-201.

Schlögel, Karl. The Soviet Century: Archaeology of a Lost World. Princeton University Press, 2023, Cover:Malraux's Shoes.

Schütz, Heinz. Stadt.Kunst. Regensburg, Germany: Lindinger + Schmid Verlag, 2001, pp. 294, V-VIII.

Staniszewski, Mary Anne. The Power of Display. A History of Exhibition Installations at the Museum of Modern Art. Cambridge, Massachusetts: MIT Press, 1998, pp. 296-298.

Steeds, Lucy and other authors. Making Art Global (Part 2) "Magiciens de la Terrré" 1989.  London: Afterall Books, Central Saint Martains College of Art and Design, 2013. pp. 61,150-151, 153, 234.

Storr, Robert. Gerhard Richter/Doubt and Belief in Painting. The Museum of Modern Art, New York, 2003, p.230.

Teerlinck, Hilde. People and Places. Frac Nord-Pas de Calais, Dunkerque, France, 2009, 198-199.

Tschumi, Bernard and Irene Cheng. The State of Architecture at the Beginning of the 21st Century. New York: The Monacelli Press, Inc.,2003, pp. 12-13.

Trescher, Stephan. Light Boxes/Leuchtkastenkunst. Nürnberg: Verlag für moderne Kunst, 1999, pp. 28-30, 106-111, 144,  156.

Troelenberg, Eva-Maria and Melania Savino, eds. Images of the Museum/Connecting Gaze and Discourse in the History of Museology. Berlin/Boston: Walter de Gruyter GmbH, 2017, p. 316.

Vale, Lawrence J. and Sam Bass Warner Jr. Imaging the City. New Jersey: Center for Urban Policy Research/Rutgers University, 2001, p.345.

Zappia, Francesca. Flaneurs: Copies, Appropriations, Citations from the Collection of The Centre National Des Arts Plastiques

    Regneville-sur-Mer, France: Shelter Press, 2022, pp. Cover and pp.196-203, 210.

 

SELECTED GROUP EXHIBITION CATALOGUES

 

1. Internationale Foto-Triennale. Villa Merkel, Esslingen, Germany. Essays by Alexander Tolnay, Ute Eskildsen, Els Barents, Christine Frisinghelli, Mark Haworth-Booth and Manfred Schmalriede, 1989.

51˚ 48' -04˚ 40' Kalhaven NL Dordrecht. Commissie Kunst & Architectuur, Dordrecht, The Netherlands.  Introduction by Gabi Prechtl, interview with the artist by Ellen de Bruijne, 1993.

A New Necessity: First Tyne International. Newcastle, England. Introduction by Declan McGonagle, essays by John Bird, Simon Herbert, Thomas McEvilley and Annelie Pohlen, 1990.

Allocaties/Allocation. Floriadepark, Zoetermeer, the Netherlands. Introduction by A. Groot, 1992.

Argusauge. Städtische Galerie im Lenbachhaus, Munich.  Essays by Werner Fenz and Patricia C. Phillips, 1991.

Artists of Conscience: 16 Years of Social and Political Commentary. Alternative Museum, New York. Introduction by Geno Rodriguez, essays by Lucy Lippard, Margot Lovejoy, Keith Morrison, Lowery Stokes Sims and Luis Camnitzer, 1991.

Art is Life/Project '93-'94. Velan, Torino. Introduction by Vezio Tomasinelli, 1994.

Art Meets Ads: Avantgarde & Kampagne. Kunsthalle Düsseldorf, Düsseldorf.  Essays by Jürgen Harten and Michael Schirner, 1992.

Atlantic Sculpture. Art Center College of Design, Pasadena, California. Introduction by Stephen Nowlin, essays by Steven Beyer, Eleanor Heartney, Joseph Masheck and Wade Saunders, 1987.

Bezugspunkte 38/88. Steirischer Herbst, Graz, Austria. Essays by Nena Dimitrijevic and Werner Fenz, 1988.

Billboard: Art on the Road. MASS MoCa, North Adams, Massachusetts. Introduction by Joseph Thompson, essays by Laura Steward Heon, Harriet Senie, Peggy Diggs, Laura Steward Heon, Lisa Dorin, 1999

Blickmaschinen. Musem für Gegenwartskunst Siegen, Germany. Forward by Nike Bätzner, Werner Nekes, Miklós Peternák, Eva Schmidt, José Lebrero Stals, essays by Nike Bätzner, Peter Bexte, Roberto Casati, Heinz-Werner Lawo, Hanne Loeck, Helga Lutz, Micheal Mayer, Miklós Peternák, Jean-Christophe Royoux and Eva Schmidt, 2008.

C'est pas la fin du monde/un point de vue sur l'art des années 80. Centre d'histoire de l'art contemporain, Rennes, Introduction by Jean-Marc Poinsot, texts by Yves Aupetitallot, Philippe Cazal, Catherine David, Chris Dercon, Catherine Elkar, Gary Hill, Barbara Kruger, Werner Lippert, Yannick Miloux, Craig Owens, David Perreau, Catherine Quéloz, Patrick Van Caeckenbergh and James Welling, 1992.

Cities-9 microficciones. Galeria MPA/Moisés Pérez de Albéniz, Madrid. Text by Juan Herreros, 2019.

Collective Intimacy.Evento 2009, Bordeaux, France. 2009

Conspicuous Display. Stedman Art Gallery, Rutgers University, Camden, New Jersey. Essay by Sid Sachs, 1989.

Constitution. Temple Gallery, Temple University, Philadelphia. Introduction by Julie Courtney and Group Material, essays by Donald Kuspit, Michael Ratner, Margaret Ratner and Bruce Mc.M. Wright, 1987.

Constructions: Between Sculpture and Architecture. Sculpture Center, New York. Essay by Frederieke Taylor, 1988.

Contemporary Perspectives 1984. Center Gallery, Bucknell University, Lewisburg, Pennsylvania. Essays by Barry Blinderman, Thomas Lawson and Susan Morgan, 1984.

.cremers.haufen./.alltag.prozesse.handlungen:kunst der 60er jahre und heute. Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. Forwards by Klaus Bussmann and Maïté Vissault, texts by Erich Franz, Sabine Röder, Johannes Cladders, Maité Vissault, Martin Hellmold, Amine Haase, Michael Hirsch, interviews with Siegfried Cremer, René Block and Klaus Staeck, 2004.

Das Gedächtnis Öffnet Seine Tore / Die Kunst der Gegenwart im Lenbachhaus. Städtische Galerie im Lenbachhaus, München. Introduction by Helmut Friedel, essays by Marion Ackermann, Helmut Friedel, Susanne Gaensheimer, Annegret Hoberg, Irene Netta, Ulrich Wilmes and Armin Zweite, 1999.

D & S Ausstellung. Kunstverein Hamburg. Essays by Frank Barth, Thomas Wulffen, Michael Haerdter, Dietmar Kamper, Michael Lingner, S. D. Sauerbier, Jürgen Schweinebraden and Freiherr von Wichman-Eichhorn, 1989.

Departures, Photography 1923-1990. Independent Curators, Inc., New York. Introduction by Edmund Yankov, essay by Andy Grundberg, 1991.

Diez Años. Galería Moisés Pérez de Albéniz, Pamplona. Introduction by Moisés Pérez de Albéniz, 2007.

Disinformation: The Manufacture of Consent. Alternative Museum, New York. Introduction by Geno Rodriguez, essays by Noam Chomsky and Edward S. Herman, 1985.

Do All Oceans Have Walls?.  Gesellschaft für Aktuelle Kunst, Bremen. Introduction by Horst Griese and Eva Schmidt, 1998.

Double Vision/photographs from the Strauss Collection. University Art Museum, California State University, Long Beach.          Prelude by Janet Fitch, essays by Constance W. Glenn, Mary-Kay Lombino and Arthur Ollman, 2000.

 

Enclosures and Encounters: Architectural Aspects of Recent Sculpture. Storm King Art Center, Mountainville, N.Y.  Essay by Maureen Megerian, 1991.

Entre Chien et Loup. Kent Gallery, New York, 2008.

Exclusiones/Censorship. Galería Moisés Pérez de Albéniz, Pamplona. Essay by Carlos Jiménez, 2008.

For Real Now. Korte Achterstraat, Hoorn, The Netherlands. Introduction by Ijsbrand van Veelen, 1990.

Fotografie als Kunst im öffentlichen Raum München 1991. Foto-Projekt München, Munich, Germany.  Essays by Daniela Goldmann, Gerald Domenig, Jan Thorn Prikker and Vilem Flusser, 1991.

FRACorse, Une Collection Pour La Corse. FRAC Fonds Régional d'art contemporain, France. Essays by Dominique

Hamburg Projekt 1989. Kulturbehörde Hamburg, 1989.

Historias: VII Edición del Festival Internacional de Fotografía y Artes Visuales. PhotoEspaña Madrid.  Introduction by Horacio Fernández, essays by Dennis Adams, Juan Bonilla, Rogelio López Cuenca, Francis Fukuyama, Frits Gierstberg, Juan José Lahuerta, Pablo Llorca, Basilio Martín Patino, Pedro G. Romero, Oliver Sachs, Dubravka Ugresic B. Shehu, James E. Young, 2004.

If Walls Had Ears. De Appel, Amsterdam.  Introduction by Saskis Bos, essays by Gavin Jantjes, Michael Archer, Jörg Heiser, Hou Hanru, Luk Lambrecht, Annelie Pohlen, Charles Esche, Edna van Duyn, 2005.

Image World: Art and Media Culture. Whitney Museum of American Art, New York. Essays by Lisa Phillips, Marvin Heiferman, and John Hanhardt, 1989.

Images Critiques: Adams, Jaar, Jammes, Wall. L'ARC, Musée d'Art Moderne de la Ville de Paris. Introduction by Suzanne Pagé, essays by Béatrice Parent and Ariélle Pelenc, 1989.

Images in Transition: Photographic Representation in the Eighties. National Museum of Modern Art, Kyoto and National Museum of Modern Art, Tokyo. Introduction by Shinji Kohmoto, essay by Alain Sayag, 1990.

Images pour la lutte contre le sida. Artis and the Centre Georges Pompidou, Paris.  Essays by Jacques Toubon, Philippe Douste-Blazy, Jean de Savigny, François Barré and Bruno Ughetto, 1993.

Insect Politics: Body Horror/Social Order. Hallwalls, Buffalo. Essay by Stephen Derrickson, 1990.

Insight/On Site. Hillwood Art Gallery, C. W. Post Campus of Long Island University, Brookville, New York. Essay by Tiffany Bell, 1988.

Internationale Künstlerplakate Saarbrücken. Hochschule der Bildenden Künste Saar, Saarbrücken, Germany.  Essays by Oskar Lafontaine, Walter Grasskamp, and Ernest W. Uthemann, 1992.

Intervenciones: Proyecto de arte público del Pabellón de Andalucía. Plus Ultra, Andalucía, Spain. Essays by Mar Villaespesa, Mariano Maresca, Fernando Mendoza, David Lévi-Strauss, Cándida Martínez López, Carmen Africa Vidal, Pepa Bueno, Angel González, Diego Ropero-Regidor, Maurice Berger, Luis García Montero, Vicenç Altaió, Vicente Ruiz Fuentes, Kevin Power and Miguel Benlloch, 1992.

Konstruktion Zitat: Kollektive Bilder in der Fotografie. Sprengel Museum Hannover. Essays by Thomas Weski and Stefan Iglhaut, 1993.

L'art renouvelle la ville/ urbanisme et art contemporain. Musée national des monuments français. Introduction by François Barré, essays by Gilles Carrez, Guy Cogeval, Rémy Guinard, Jean-Luc Daval, Georges Duby, Monique Faux, Francis Lacloche, Pierre Restany and Germain Viatte, 1992.

Les Figures de la Marche. Musée Picasso, Antibes, France. Essays by Daniel Arasse, Lionel Bourg, Thierry Davila, Patricia Falguieres, Maurice Fréchuret, Éric Michaud and Gilles A. Tiberghien, 2000

Lección de Arte. Museo Nacional Thyssen-Bornemisza, Madrid. Introductions by Ínigo Méndez de Vigo y Montojo & Guillermo Solana, Cuestionar by Miguel Ángel Santos Guerra, 2017.

L'inventaire/Les dimensions ordinaires. Manufrance, Saint-Etienne, France. Essay by Frederic Migayrou, 1988.

La fondation anon. L'observatiore, Marseille.  Edition number two, 1992.

La Grande Arche. Beaux Arts, Paris, 1991.

La Memoria Del Otro. Museo Nacional De Bellas Artes, Santiago, Chile. Introduction by Anna Maria Guasch, essays by

   Andreas Huyssen, Ada Sbriccoli, 2010.

Le Monde Après la Photographie. Villeneuve d'Ascq, Musée d'art moderne, France.  Essay by Régis Durand, 1995.

Liberty and Justice. Alternative Museum, New York. Essays by Alexander Cockburn, Jayne Cortez, Edmund Desnoes, Benjamin R. Ringer, and Geno Rodriguez, 1986.

Lichträume. Museum Folkwang Essen, Essen, Germany.  Introduction by Lutz Schöbe and Dr. Gerhard Finckh, essay by Dr. Gerhard Finckh, 1993.

Life Size: A Sense of the Real in Recent Art. Israel Museum, Jerusalem. Essays by Suzanne Landau, Douglas Crimp, Carolyn Christov-Bakargiev, Germano Celant, Robert Storr, and Christian Leigh, 1990.

Light Construction. The Museum of Modern Art, New York. Essay by Terence Riley, 1995.

Magiciens de la Terre. Centre Georges Pompidou and La Grande Halle, Parc La Villette, Paris. Essays by Jean-Hubert               Martin, Aline Luque, Mark Francis, André Magnin, Pierre Gaudibert, Thomas McEvilley, Homi Bhabha, Jacques Soulillou, and Bernard Marcade, 1989.

Maintenant. Images du Temps Présent. Le Mois de la Photo á Montréal. Edited and Introduction by Vincent Lavoie, essays by Guy Bellavance, Anne Bénichou, Anne Boime, Malcolm Foley and J. John Lennon, John Taylor, Robert Graham, Ariella Azoulay, and Edgar Roskis, 2003.

Mettlesome Meddlesome, Selections from the Collection of Robert J. Shiffler. The Contemporary Arts Center, Cincinatti. Essays by Elaine King, Jan Riley, Robert Schiffler, and Marsh Tucker, 1993.

Monument et Modernité/A Paris: Art, espace public et enjeux de mémoire/ 1891/1996. Paris musées, Fondation électricité de France.  Introduction by Thierry Dufrêne, essay by Chemin Faisant, 1996.

Newberger Museum of Art 1997 Biennial Exhibition of Public Art. Forward by Lucinda H. Gedeon, essay by Judy Collischan, 1997.

News, ect. Galeria MPA / Moisés Pérez de Albéniz, Madrid. Editor: Galeria MPA. Introduction and Interviews by Stephan Pascher, 2019.

New Works For Different Places: Derry, Glascow, Newcastle, Plymouth. TSWA, Four Cities Project, England. Introduction by Tony Foster, Jonathan Harvey and James Lingwood, 1990.

Panorama 2000: Art in Utrecht seen from the Dom tower. Centraal Museum, Utrecht, The Netherlands. Preface by Sjarel Ex, introduction by Dirk van Weelden, 1999

Passages de l'image. Centre Georges Pompidou, Paris and Centre Cultural de la Fundació Caixa de Pensions, Barcelona. Essays by Pascal Bonitzer, Jean-François Chevrier, Catherine David, Raymond Bellour, Serge Daney, Jacques Aumont, Christine van Assche, Peter Wollen and Jean-Louis Schefer, 1990.

Photography on the Edge. Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin. Essays by Noel Carroll and Curtis L. Carter, 1988.

Points of Departure: Art on the Line. Main Line Art Center, Philadelphia, Forward by Judy Herman, essays by Julie Courtney, Janet Greenstein Potter and Harriet F. Senie, 2001

Politically Charged. First Street Forum, Saint Louis, Missouri. Essay by Judy Van Wagner, 1988.

Post Human. Cantz/Deste Foundation for Contemporary Art, Athens. Essay by Jeffrey Deitch, 1992.

Pour la suite du monde. Musée d'art contemporain de Montréal. Essays by Marie-Andrée Bertrand, Manon Blanchette, Marcel Brisebois, Douglas Crimp, Gilles Godmer, Félix Guattari, Thierry Hentsch, Albert Jacquard, Johanne Lamoureux, Réal Lussier, Patricia C. Phillips, Elénore Jiconsasseh Sioui and Jacques Testart, 1992.

Pour la suite du monde: Cahier Propos et projets. Musée d'art contemporain de Montréal. Introduction by Gilles Godmer and Réal Lussier, 1992.

Power: Its Myths and Mores in American Art 1961-1991. Indianapolis Museum of Art.  Essays by Holliday T. Day, Catsou Roberts, Brian Wallis, Anna C. Chave and George E. Marcus, 1991.

Presi x incantamento: La nuova fotografia internazionale. Padiglione d'Arte Contemporanea, Milan. Introduction by Gregorio Magnani, essays by Daniela Salvioni and Giorgio Verzotti, 1988.

Public Art Fund Inc. 1989-1990. New York.  Introduction by Susan Freedman, 1990.

Public Art Program 1985-1988. Brookville, New York: Hillwood Art Gallery, C. W. Post Campus of Long Island University. Essay by Judy Collischan Van Wagner, 1989.

Reality of Illusion. University of Southern California at Los Angeles and Denver Art Museum. Introduction by Donald Brewer, 1979.

Reprises de vues. Halle Sud, Geneva. Introduction by Renate Cornu, essay by Corinne Diserens, 1988.

Rhetorical Image. The New Museum of Contemporary Art, New York.  Preface by Marcia Tucker, introduction by Milena           Kalinovska, essays by Friedrich Dürrenmatt, Deirdre Summerbell and Nena Dimitrijecvic, interviews by Bruce Ferguson, 1990.

Sequence (Con)Sequence: (Sub)Versions of Photography in the 80s. Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York. Essays by Julia Ballerini, William S. Wilson and Lori Zippay, 1989.

Skulptur Projekte in Münster 1987. Westfälisches Landesmuseum, Münster, Germany. Introduction by Klaus Bussmann and Kasper König, monographs by Klaus Bussmann, Edith Decker, Kasper König, Friedrich Meschede, Susan Weirich and Ulrich Wilmes, essays by Thomas Kellein, Veit Loers, Christoph Schreier, Benjamin H. D. Buchloh, Hannelore Kersting, Antje von Graevenitz, Marianne Brouwer and Gundolf Winter, 1987.

Soulévements. Jeu de Paume, Paris. Préface by Marta Gili, Introduction by Georges Didi-Huberman, Essays by Nicole Brenez, Judith Butler, Marie-José Mondzain, Antonio Negri and Jacques Ranciére, 2016.

Special Collections: The Photographic Order from Pop to Now. International Center of Photography, New York.  Essay by Charles Stainback, 1992.

Temporarily Possessed: The Semi-Permanent Collection. The New Museum, New York. Essay by Brian Goldfarb, John Hatfield, Laura Trippi and Mimi Young, 1995.

Tenir l'image à distance. Musée d'art contemporain, Montréal. Essay by Réal Lussier, 1989.

The Camera Politic. Carlo Frua and Joyce Nereaux, New York.  Essay by Robert A. Sobieszek, 1993.

The Lives and Love of Images. Biennale für aktuelle Fotografie, Germany. Introduction and Editing by David Campany,                      2020.

The Luminous Image. The Alternative Museum, New York.  Essay by A.D. Coleman, CD-Rom, 1996.

The New Urban Landscape. Olympia and York, Co., USA.  Richard Martin, editor, 1989.

The Photography of Invention: American Pictures of the 1980s. National Museum of American Art, Smithsonian Institution, Washington, D.C. Introduction by Merry Foresta, essay by Joshua Smith, 1989.

The Political Arm. John Weber Gallery, New York, 1991.

The Power of the City/ The City of Power. The Whitney Museum of American Art, New York.  Essays by Timothy Nye, Christel Hollevoet and Karen Jones, 1992.

The Readymade Boomerang: Certain Relations in 20th Century Art. Biennale of Sydney and Museum of Contemporary Art, Sydney.  Introduction by René Block, essays by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg and Dick Higgins, 1990.

The Whole World Is Still Watching. Randolph Street Gallery, Chicago. Essays by Dan Mills and Maureen Sherlock, 1988.

The Uncanny Familiar/Images of Terror. C/O Berlin. Introduction by Felix Hoffman, Essays by Aleida Assmann, Clément Chéroux, Michael Diers, Michael C. Frank, Gerhard Paul, Fred Ritchin, Friedrich von Borries and Stephan A. Weichert, 2011.

This is My Body: This is My Blood. Herter Art Gallery, University of Massachusetts, Amherst.  Essays by Robert Blake, Susan Jahoda, Lucy Lippard, May Stevens and Judith Wilson, 1992.

Uplifted Atmospheres/Borrowed Taste. Hallwalls, Buffalo, New York. Essay by Howard Halle, 1986.

Vidéo Topiques. Les Musées de Strasbourg.  Essays by Patrick Javault, Georges Heck, Maurizio Lazzarato, Sandra Lischi, Philippe Dubois, Francoise Parfait, Anna Marx, 2002.

Warum. Martin-Gropius-Bau, Berlin. Introduction by Matthias Flügge and Friedrich Meschede, 2003.

Whitney Biennial 2000. Whitney Museum of American Art, New York. Forward by Maxwell Anderson, Curators' Introduction by Michael Auping, Valerie Cassel, Hugh M. Davies, Jane Farver, Andrea Miller-Keller and  Lawrence R. Rinder, 2000.

Were It As If/Beyond An Institution That Is. Witte de With, Rotterdam. Editors: Bik Van der Pol & Defne Ayas, 2016.

 

SELECTED PERIODICALS, NEWSPAPER ARTICLES AND ONLINE PUBLICATIONS

 

Abramovic, Marina. "Dennis Adams: Franck & Schulte." Flash Art, Summer 1992, pp. 122-23.

Adamopoulus, Konstantin. "Was ist aktuelle Kunst?  Ein Interview mit Kasper König am Beispiel der Arbeit von Dennis Adams." Das Kunst-Bulletin, October 1993, pp. 20-23.

Adler, Sabine. "Alphabet für wache Augen." TZ/Munich, July 10, 1991.

Agboton-Jumeau, Jean-Charles. "'L'art en Belgique depuis 1980' & Co." Art Présence, May- June 1993, pp. 2-9.

Agboton-Jumeau, Jean-Charles."Dennis Adams at Galerie Gabrielle Maubrie." Forum International, January-February 1991, pp. 77, 84.

Ardenne, Paul. "Un Art Léger Faute Que Le Monde Puisse L'étre." l'Art Mêmeno, 25, 2004, pp. 2-4.

Alberro, Alexander. "Dennis Adams: Kent Gallery." Artforum, May 1999, p. 178.

Baqué, Dominique. "L'image fixe pour repenser le monde." Artpress, November, 2008, pp. 52-59.

Bauwelinck, Bert. "Dennis Adams in het MUHKA: Kunst vind je ook op straat." Gazet Van Antwerpen, March 24, 1994, p. 9.

Becker, Jochen. "Dennis Adams: Trans/Actions." Kunstforum, October-December, 1994, pp. 414-416.

Becker, Jochen."Trinkhalle, Pissecke, Wartenhäuschen." Die Tageszeitung, May 17, 1994, p.13.

Betancourt, Roland. "About the Cover." Postmedieval/a journal of medieval cultural studies, Spring, 2016, cover & p. 2-3.

Bierens, Cornel. "De spiegel van Dennis Adams." Archis, February, 1996, pp. 14-16.

Bobka, Vivian. "Dennis Adams: Christine Burgin." Flash Art, Summer 1989, pp. 148-49.

Bodenstein, Felicity and Eva-Maria Troelenberg. "Revisiter les "arts du monde": histoires critiques et défis contemporains."

    Perspective/actualité en histoire de l'art, 1/2017, 172.

Boyer, Charles-Arthur. "Dennis Adams: Galerie Gabrielle Maubrie." Artpress, January 1994, p. 84.

Bonaspetti, Edoardo (Editor in Chief). "1985-1995 Exhibition Views." Mousse, #51, December, 2015, pp. 61,74,140,156.

Bradley, Kim. "El arte y la ciudad." Rekarte, March, 1996, pp. 20-21.

Braet, Jan. "Ze Dronken een Glas.. 'Site specific Installations' en 'Transacties' van Dennis Adams." Knack,  April 20, 1994, pp. 93, 95.

Brenson, Michael. "Dennis Adams: Building Against Image 1979-1987." New York Times, January 23, 1987, p. C23.

Brenson, Michael."Dennis Adams: John Weber Gallery." New York Times, January 27, 1989, p. C17.

Brenson, Michael."Dennis Adams at Nature Morte." New York Times, October 10, 1986, P. C32.

Brenson, Michael."He Challenges a Privileged Point of View." New York Times, March 13, 1988, sec. 2, pp. 35, 38.

Brill, Rob. "Too Hot for Hearst to Handle." Village Voice, November 27, 1978, p. 102.

Brown, Ellen. "Dennis Adams: Finding the Common Denominator." Cincinnati Post, May 3, 1975, p. 22.

Chirchietti, Léo. "Le petit cabanon de Dennis Adams." Le Provençal, September 11, 1992, p. 11.

Clerc, Jocelyne. "L'homme qui dérange les villes." La femme d'aujourd'hui, July 1988, pp. 19, 21.

Cooke, Lynne. "Dennis Adams." Galeries Magazine, February-March 1991, pp. 88-91, 144.

Cotter, Holland. "Outtake. A Public Project by Dennis Adams." New York Times, January 15, 1999, p. E 42.

Cullinan, Helen. "Metaphor of Paranoia Caps CSU Art Season." Plain Dealer, May 14, 1988.

Decter, Joshua. "Review: Dennis Adams." Arts Magazine, December 1986, p. 124.

Deitcher, David. "When Worlds Collide." Art in America, February, 1990, pp. 120-126, 189, 191.

"Die Stadt als Leerstelle?" Frankfurter Rundschau, May 22, 1993, p. 21.

Dewar, Heather. "Coming to Grips with Art." The Baltimore Sun, November 5, 2001, pp.1B-2B

Dosogne, Ludo. "Melancholie van het brein." Gazet van Antwerpen, March 12, 1994, p. 46, Cultuur.

Douthat, Anita. "Transforming with Light." Art New England, June 1989, pp. 10-11, 29.

Durand, Régis. "Dennis Adams: Une repolitisation fragile du signe." Halle Süd, no. 18, 1988, cover and pp. 4-5.

Durand, Régis. "Politiques de l'image" Beaux arts, January 1989, pp. 44-49.

Faust, Gretchen. "Dennis Adams." Arts Magazine, September 1990, p. 102.

Faust, Gretchen. "Dennis Adams: MOMA." Arts Magazine, April 1991, pp. 97-98.

Fenz, Werner. "Von der Dunklen Höhle zur Hellen Kammer/From the Dark Cave to the Camera Lucida."  Camera Austria, No. 41, 1992, pp. 23-32.

Findsen, Owen. "Visual Words and Music." Cincinnati Enquirer, May 11, 1976, p. 6F.

Funken, Peter. "Strategie & Rhetorik: Dennis Adams, John Baldessari und Jochen Gerz." Artefactum, April-May, 1990, pp. 49-50.

Furio, Maria Jose. "Historias Visuales." Cultura/s La Vanguardia, June 23, 2004, cover and pp. 18-19.

Gattinoni, Christian. "Les fictions critiques de la photographie." Artension, March 1989, pp. 42-43.

Geibel, Victoria. "Capitalist Clash." Metropolis, September, 1987, p. 26.

Gerbracht, Grady and Susan Jahoda, eds. "Dennis Adams/Recovered." Rethinking Marxism, July 2003. pp. 350, 351.

"Goings on About Town: Museum of Modern Art." New Yorker, February 18, 1991, p. 8.

Greben, Deidre Stein. "Dennis Adams/Kent." Art News, September, 2002, p.152.

Griffin, Nora. "Entre Chien et Loup." The Brookln Rail, October, 2008.

Guardia, María Asunción. "El 'antipabellón' del Este que la Expo rechazó, en Barcelona." La Vanguardia, June 19, 1992, p.52

Guasch, Anna Maria. "Dialogo con Van der Rohe." Blanco y Negro Cultural, Numero 660, Septmber 18, 2004, pp. 25-26.

Geer, Suvan. "Dennis Adams, Alan Belcher, Jennifer Bolande." Los Angeles Times, June 23, 1989.

Guerin Michel. "A Madrid, les photographes face á l'histoire." Le Monde, June 15, 2004, p.30.

Guerin Michel. "Plan large/sur histoire proche." Le Monde 2, July 11-12, 2004.

Guerin Michel. "A Villeneuve d'Ascq, le métossage des images." Le Monde, August 3, 1995.

Guerin Michel. "Le développement de la photographie 'plasticienne' désoriente le public." Le Monde, August 3, 1995.

Hapgood, Susan. "Dennis Adams at Kent." Art in America, April 1998, pp.117-118.

Hardin, Terri. "Sheltering the Rosenbergs." New York Magazine, July 14, 1986, p. 26.

Heartney, Eleanor. "Street Scenes." Art in America, April 1989, pp. 230-37, 277.

Heartney, Eleanor. "Studio: Dennis Adams." Artnews, October 1986, pp. 71, 72.

Heartney, Eleanor. "The New Social Sculpture." Sculpture, July-August 1989, pp. 24-27, 49.

Hegman, William R. "Looking at Art." Minneapolis Tribune, September 30, 1987.

Heck, Sandy. "Light Construction." The Architectural Review, 1995.

Henry, Gerrit. "Dennis Adams." Contemporanea, September 1990, p. 99.

Hettig, Frank-Alexander. "Amsterdam: Dennis Adams: Galerie Lumen Travo." Artforum, May 1992, p. 131.

Hettig, Frank-Alexander. "51˚ 48' -04˚ 40' Dordrecht." Kunstforum International,  no. 124, 1993, pp. 452-453.

Hoffmann, Justin. "Dennis Adams in München." Texte zur Kunst, no. 4, Fall-Winter 1991, pp. 187-89.

Indiana, Gary. "Dennis Adams at Nature Morte." Art in America, January 1987, pp. 133-34.

Johnson, Ken. "Dennis Adams/Make Down." The New York Times, September 16, 2005. p. E40.

Johnson, Patricia C.  "'Selling History' sells on the street." Houston Chronicle, December 12, 1994, pp. 1C & 6C.

Kalil, Susie. "Going Public: Dennis Adams' bus shelters try to move art into the arena of the city." Houston Press, December

15-21 1994, p. 40.

Koelemeijer, Judith. "Reageren op de ruimte." de Voorkant, May 31, 1995, p. 13.

Kozloff, Max. "Through the Narrative Portal." Artforum, April 1986, pp. 86-97.

Kuspit, Donald. "The Critic's Way: Review of Bus Shelter IV, Münster." Artforum, September 1987, pp. 109-20.

Kuspit, Donald. "Dennis Adams/Kent Fine Art." Artforum, November 2012, p. 277.

Lambrecht, Luk. "Images Critiques." Artefactum, April-May 1989, pp. 44-45.

Larcade, Franck. "Arpentage, contours d'un projet." Journal de l'Institut Français de Bilbao, April-May-June 1996, pp. 14-21.

Ledes, Richard C. "Dennis Adams, Alfredo Jaar, Jeff Wall: Tomoko Liguori Gallery." Artforum, January. 1989, pp. 113-14.

Loos, Ted.  "Lots of Wine, But None To Drink." The New York Times, December 5, 2010, p. AR26.

Macqueen, Kathleen. "Tactics of the Imagination." Shifting Connections, January 1, 2013,

http://shiftingconnections.com/2013/01/01/tactics-of-the-imagination/

Magnani, Gregorio. "Second Generation Post-Photography." Flash Art, March-April, 1988, pp. 84-87.

Mahoney, Robert. "Dennis Adams." Tema Celeste, July-October 1990, p. 58.

Mahoney, Robert. "Airborne."  Timeout, June 6-13, 2002.

Mandelbaum, Audry. "Staking a Common Ground/Sculpture Chicago's: Reinventing the Garden City." New Art Examiner,         October, 1996. pp. 14-19.

Mangaliman, Jessie. "Homelessness the Theme of Artists' Show." New York Newsday, January 21, 1988, p. 31.

Manor, Dalia. "Dennis Adams Bus-Stop." Haaretz, August 1989, pp. 28-29.

Markuus, David. "Dennis Adams/Kent" Art in America, January 2013

Meeks, Fleming. "Dennis Adams at Broadway and 66th Street." Art in America, September 1984, p. 207.

Melkisethian, Angela. "Dennis Adams/Seize Baltimore MD." Sculpture, June, 2002, pp. 20-21.

Melrod, George. "Luminous Noir: The Shades of a Scary Era." Eye, December 1986, p. 35.

Mendiry, Ruperto. "El artista Dennis Adams trae a Pamplona los mensajes que dejo en el cielo el 11-S." Diario De Navarra, May 14, 2004, Diario 2, p. 75.

Moorman, Margaret. "Dennis Adams: Christine Burgin." Artnews, October 1989, p. 197.

Muschamp, Herbert. "Buildings That Hide and Reveal." The New York Times, September 22, 1995, pp. C1 & C28.

Nesbitt, Lois E. "Dennis Adams." Artforum, September 1990, pp. 158-59.

Oleksijczuk, Denise. "Public Art." File Magazine/Toronto, no. 29, 1989, pp. 49-61.

Oliveras, Jaume Vidal."Dennis Adams." El Mundo, September 16 2004, p. 33.

Ollman, Leah. "Street Structures Make Public Do Double Take." Los Angeles Times, January 8, 1990, pp. F1, F8.

Pelenc, Ariélle. "Dennis Adams: Paris, Galerie Gabrielle Maubrie." Artefactum, April-May 1988, p. 48.

Phillips, Christopher. "Between Pictures." Art in America, November, 1991, pp. 104-114.

Phillips, Patricia C. "Adams, Jaar, Wodiczko des images parasites." Artpress, March 1988, pp. 17-20.

Phillips, Patricia C. "Dennis Adams: Christine Burgin Gallery." Artforum, September 1989, pp. 142-43.

Phillips, Patricia C. "Dennis Adams: Gallery Nature Morte." Artforum, January 1987, p. 116.

Phillips, Patricia C. "Temporality and Public Art." Art Journal, Winter, 1989, pp. 331-335.

Phillips, Patricia C. "Making Memories." Sculpture Magazine, March, 1997, pp. 22-27.

Pins, Kenneth. "Art goes underground." The Des Moines Register, May 3, 1990, pp. 1T-2T.

Poiatti, Myriam. "Genève retravaillée.'" Tribune de Genève, June 17, 1988.

Richard, Paul. "'Archive' of a Hidden Washington, at Hirshhorn." The Washington Post, April 25, 1990, pp. B1, B10.

Roos, Robert. "Adams als collectief geheugen." Utrechts Nieuwsblad, November 22, 1991.

Rosen, Miriam. "Adams, pour faire ralentir les gens." Libération, October 12, 1994.

Rouillé, André, "Politique/Critique." la recherche photographique, no. 19, Automne, 1995, pp. 7-8, 38-39, 41, 59-63, back cover.

Ruben, Jane. "Haim Steinbach and Dennis Adams, Alan Belcher, Jennifer Bolande." Art Issues, Nr:6, Sept./Oct. 1989, p. 23.

Saint-Pierre, Adrienne E. "A Red, White, and Blue Movie." Dialogue,  July-August 1980, pp. 10-11.

Sans, Jérôme. "Dennis Adams: Houston Museum of Contemporary Art." Artforum, March, 1995, p. 95.

Schaber, Bennet. "Fabrics of Dislocation/A Biography of Appearance." Feminist Media Histories, Vol. 3 Nr:1, Winter 2017,

    pp. 103-139. DOI: 10.1525/fmh.2017.3.1.103

Schmitz, Rudolf. "Rettet Das Archiv!" Artis, July-August 1990, pp. 30-35.

Schwartz, Ineke. "Stukjes gestolde geschiedenis." de Volkskrant, January 12, 1996, p.21.

Schwartzman, Allan. "Public Art: Corporate Trophies." Art in America, February, 1989, pp. 34-43.

Serra, Catalina. "Adams exhibe en Barcelona 'El pabellón del Este' que rechazó la Expo." El País, June 19, 1992, p. 47.

Sherlock, Maureen. "Sculpture's Phantoms in the Public Sphere." Sculpture Magazine, April 1998, pp. 40-45.

Smith, Roberta. "Exploring the World's-Fair Mentality." The New York Times, June 28, 1996, p. C33.

Smith, Roberta. "Sculpture in the City, From Blankets to Bronze." The New York Times, April 20, 1990, pp. C1, C28.

Sonna, Birgit. "Dennis Adams in der Orangerie." Süddeutsche Zeitung/Munich, July 12, 1991.

Sonna, Birgit. "Der geheime Reiz vertrauter Orte: Wie der amerikanische Konzeptkünstler Dennis Adams seine Münchner Gastprofessur nutzte." Süddeutsche Zeitung, Nr. 239, October 17 1994, p. 17.

Staniszewski, Mary Anne. "Dennis Adams: The Architecture of Amnesia." Arts, International Directory of Exhibition                 Catalogues: Directory Issue 1991-1992, pp. 9, 17-20.

Steenbergen, Renée. "De ideële reclame van Dennis Adams: Gemaakt voor het stadsoog." NRC Handelsblad, March 25, 1994, p. 4.

Tamir, Tali. "The Present Station of Dennis Adams." Kol-Hair/Jerusalem, July 7, 1989, pp. 58-59, 71.

Terras, Lucien. "New World Invaders: Dennis Adams at Galerie Gabrielle Maubrie." Art International, Summer 1988, p. 70.

Tilroe, Anna. "Tralies van onbehagen." de Volkskrant, March 25, 1988.

Uhlirová, Katarína.  "Dennis Adams/Visualizing the Politics of Silence. Fotograf/Public Art, 2012, Nr.20/Vol. 11,pp. 14-21.

van Duyn, Edna. "Dennis Adams: Kunst van de straat." Vrij Nederland, December 14, 1991, pp. 56-57.

van Duyn, Edna. "Between Innocence and Amnesia." De Appel, no. 2, 1988, pp. 23-26.

van Giersbergen, Marieke. "Dennis Adams in Zaandam." Archis, February, 1991, p. 7.

van Stralen, Mariëtte. "Dennis Adams: Galerie Lumen Travo." Metropolis M, February 1992, p. 47.

Velasco, David. "Dennis Adams/New York." Art Papers, Jan/Feb 2006, pp. 63 & 64.

Verwoert, Jan. "do all oceans have walls?" Springerin, June-August, 1998, pp. 65-66.

Vogel, Sabine. B. "Marseille: Interventionen." Kunst-Bulletin, November, 1992, pp. 53-55.

Weier, Sabine. "Der Megalomane Kurator." Der Freitag, January 30, 2013, Kultur.

Wijers, Louwrien. "Dennis Adams gaat schuil in zijn wachthuisjes." Financieel Dagblad, March 25, 1988.

Wilson, Andrew. "Dennis Adams: Galerie Meert-Rihoux." Artscribe, September-October 1989, pp. 91-92.

Wilson, Beth. "Double Take." Chronogram, June 14, 2014, P. 93.

Winzen, Matthias. "The Need for Public Representation and the Burden of the German Past." Art Journal, Winter 1989, pp. 309-14.

Wutz, Andreas. "Schaltstellen für Interventionen: Dennis Adams Trans/Actions in München." Neue Bildende Kunst, No. 5, 1994, p.79.