“Small Steps, Larger Journey: Sydney Biennales in the 1970s and 1980s,” in Mami Kataoka ed.,

Superposition: Equilibrium and Engagement, 21st Biennale of Sydney (Sydney: Biennale of Sydney 2019), 284-289.

“Against Rogues: Curating in States of Crisis,” in Steven Henry Madoff ed., What about Activism? (New York and Berlin: Sternberg Press, 2019).

“Periphrasis: Provinces, Margins, Peripheries, Centers—Foteini Vlachou and the Decentering of Art History,” in Foteini Vlachou, The Disappointed Writer: Selected Essays (Lisbon: ediçõs do saguão, 2019), xii-xxvii.

“Kunsthallen as Quasi-Independent Art Spaces: A Global Perspective,” in Peter Schneeman ed., Localizing the Contemporary: The Kunsthalle Bern as a Model (Vienna: jpr/ringier, 2018).

“Is De-Institutionalization Renewable?”, in Defne Ayes and Brik van der Pol eds., Were It As If: Beyond An Institution That Is (Rotterdam: Witte de With Contemporary Art Center, 2017).

“Contemporary Art Spaces in Australia Since the 1970s: Where Did They Come From? What Do They Do?’, in Aileen Burns, Madeline King and Johan Lundh eds., Imaginary Accord (Brisbane: IMA Publishing, 2017).

“Abstraction and Ideology: Contestation in Cold War Art Criticism,” in Okwui Enwezor, Katy Seigel and Ulf Wille eds., Postwar: Art Between the Pacific and the Atlantic 1945-65 (Munich: Haus der Kunst, 2017).

“Chinese Art: Continuity, Modernity, and Contemporaneity,” in Cai Guo-Qiang ed., What About the Art? Contemporary Art From China (Guangxi: Guangxi Normal University Press, 2016), 386-407.

“Bernard Smith: The Art Historian as Hero,” in Jaynie Anderson, Christopher Marshall and Andrew Yip eds., The Multiple Legacies of Bernard Smith (Sydney: Power Institute, University of Sydney, and Art Gallery of New South Wales, 2016)

“Cotemporality, Intermediality: Time and Medium in Contemporary Art,” in Brianne Cohen and Alexander Streitberger eds., The Photofilmic: Entangled Images in Contemporary Art and Visual Culture (Leuven: Leuven University Press, 2016), 21-41

“Comparing the Contemporary Arts; Figuring Planetarity,” in Amy J. Elias and Christian Moraru eds., The Planetary Turn: Art, Dialogue and Geoaesthetics in the 21st Century (Evanston, Il: Northwestern University Press, 2015), 175-192.

“A Philosophy of Contemporary Art?: Some reflections on Osborne,” in Nicholas Croggon and Helen Hughes eds., Three Reflections on Contemporary Art History (Melbourne: Discipline, 2014), 75-88.

“Worlds Pictured in Contemporary Art: Planes and Connectivities,” in Regionlaity/Mondiality: Perspectives on Art, Aesthetics and Globalization, An Anthology, edited by Charlotte Bydler and Cecilia Sjöholm (Stockholm: Södertön Studies in Art History and Aesthetics 2, 2015)

“Visual Regimes of Seeing: European and Aboriginal Seeing in Australia,” in Martin Jay and Sumathi Ramaswamy eds., Empires of Vision, A Reader ( Durham: Duke University Press, 2014), 267-282 (republication of essay in Ulpiano Toledo Bezerra de Meneses, ed., Paysage et Art, papers of the conference “Paisagem e Arte, a invençao da natureza, a evoluçao da olhar” (Comité Brasileiro de Historia da Arte, Sao Paulo, 2000), 91-100.

“The Bilbao Affect: Culture as Industry,” chapter 1 of The Architecture of Aftermath, reprinted in Jelena Stojanovic ed., On the Museum’s Remains: Contemporary Art and its Public (Belgrade: Museum of Contemporary Art, 2012) [in Serbian]

“Time And The Composition: Creativity In Modern And Contemporary Works Of Art,” in Kerry Thomas and Janet Chan eds., Handbook of Research on Creativity  (Cheltenham, UK and Northampton, MA, USA: Edward Elgar Publishing, 2013), 265-281

“Design, For the Mind’s Eye, 1964-74,” in “What We Were Reading: The Creation of A Counter-Public Sphere “, edited by Pamela M. Lee, a section within Geoff Kaplan ed., Power to the People: The Graphic Design of the Radical Press and the Rise of Counter-Culture, 1964-1974  (Chicago: University of Chicago Press, 2013), 233-6

“Artists as Curators/Curators as Artists: Exhibitionary Form since 1969,” in Germano Celant ed., When Attitudes Become Form; Bern 1969/Venice 2013  (Venice: Fondazione Prada, 2013), 519-530, Italian 711-17.

“Contemporary Art: World Currents in Transition Beyond Globalization,” in The Global Contemporary: The Rise of New Art Worlds after 1989, eds. Hans Belting, Andrea Buddensieg, Peter Weibel (Cambridge, Mass.: MIT Press for ZKM, Karlsruhe, 2013), 186-192

“Our Contemporaneity?,” in Alexander Dumbadze and Suzanne Hudson eds., Contemporary Art: Themes and Histories, 1989 to the Present (Oxford: Blackwell, 2013), 17-27

“Currents of Worldmaking in Contemporary Art,” in Nicholas Mirzoeff ed., The Visual Culture Reader (3rd ed., London: Routledge, 2013), 109-117

“Roundtable: Reading Exhibitions,” in Reading Room: A Journal of Art and Culture (05/2012), “The Space of Reading,” edited by Natasha Cornland

“One and Three Ideas: Conceptualism Before, During and After Conceptual Art,” in Boris Groys ed., Moscow Symposium: Conceptualism Revisited (Berlin and New York: Sternberg Press, 2012), 42-72

“Currents of Contemporaneity: Orientations in Art Today,” in Peter S. Myers ed., Sidetracks: Painting in the Paramodern Condition (Stavenger: Stavenger Kunstmuseum, 2012)

“Contemporary Art: Remodernism, Transitions, Translation,” in Alexander Alberro ed., What is Contemporary Art Today?  [Qué es arte contemporáneo hoy?] (Pamplona: Cátedra Jorge Oteiza, Universidad Pública de Navarra, 2011), 19-56 (Spanish), 181-216 (English)

“Transnational Virtuality: New Media Art, Contemporary Concerns,” in Jaynie Anderson ed., Cambridge Companion to Australian Art (Melbourne: Cambridge University Press, 2011), 248-260

“Base And Superstructure In Jamesonian Architectural Theory,” in Lahiji Nadir ed., The Political Unconscious of Architecture: Essays in Honor of Frederic Jameson (London: Ashgate, 2011), 299-316

“Profiles in Currency: Contemporary Art Today,” Miranda Wallace ed., 21st Century: Art of the First Decade (Brisbane: Queensland Art Gallery/Gallery of Modern Art, 2010)

“Background Stories: Modern And Contemporary Art, World Currents, China,” in Qigu Jiang and James Elkins eds., First “China Contemporary Art Forum” – 2009 Beijing International Conference on Art Theory and Criticism (Beijing: China Contemporary Art Forum, 2010)

“Contemporaneity,” in Claire Doherty and David Cross, eds., One-Day Sculpture (Bielefeld: Kerber Verlag, 2009), 53-56

“Daniel Among The Philosophers: The Jewish Museum, Berlin, And Architecture After Auschwitz,” in Gevork Hartoonian ed., Walter Benjamin and Architecture (London: Routledge, 2010), 137-159

“Writing the History of Contemporary Art: A Distinction, Three Propositions, and Six Lines of Inquiry,” in Jaynie Anderson ed., Crossing Cultures: Conflict, Migration and Convergence, Proceedings of the 32nd International Congress in the History of Art (Melbourne: Miegunyah Press, 2009), 918-21

“Art Against Media: Early Works by Peter Weibel,” in Dennis del Favero, Ursula Frohne and Peter Weibel eds., Un_imaginable (Ostfildern: Hatje Cantz for ZKM, Karlsruhe, iCinema, UNSW, Sydney, and the University of Pittsburgh, 2008), DVD video and book, 116-127

“Times Taken, Given by Contemporary Art, “ in Judith Schachter Model and Stephen Brockman eds. (Im)permanence: Cultures in/out of time (Pittsburgh: Center for Arts in Society, Carnegie Mellon University, 2008)

“Spectacle Architecture before and after the Aftermath: Situating the Sydney experience,” Anthony Vidler ed., Architecture Between Spectacle and Use (New Haven: Yale University Press for the Clark Institute, 2008)

“Interaktion in dem Zeitgenössischen Kunst [Interaction in Contemporary Art],” in Richard Castelli et al. eds., Vom Funken zum Pixel: Kunst + Neue Medien (Berlin: Nicolaische Verlagsbuchhandlung und Martin-Gropius-Bau, Berliner Festspiele, 2007), 23-31

“Creating Value Between Cultures: Contemporary Aboriginal Art,” in Michael Hütter and David Throsby eds., Beyond Price: Values and Valuing in Art and Culture (Cambridge: Cambridge University Press, 2008), 23-40

“Introduction” and “Contemporary Art Now: A World Picture,” in Terry Smith ed., Contemporary Art + Philanthropy (Sydney: University of New South Wales for the Sherman Foundation, 2007),

“Canons in the conditions of contemporaneity,” in Anna Brynzki ed., Partisan Canons (Durham, NC: Duke University Press: 2007), 309-26. Review: Jennifer Ferng (MIT), Leonardo on line, March 2008.

“Art and Society: Multiple Modernities Then, Contemporaneity Now,” in Pan Gongkai ed., Reflections: Chinese Modernities as Self-Conscious Cultural Ventures (Beijing: Oxford University Press, 2007)

“Creating Dangerously: Then and Now,” in Okwui Enwezor ed., The Unhomely: Phantom Scenes in Global Society(Seville: Bienal Internacional de Arte Contemporáneo de Sevilla, 2006). Also in Spanish.

“Better Ideas and Impossible Objects: A Commentary,” in Héctor Olea and Mari Carmen Ramirez eds., Versions and Inversions: Perspectives on Avant-Garde Art in Latin America (New Haven and London: Yale University Press for the International Center for the Arts of the Americas, Houston Museum of Fine Arts, 2006).

“Biennales in the Conditions of Contemporaneity,” in Blair French, Adam Geczy and Nicholas Tsoutas, eds., Criticism+Engagement+Thought, On Reason and Emotion 2004 Biennale of Sydney, Sydney: Artspace, 2004, 53-59

“Visual Regimes of Colonization: Aboriginal Seeing and European Vision in Australia,”,in Nicholas Mirzoeff ed., The Visual Culture Reader, London and New York: Routledge, 2003, 2nd ed., 483-494

“Installing the Format of the Future,” in Adam Geczy and Benjamin Genocchio eds., What is Installation? An anthology of writings on Australian installation art, Sydney: Power Publications, 2001, 239-242

“Life-Style Modernity: Making Modern America,”,in Erika Doss ed., Living with Life, Washington: Smithsonian Institution Press, 2001, 25-40

“The Visual Arts: Imploding Infrastructure, Shifting Frames, Uncertain Futures,”,in Tony Bennett and David Walkers eds., Reshaping Australian Culture, Cambridge: University of Cambridge Press, 2001, 66-88

“Visual Regimes of Colonisation: European and Aboriginal Seeing in Australia,”,in Ulpiano Toledo Bezerra de Meneses, ed., Paysage et Art, papers of the conference “Paisagem e Arte, a invençao da natureza, a evoluçao da olhar”, Comité Brasileiro de Historia da Arte, Sao Paulo, 2000, 91-100

With Mary Kelly, “A Conversation about Conceptual Art, Subjectivity and the Post-Partum Document,”,in Alex Alberro and Blake Stimson, eds., Conceptual Art, A Critical Anthology, Cambridge, Mass., MIT Press, 1999, 450-459

“Peripheries in Motion: Conceptualism and Conceptual Art in: Australia and New Zealand,”,in Luis Camnitzer, Jane Farver and Rachel Weiss, eds., Global Conceptualism: Points of Origin 1950s-1980s, New York, Queens Museum of Art, 1999, 86-98

“Art,”,in Roger Bell and Phillip Bell, eds., Americanization: Australian Experiences, Sydney: University of New South Wales Press, 1998

“Pictures of, Painting as: Landscape and Modernism,”,in Geoff Levitus, ed., Lying About the Landscape, Sydney: Craftsman House, 1998

“Kngwarreye Woman Abstract Painter,”,in Jennifer Isaacs, ed., Emily Kame Kngwarreye, Sydney: Craftsman House, 1998

“The Governor General and the Post-Colonial: The Australia Day Address 1996,”,in Anthony Uhlmann, ed., Media Imaginaries, special issue of Continuum, Perth: University of Western Australia, 1997

“Three Ages of Man: Masculine Sexuality in Australian Art,”,in Paul Patton and Diane Austin-Broos, eds., Transformations in Australian Society, Sydney: Research Institute for the Humanities and Social Sciences, 1997, 1-31

“Intensity: Modernism’s Phallic Aesthetics,”,introduction to In Visible Touch: Modernism and Masculinity, Sydney, Power Publications, 1977; Chicago: University of Chicago Press, 1998, 1-27

“Pictured History: The Matchgirls” Strike 1888,”,in Jessica Evans, ed., The Camerawork Essays, Context and Meaning in Photography, London: Rivers Oram Press, 1997, 156-169; introduction 153-6

“Craft, Modernity and Postmodernity,”,in Sue Rowley, ed., Craft and Contemporary Theory, Sydney: Allen & Unwin, 1997

“The University is for Turning,” in Ideas of the University, Sydney: Research Institute for the Humanities and Social Sciences and Power Publications, 1996

“The Provincialism Problem” and “Generation X: Impacts of the 1980s,”,in Rex Butler, ed., What is Appropriation?, Brisbane and Sydney: IMA and Power Publications, 1996

“Production: The Specter and The Stonebreakers,”,in Robert Nelson and Richard Shiff, eds. Critical Terms for Art History, Chicago: University of Chicago Press, 1996; 2nd ed. 2003, 361-381.

“Modernism”, “Modernity”, “Australian Painting and graphic arts before 1900”, “Australian Painting and graphic arts since 1900”, “Art Education in Australia”, “David Aspden”, “Annandale Imitation Realists”, “Charles Blackman”, “Imants Tillers,”entries for the Dictionary of Art, London: Macmillans, 1996, various world lengths, 5,000 to 500

“Fine Art,”,The Cambridge Encyclopedia of Australia, Susan Bambrick, ed., Cambridge: Cambridge University Press, 1994, 303-309

“The Genius of Black Art,”,The Best of the Independent Monthly, Frank Devine, ed., Geelong: Deakin University Press, 1992, 183-189

“A Problematic Practice 1970-80”, “From the Desert: Aboriginal Painting Since 1970”, “Postmodern Plurality: the 1980s”, in Bernard Smith with Terry Smith, Australian Painting 1788-1990, Melbourne: Oxford University Press, 1991, 452-556;with Christopher Heathcote, Australian Painting 1788-2000, Fourth edition, 2001

“Discourse and Desire: Foucault on Modernity and Visuality,”,The Rhetorics of History, Roger Benjamin and David Bennett eds., Melbourne: Art Association of Australia, 1990, 25-39

“The Tasks of Translation: Art & Language in Australia and New Zealand 1975-76,”, Now See Hear! Art, language and translation, Greg Burke and Ian Wedde eds., Wellington, N.Z.: Victoria University Press, 1990, 250-261

“Populism and Privilege in Australian Painting,”,in S L Goldberg and F B Smith eds., Australian Cultural History, Australian Academy of the Humanities and Cambridge University Press, Cambridge, 1988, 190-210

“The Visual Arts,”,in D H Borchardt ed., Australians: A Guide to Sources, Sydney: Fairfax, Syme and Weldon, 1987, 412-417

“Modernism Meets Modernity: Great Combusting Conjunctures!”, in E A Grosz et al. (eds), Futur*fall: Excursions into Post-Modernity, Sydney: Power Institute of Fine Arts, 1987, 64-81

“The Local, the National and the International in Australian Art,”.in Kurt Brereton et al., eds, Australian Mythological Sights. Sites. Cities, Sydney: Third Degree, 1986, 158-162

“Critical Possibility Here and Now: The Practicalities of Art Writing Today,”,in Roger Benjamin ed., Practices of Criticism in Australia, Melbourne: Papers of the Art Association of Australia, Vol. 1, 1986, 28-38

“A State of Seeing, Unsighted…; Notes on the Visual in Nazi War Culture,”,in Paul Patton and Ross Poole eds., War/Masculinity, Intervention, Sydney 1985, 11-25; also in Block, 12, Winter 1986-87, 50-70

“The Situation Now,”,1971, and “The Provincialism Problem,”,1974, in Paul Taylor ed., Anything Goes: Art in Australia 1970-1980, Melbourne, Art & Text, 1984

“Convicts and Capital: The Absent Imagery of the Convict Era,”,in Capital Essays, Drew Cottle, ed., General Studies Dept. University of NSW, 1984, 63-76

“The Divided Meaning of Shearing the Rams; Artists and Nationalism 1888-1891,”,in Australian Art and Architecture: Essays Presented to Bernard Smith, edited with Anthony Bradley, Oxford University Press, Melbourne 1980, 263 pages, 93-123