“On Okwui Enwezor (1963-2019),” Critical Inquiry blog post, October 7, 2019 at

“Деконструктивные государства и состояние современности (Deconstructive States in the Contemporary Condition,” online journal (September 2019), at

“Nostalgia Redux: The Field Revisited,” Australia and New Zealand Journal of Art, vol. 19, no. 1    (2019): 127-132,  at

“Philosophy in the Artworld: Some Recent Theories of Contemporary Art,” Philosophies, vol, 4, no. 3 (2019) at

Review of Caroline A. Jones, The Global Work of Art: World’s Fairs, Biennials and the Aesthetics of Experience(Chicago: University of Chicago Press, 2016); Charles Green and Anthony Gardner, Biennials, Triennials, and Documentas: The Exhibitions That Created Contemporary Art (London: Wiley, 2016), Art Journal, vol. 77, no. 3 (Fall 2018): 113-116.

“Small Steps, Larger Journey: Sydney Biennales in the 1970s and 1980s,” Art Monthly Australasia, no. 305 (March 2018): 22-30

“Forum: Boris Groys, In the Flow,” edited by Francesco Campana, Lebenswelt, no. 11 (2017), 1-45, my contribution 8-13.

“Mapping the Contexts of Curating: The Visual Arts Exhibitionary Complex,” Journal of Curatorial Studies, vol. 6, no. 2 (2017): 170-180.

“The Provincialism Problem: Then and Now,” ARTMargins, vol. 6, no. 1 (2017): 6-32.

“Art, Anthropology, and Anxiety,” HAU: Journal of Ethnographic Theory, vol. 6, no. 1 (2016): 390-399; special issue “On the anthropology of the contemporary,” edited by James Faubion, and devoted to the work of Paul Rabinow.

“Infrastructural Activism,” NAVA online newsletter, National Association of the Visual Arts (Australia), posted October 17, 2016 at

“Cézanne: Figuring Truth in Painting,” boundary2, vol. 43, no. 4 (November 2016): 71-125.

“Infrastructural Activism,” NAVA online newsletter, National Association of the Visual Arts (Australia), posted October 17, 2016 at

“After Institutional Critique: Curating as Discursive Practice,” Broadsheet Journal, vol. 45, no. 1 (2016): 6-10.

“Time and the Composition: Creativity in Modern and Contemporary Works of Art,” in Peng Feng ed., International Yearbook of Aesthetics, vol. 16, no. 2 (2012): 160-183, delayed publication; reprint of the essay in Kerry Thomas and Janet Chan eds., Handbook of Research on Creativity (Cheltenham, UK and Northampton, MA, USA: Edward Elgar Publishing, 2013).

“Allan Sekula 1951-2014,” Critical Inquiry, posted April 15, 2014; print version, vol. 41, no. 2 (Winter 2015): 499-502.

“Rethinking Modernism and Modernity Now”, in Ales Erjavec and Tyrus Miller, Modernism Revisited, special issue Filozofski Vestnik vol. XXXV, no. 2 (2014): 271-319, at

“Contemporary Art,” Oxford Bibliographies Online. Annotated bibliography January  2014.

“Martha Rosler: The Bowery in Two Inadequate Descriptive Systems, by Steve Edwards,” review article for History of Photography, vol. 38, issue 2 (May 2014):

“Contemporary Art and Contemporaneity: Reflections on Method, Review of Reviews (Part 1: Contest of the Faculties; or, Comedy of the Disciplines,” Discipline, no. 3 (Winter 2013): 191-200

“Museum futures: Some speculations,” Art & Australia, vol. 50, no. 4 (Autumn 2013): 545-7

“Worlds Pictured in Contemporary Art: Planes and Connectivities,” in Caroline Turner, Michelle Antoinette and Zara Stanhope eds., The World and World-Making in Art, special issue of the Humanities Research Journal, vol. XIX, no. 2 (July 2013),11-25.

“Proposal for a Museum: Terry Smith, “You can be a museum, or contemporary…” posted Feb. 5, 2013, at Open Space,

“Ways of World-Exhibiting,” The Exhibitionist, Vol. 7 (December 2012): 31-37.

“Meyer Schapiro on style in art and science: Notes from a Theory and Methods of Art History graduate seminar lecture course, Columbia University, New York, 1973,” Journal of Art Historiography, #7 (December 2012) (transcripts with brief introduction)  at  or 7-TS/1

“If Looks Could Kill Empires,” review of Nicholas Mirzoeff, The Right to Look: A Counterhistory of Visuality (Durham, NC: Duke University Press, 2011),”Public Books, website of Public Culture, posted July 18, 2012

“Biennials and Infrastructural Shift, Part 1,” ArtAsiaPacific, no. 79 (July/August, 2012):

“Biennials and Infrastructural Shift, Part 2,” ArtAsiaPacific, no. 79 (Sept/Oct, 2012): 56-57

“Summary of Contemporary Art: Worldwide Trend, Contemporary Art in Change: From Late Modern Art to the Present (Part I),” Fine Arts Literature, vol. 77, no. 3 (2012), 104-6, Chinese, transl. Jing Yuan Huang.

“Summary of Contemporary Art: Worldwide Trend, Contemporary Art in Change: From Late Modern Art to the Present (Part II),” Fine Arts Literature, vol. 77, no. 4 (2012), 106-7, Chinese, transl. Ouyang Xiao.

“Experimentality: Theories and Practices,” Studies in Material Thinking, volume 08 (2011), issue on Experimental Arts edited by Jill Bennett, posted May 2012 at

“Art and Entertainment Forum: Mark Pennings talks to Johanna Drucker, Jeff Gibson, Boris Groys, Hou Hanru, Dorothea von Hantelmann, Carsten Holler, Ana Prvacki, Terry Smith, and Julian Stallabrass,” Australia and New Zealand Journal of Art, vol. 11 (2011): 67-79.

“Beyond Globalization: Contemporary Culture and the Arts,” NAVA Quarterly, vol. 11, no. 4 (December 2011): 4-5, issue on Arts Policy

“Currents of World-Making in Contemporary Art,” World Art, vol. 1, number 2 (2011): 20-36

“One and Three Ideas: Conceptualism Before, During and After Conceptual Art,” e-flux journal, #29 (11/2011), at

“William Kentridge’s Activist Uncertainty: During and After Apartheid,” Nka: Journal of African Art, no. 28 (Spring 2011): 46-55.

“Reviews: El Anatsui, When I Last Wrote to You About Africa,” Nka: Journal of African Art, no. 28 (Spring 2011): 142-5.

“Contemporaneity in the History of Art: A Clark Workshop 2009, Summary of the papers and discussions,” Contemporaneity: Historical Presence in the History of Art, no. 1 (June 2011),  3-34.

“The Art of Dissent: Ai Weiwei”, The Monthly, June 2011.

‘Inside out, outside in: changing perspectives in Australian art historiography’, Journal of Art Historiography, no.4 (June 2011)  4-TS/1

“The State of Art History: Contemporary Art,” Art Bulletin, vol. XCII, no.4 (December 2010): 366-383.

“Dark Nights, Antinomic Frictions: The Contemporary Art Question,” in Reuben Keehan ed., Column 5 (Sydney: Artspace, 2010), 125-133.

“‘What is Contemporary Art?’ Rex Butler and Terry Smith in conversation,” in Reuben Keehan ed., Column 5 (Sydney: Artspace, 2010), 134-144.

Shanghai Culture, #74 (Autumn 2009): 210-232: Chinese translation of “Contemporary Art and Contemporaneity,” Critical Inquiry, vol. 32, no. 4 (Summer 2006), 681-707. Reprinted 2008 in Documenta 12 Magazines Online at;

“A Questionnaire on ‘The Contemporary’: 32 Responses,” October, #130 (Fall 2009): 46-54. At

In Chinese (translated by Li Jie) as “Dark Nights, Antinomic Frictions: The Time of the Antinomies,” Art Map # 25 (July 2009): 69-77.

“David Carrier A World Art History and Its Objects University Park: Pennsylvania State University Press, 2008,” Caareviews, posted October 22, 2009 at

“Clement Greenberg at 100: Looking Back to Modern Art. Sackler Museum, Harvard University. April 3–4, 2009,” caareviews, posted July 14, 2009 at

Review of Ann Stephen, Andrew McNamara, Philip Goad eds., Modernism & Australia: Documents on Art, Design and Architecture 1917-1967, for MODERNISM/Modernity, vol. 15, no. 2 (2008): 393-6.

Review of Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, Mass.: MIT Press, 2006), Visual Resources: An International Journal of Documentation, XXIV, no. 4 (December 2008): 419-423.

“The World, from Europe: The Mega-Exhibitions of mid-2007,” X-Tra, vol. 10, no. 3 (Spring 2008): 4-19. See

“Pour une histoire de l’art contemporain (Prolégomènes tardifs et conjecturaux),” 20:21 Siècles, no. 5-6 (Automne, 2007): 191-215, special issue edited by Richard Leeman.

“5th Asia-Pacific Triennial of Contemporary Art,” Australian & New Zealand Journal of Art, vol. 8, no. 1 (2007): 132-7.

“The Architecture of Aftermath: Iconomy and Contemporaneity,” Bulletin of The Institute of Humanity, Human and Social Sciences (Ritsumeikan University, Kyoto), No. 89, February 2007.

“Daniel Among the Philosophers: The Jewish Museum Berlin and Architecture After Auschwitz,” Architectural Theory Review, vol. 10, no. 1 (2005): 105-125.

“Contemporary Art and Contemporaneity,” Critical Inquiry, vol. 32, no. 4 (Summer 2006): 681-707. See also Documenta 12 Magazines Online

“World Picturing in Contemporary Art; Iconogeographic Turning,” Australian and New Zealand Journal of Art, vol. 6, no. 2 (2005) and vol.7, no. 1 (2006): 24-46.

“Primacy, Currency, Convergence: Marketing Contemporary Art in the Conditions of Contemporaneity,” Art Papers,April/May 2005, at

“Biennales in the Conditions of Contemporaneity,” Art and Australia 42:3 (March 2005): 406-415

“Making Manhattan Modern, But Not Contemporary, Again,”CAAReviews, Essay online posted February 2005

“Thinking Wishfully; The 8th Havana Biennale Cuba,”Nka journal of Contemporary African Art, 19 (Summer 2004):64-69.

“Architektur als Ziel,: Trauma und Erhabenes unter den Bedingungender Gleichzeitkeit,” Lettré internationale,66, Spring 2004, 34-42

“Difference and Reconciliation: Art Writing in the Clash betweenCultures,” Haus de Kulturen der Welt, Berlin, 2003,

Interview with Samuel Weber, “The Theatre of the Image: Kierkegaard, Artaud and Pollock,” Stanford Humanities Program: Writing Science, posted 2003

“The Dialectics of Disappearance: Architectural Iconotypes Between Clashing Cultures,” Critical Quarterly, vol.45, nos. 1-2, 2003, 33-51

“The Political Economy of Iconotypes and the Architecture of Destination: Uluru, the Sydney Opera House and the World Trade Center,” Architecture Theory Review, vol. 7, no.2,2002, 1-44.

“Erwin Panofsky, Three Essays on Style (MIT Press, 1995) and Perspective as Symbolic Form (Zone Books, 1997),” Thesis Eleven, #66, May 2001, 131-138.

“Public Art Between Cultures: The Aboriginal Memorial,”Critical Inquiry, Summer 2001, 629-661

“Growing Structures in an Age of Scarcity,” Like,Art Magazine, no.10, Summer 1999, 26-29

“The Machine in the Studio: Constructing the Postwar American Artist by Caroline A. Jones, Chicago: University of Chicago Press,1996,” Technology and Culture, vol.40, October 1999,906-908

“Between Regionality and Regionalism: Middleground or Limboland?”,Periphery, nos. 40 and 41, Spring 1999-Summer 2000, 3-8

“Kandinsky and the Russian Avant-Garde,” Art and Australia, vol.34, no.2, Summer 1996, 172-173

“Modernism, Modernity and Otherness,” Australian Journal of Art, XIII, 1996, 145-166 (Franz Philipp Memorial Lecture 1994)

“All Things Opposite: Women and Australian Art.” Art and Australia, vol.33, no 4. Winter 1996, 479-480

“The Optical Unconscious. Rosalind E. Krauss. Cambridge, Mass.:MIT Press, 1993,” MODERNISM/modernity, vol.2 no.1,Jan. 1995, 193-6

“Rethinking Regionalism: Art in the Northern Territory,”Art and Australia, 31:4, Winter 1994, 469-471

“Selling Science by Story-Telling,” Metascience,new series #4, 1993, 99-101 (review of Martha Banta, Taylored Lives, University of Chicago Press, 1993)

“Smith on Smith on Counihan,” Art and Australia,vol.31 no.2, Summer 1993, 182-3 (review of Bernard Smith, Noel Counihan:Artist and Revolutionary, Melbourne, Oxford University Press, 1993)

“Live Art’s Effects and Defects,”in Richard Walsh,ed., Ferretabilia, The Life and Times of the Nation Review,Brisbane, University of Queensland Press, 1993, 125-6 (from Nation Review, June 17, 1972)

“Ian Burn,” Periphery, 17, November 1993, 6

“Second Person/First Peoples: Writing About Post-Colonial Art,” Art Monthly, 64, October 1993, 8-11

“On, Around and Through the Boundaries: The Ninth Biennale of Sydney Symposium,” Part I, Periphery, 15, May1993, 3-5, Part II, 16 August 1993, 3-5

“Tony McGillick,” Art and Australia, vol.30no.4, Winter 1993, 476

“The Boundary Rider at the 9th Biennale: Border Guard or Bricoleur?”24 Hours, Dec. 1992, 40-43

“Out from Under: An Australian View of American Art,”Meanjin, 4, Summer, 1992, 865-876

“Nothing If Not Abnormal,” The Independent Monthly,April 1992, 28-29.

“Coldly Objective and Fiercely Personal: Documentary Photographers and History in America,” Archives of American Art Journal,Vol.31, No.2, 1991, 21-30 (review of Trachtenberg, Reading American Photographs, Stange, Symbols of Ideal Life, Fleischhauer and Brannan,Documenting America).

“Profits of Art,” Art Monthly Australia, 36,Nov 1990, 28-29, and 37, Dec. 1990-Jan, 1991, 24-25 (Parts 1 and2 of review of Frey and Pommerehne, Muses and Markets)

“Aboriginality: Contemporary Aboriginal Paintings & Prints by Jennifer Isaacs,” Australian Journal of Anthropology,Vol.1, No.1, 1990, 63-65.

“Fifth Column,” The Age Monthly Review, Vol.10,No.2, June 1990, 12-13

“Dealers versus auctions at the New York Armory,” Art Monthly Australia, 31, June 1990, 30-31

“Australian Art: Obstacles and Other Obsessions,” Australian Studies, 13, Apr 1990, 77-84

“Eighth Biennale of Sydney: The Return of the Readymade,”Gallery (National Gallery of Victoria), Mar 1990, 16-17

“Aboriginal Art: Its Genius Explained,” The Independent Monthly, Sept. 1989, 18-19

“The New Art Syllabus in its Educational Context,” Papers:Occasional Seminars on Art Education, Sydney: City Art Institute,1989, 38-40

“The Imagery of Sexual Identity in Recent Australian Art:(What) Lies Beyond Inference?” Artlink, Vol 8, No4, Dec 1988, 29-32

“For Criticism: A Reply,” Art Monthly, Australia and International, 17, Dec 1988, 7-9

“Provincialism Refigured,” Art Monthly, Australia and International, 13, August 1988, 4-6 (Australian Bicentennial Biennale Forum Paper, AGNSW, May 1988)

“Art Criticism in Australia: the Mid-1970s Moment,”Agenda, 2, August 1988, special supplement “Art Papers:the present and recent past of Australian art and criticism”,ed. Robyn McKenzie, 12-13

“Interpreting the New Art Syllabus,” Art in Education,13, July 1988, 4-5 (Journal of the Art Education Society of NSW)

“The Achievement of Diego Rivera,” Art Monthly,Nov. 1987; also in Art Monthly, Australia and International,7, Dec. 1987, 5-7

“Black Swan in the City … Detroit, First Week of August1986,” Detroit Arts Quarterly, March 1987; also inArt & Text, 25, June/Aug 1987, 2-19

“Chasing the Symbol of a Mangy Sheep,” Artlink,7, Mar/Apr 1987, 31-32 (review of Fuller, The Antipodean Scapegoat)

Preface to Anthony Bradley (ed), Contemporary Art: A Bibliography of Publications by Members of the Power Institute, Sydney:Power Institute Occasional Paper No 3, June 1986

“Re-presenting Work,” Afterimage, Sept 1986,8-9

Guest Editor, “Current Australian Photography: Critical Practice,”Afterimage, Sept 1986, 4-9

“Landscape with Feeling,” Age Monthly Review,2 parts, July 1986, 14-15 August 1986, 21-23

“The Most Australian of Our Artists: Tom Roberts, Impressionism and Cultural Construction,” Age Monthly Review, Feb1986, 16-20

(with George Munster et al.), “Special Symposium: Australian Intellectuals and the Left,” Thesis Eleven, No 10/11,Nov/ Mar 1984-85, 145-165

“Art and Social Commitment: Madness and Meaning in the 1940s,”Meanjin, Vol 44, No 2, June 1985, 178-187

“Photopop – Painting with Photography,” Photofile,Vol 3, No 2, Winter 1985, 16-17

“Photography for and against the Grain: Leslie Sheddon and Allan Sekula,” Afterimage, 13, Summer 1985, 16-19

“Unique Power of Art in Thirties and Forties,” National Times, 12-18 October 1984, 39 (review of Merewether Art and Social Commitment)

“The Visual Arts Board: From a ‘Ministry of Mediocrity’ to ‘Rational Reform’?” Art Network, 14,Summer 1984, 22-27 (Part 1); 16, Winter 1985, 38-40 (Part 2); 17,Spring 1985, 40-42 (Part 3)

“The Field Then and The Field Now – A Fragment,” Stuff,Dec. 1984, n.p.

“Photographic Practice in the Trade Union Movement – A Report,”Photofile, 2, Winter 1984, 7

“This Fertile Moment: Russian Revolutionary Art,” Age Monthly Review, 3, Feb 1984, 13-15; reprinted Art Monthly,Feb. 1984

“Mining Photographs and the Social Theory of Pictures,”Photofile, Vol.2, No.1, Autumn 1984, 9-11

“Populism and Privilege in Australian Painting,” Australian Cultural History, 3, 1984, 38-48

“Nationalism and Culture: Let’s Dance,” Anzart,Hobart, 1983, supplement to Island Magazine, 16, Spring1983, 26-29

“Notes on Art Criticism Now,” Art Network,10, Winter 1983, 40-41

“Marginality and Modernity: The Case of Frida Kahlo,”Lip, 8, 1984, 39-59

“Further Thoughts on Frida Kahlo,” Block, 9,1983, 34-7

“From the Margins; The Case of Frida Kahlo,” Block,8, London, 1983, 11-23

Guest Editor, Art in Education, special issue “Living with Change; Syllabus Revision and the Art Class,”8, June1983; includes “Introduction,” 3-5, and “Why Change the Art Syllabus?” op..cit., 6-8, 1980

“Writing the History of Australian Art: Its Past, Present and Possible Future,” Australian Journal of Art,3, 1983, 10-29

“Teaching Art History: a tutorial on Arthur Streeton’s Still Glides the Stream …”, Art Education Society of NSW,Creativity in Art Education Conference Papers, 1982, 29-41

“Against the Grain: New Audiences and Changing Strategies in Australian Art,” Australian Art Review, 1, ed Leon Paroissien, Warner: Sydney, 1982, 128-133

“Pictured Protest: Art Against the Nuclear Nightmare,”Blacksmith, 1, Spring 1982,.14-24; reprinted Challenge,Dec 1982, 6-7

“Art, Social Context and Validation,” Art Monthly,June 1982; reprinted Art Network, 7, Spring 1982, 41-3

“Dirt Cheap: Film as Resistance,” Fuse, Vol.6,Nos.1/2, May-June 1982, 59-60

“A Science of Seeing,” The Age Monthly Review,Vol 1, No 10, March 1982, 7-8

“Kenneth Coutts-Smith,” Art Network, 5, Summer/Autumn1982, 70

“Art Through A Glass,” Overland, 86, Dec. 1981,60-62 (Review of Haese, Rebels and Precursors)

“Modernism and Visibility: the Power of Architecture,”Transition, Vol 2, Nos. 3/4, Sept/Dec 1981, 16-22

“Modernism Revived; Realism Reduced,” Australian New Left Review, 77, Sept 1981, 41-9 (Review of McQueen, Black Swan of Tresspass)

“Publishing and Funding Photography; Some Proposals,”Photo-Discourse, Sydney College of the Arts, 1981

“Design and Revolution: Paris-Moscow 1900-1930,” Transition,Vol 2, No 2, June 1981, 32-6

“A New Spirit in Painting? The Royal Academy Meets Modern Art,” Art Network, Nos 3/4, Winter/Spring 1981, 14-15

“Modernism and Realism: Some Orientations,” Art& Text, No 2, Winter 1981, 33-38

“Angry Artists Turn to Unionism,” National Times,Dec. 21-27, 1980, 29

“Uranium: It’s not the end,”, Nation Review,Aug. 1980, 70 (review of the film by David Hay Dirt Cheap)

“Why Change the Art Syllabus?” Art in Action Conference Papers, Art Education Society of NSW, August 1980, n.p.

(with Helen Grace, Charles Merewether and Toni Schofield) “Mods and Docos: Notes on Critical Practices in Photography,” Australian Photography Conference Papers, Working Papers on Photography,Melbourne 1980, 36-48

“Photography and Politics: The English Situation,” ArtNetwork, 2, Spring 1980, 65-66 (with John Storey) “Two Other Sesquis: The Royal Easter Show and May Day 1938,” Australia 1938, Bulletin No.1,Feb 1980, 48-65

“Photography/Politics: One,” Camerawork, 17,Jan-Feb 1980, 6; reprinted in Working Papers on Photography,No 6, July 1980, 15-18, and in Fuse, vol 1, Dec 1980-Jan1981, 42-3

“Pictured History: the Matchgirls’ Strike 1888,”Camerawork, 17, Jan-Feb 1980, 7-10

“Biennale Notes,” Chimera, 5, 1979, np.

“Progress in Art by Suzi Gablik,” Art and Australia,Vol.15, No.2. Dec. 1977, 147-8

“Daily Ideology,” Hasard, Aug 1977; also in Manifestos, Statements and Other Follies, 6, Apr/June 1977

“(Provisional) Art & Languagein A. Stephen and C. Merewether, eds., The Great Divide, Melbourne, 1977, 48-53, reprinted Left Curve, 7,1978, pp 68-72

“Modern Painting and the Northern Romantic Tradition,”Studio International, Vol 193, No 985, Jan-Feb 1977, 73-77 (with Ian Burn and Nigel Lendon) “Why is Australia a World of Absolute Silence?” in A. Stephen and C. Merewether eds,The Great Divide, Melbourne, 1977, 5-19

“Art & Language,” Spleen, 6, Dec 1976

“Cur, Piggy and the Prefect” and “Notes of a New Journalist,” Honi Soit, Aug 31, 1976

“Rambling: A Few Stories about Modern Masters, Art & Language,& sitting-in at the National Gallery of Victoria,” Magic Sam, 2, 1976, np

“It’s Still Privileged Art: New York Notes,”Meanjin, Vol 35, No 1, Jan-Feb 1976, 23-33; reprinted The Feral Gazette, Vol 5, No 6, Sept 1976

“Without Revolutionary Theory…” Studio International,Vol.91, No.980, Mar/Apr 1976, 134-136; reprinted C.A.S.,Vol 2, No 5, 1976

“Two Instances of Cultural Compartmentalisation,” DataArte, 15, Nov-Dec 1975, 76-77

“Doing Art History,” The Fox, 2, 1975, 97-104

“Fighting Modern Masters,” The Fox, 2, 1975,15-22

“Two Conservative Reflexes,” The Art Almanac,June-Sept. 1975, 32-39

“Official Culture and the Visual Arts Board,” Meanjin,Vol 34, No 2, June 1975, 121-28

“British Painting and American Painting: Some Issues,”Studio International, Vol 188, No 972, Dec 1974, 218-223

“The Provincialism Problem,” Artforum, XIII,No 1, Sept 1974, 54-9; reprinted in Malasartes (Rio deJaniero) No 1, Oct-Nov 1975

“Art and Art & Language,” Artforum, XII, No 6, Feb.1974, 49-52

“The Eventstructure Research Group in Australia,” Studio International, Vol 184, No 948, Oct 1972, 149-50

“A Portrait of the Artist in Patrick White’s The Vivisector,”Meanjin Quarterly, Vol 31, No 2, June 1972, 167-77

“Two Young Australian Sculptors: Tony Coleing and Nigel Lendon,”Art International, XVI/3, 20 March 1972, 54-7

“Provincialism in Art,” Quadrant, 70, March-April 1971,67-71

“Art and Revolution,” Arena, 25, March 1971, 77-86 (review of John Berger, Art and Revolution)

“Two Paintings by Richard Smith,”Circa 70, March 1971,60-8

“The Paintings of Gunter Christmann,” Art International,XV/3, 20 March 1971, 22-5

“Dearth in Venice: XXXV Biennale,” Other Voices, Vol1, No 3, Oct-Dec 1970, 30-5

“The Painting of David Aspden,” Art International, XIV/8,20 October 1970, 50-3 and 79

“Interview: Colin Lanceley” (with Noel Hutchison and Tony McGillick), Other Voices, Vol 1, No 2, Aug-Sept 1970, 36-41

“Discussion: Anthony Burgess” (with Paul McGillick etal.), Other Voices, June-July 1970, 18-23

“Color-form Painting: Sydney 1967-70,”Other Voices,Vol 1, No 1, June-July 1970, 6-17

“The Responsive Eye,” The Critic, Vol 10, No 5, Jan9, 1970, 44-6

“First Thoughts on a ‘Style of the ‘Sixties’ in Recent Sydney Painting,” Uphill, 1, Sept. 1969, n.p.

“Dick Watkins, Tony McGillick, a selection of work 1962-67,”Honi Soit, June 12, 1969, 8-9

“The ‘Style of the Sixties’,” Quadrant,58, March-April 1969, 49-53

“What is Art?” Honi Soit, June 12, 1968, n.p.

“The Union Art Collection,” Union Recorder, March 14,1968, 26-7