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Bibliography


Monographs and solo exhibition catalogues

  • Burton, Johanna, Tom Eccles and Giorgio Verzotti, Once again the world is flat. (CCS Bard Hessel Museum of Art, Annadale-on-Hudson 2013)
  • Steinbach, Haim, Object (Three Star Books, Paris 2009)
  • Schloen, Anne, Haim Steinbach (Künstler: Kritisches Lexikon der Gegenwartskunst, Quartal 2009, No.87/3), p.70
  • Estep, Jan, Haim Steinbach: Percussion (Akira Ikeda Gallery, Berlin 2006); texts by Jan Estep, Takuma Kanaiwa, Haim Steinbach, Akira Ikeda Gallery “Taura” and Japan & Berlin
  • Steinbach, Haim, ∞ NON (Edizioni Charta, Milano 2003)
  • Steinbach, Haim, Or (Fama & Fortune, Vienna 2003)
  • Steinbach, Haim, NON (One Star Press, France 2002)
  • Archibugi, Francesca, Giacinto di Pietrantonio, Dimitris Kozaris, Marco Senaldi and Angela Vettese, Haim Steinbach (Edizioni Charta, Fondazione Antonio Ratti, Milano 2000)
  • Rosenthal, Stephanie, Alexander Tolnay, Valentin Rauer and Bruce Ferguson, Haim Steinbach: North East South West (Haus der Kunst, Munich, Hatje Cantz Verlag, Ostfildern-Ruit, Germany 2000)
  • Badovinac, Zdenka, Haim Steinbach: Untitled (3 tents)(Moderna galerija Ljubljana, Slovenia 1999)
  • Mancini, Franca, Paolo Fabbri, Renato Barilli and Achille Bonito Oliva, Haim Steinbach: Rossini at 4:00 a.m. (Galleria di Franca Mancini, Pesaro, Italy 1998); texts by various authors
  • Badura-Triska, Eva, Bruce Ferguson and Michel Gauthier, Haim Steinbach (Museum Moderner Kunst Stiftung Ludwig, Vienna 1997); texts by various authors
  • Ferguson, Bruce, Shirley Madill and Loretta Yarlow, Haim Steinbach (Art Gallery of York University, Toronto and the Winnipeg Art Gallery, Winnipeg 1996)
  • Decter, Joshua, Jean Pierre Dubost, Martin Prinzhorn and Trevor Smith, Haim Steinbach (Ritter Verlag, Klagenfurt, Austria 1995); texts by various authors
  • Gianelli, Ida, Haim Steinbach (Castello di Rivoli, Edizioni Charta, Milan 1995); texts by Ida Gianelli, Mario Perniola, Lynn Tillman, Giorgio Verzotti
  • Steinbach, Haim, no rocks allowed (Witte de With Center for Contemporary Art, Rotterdam 1992)
  • Steinbach, Haim and Joël Benzakin, Avant l989 (Fonds régional d'art contemporain Rhône-Alpes, Villa Gillet, 1989)
  • Celant, Germano, Jean-Louis Froment, Elisabeth Lebovici, John Miller and Haim Steinbach, Haim Steinbach: Recent Works (Musee d’Art Contemporain de Bordeaux (CAPC), 1988)


General publications and group exhibition catalogues

  • Diehr, Ursula, Holger Steinemann and April Lamm, Art Basel, Unlimited (Hatje Cantz Verlag, Germany 2015)
  • Messmer, Carmen, Stuffed , Stuffed-Stofftiere in der installativen Kunst (Reimer, Berlin 2015)
  • Archer, Michael, Art Since 1960 (Thames and Hudson, London 2015)
  • Perrett, Tamsin (ed.), Frieze Art Fair: London 2014 (Frieze, London 2014)
  • Girault, Lisa (ed.), Stars+Stripes: American Art of the 21st Century from the Goldberg Collection (Bathurst Regional Art Gallery, Australia 2014); texts by Richard Perram, Michael Rolfe and Dr Oliver Watts 
  • Reinventing the Wheel: The Readymade Century (Monash University Museum of Art, Australia 2013)
  • Haim Steinbach, (Charta, Milan 2000); tests by Haim Steinbach, Francesca Archibugi, Giacinto Di Pietrantonio, Dimitris Kozaris, Marco Senaldi and Angela Vettese
  • Holt, Stephanie (ed.), Hany Armanious: The Golden Thread (Finsbury Green 2011), p.35
  • Herford, Marta (ed.), Things are Queer. Highlights of Art Collection UniCredit (Kerber Verlag 2011), p.52-3
  • Pruitt, Rob, Pop touched me: the art of Rob Pruitt (Abrams 2011), p.130
  • Garbini, Adrienne, The Object with Haim Steinbach (What Nothing Press, Brooklyn, New York 2011)
  • Viéville, Dominique, Aline Magnien and Pierre Buraglio, L’Invention de l’oeuvre. Rodin et les ambassadeurs, (Musée Rodin, Paris 2011); texts by various authors, p.167
  • Ileana Sonnabend: Un Ritratto Italiano, (The Solomon R. Guggenheim Foundation 2011), p.35
  • Collection Vanmoerkerke (Rispoli 2011), pp.242-245
  • Petry, Michael, The Art of Not Making: The New Artist/Artisan Relationship (Thames & Hudson 2011) p.156
  • Rondeau, James, Contemporary Collecting: The Donna and Howard Stone Collection (Art Institute of Chicago 2010)
  • Baldacci, Cristina and Clarissa Ricca, Quando è scultura (et al., Milano 2010)
  • Charlier, Jacques, 100 Sexes d’Artistes (Ministère de la communauté français, press kit, Brussels 2009)
  • Bonham-Carter, Charlotte and David Hodge, The Contemporary Art Book (Goodman, Carlton Books 2009), p.221
  • Adriani, Götz and Peter Weibel, Just what is it… (Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM), Hatje Cantz Verlag, Ostfildern-Ruit, Germany 2009), p.296
  • Thomas, Elizabeth, Matrix/Berkeley: A Changing Exhibition of Contemporary Art (The University of California, Berkeley Art Museum, Pacific Film Archive 2009), pp.466-475
  • Adajania, Nancy, Negar Azimi and Sarina Basta, Vitamin 3-D: New Perspectives in Sculpture and Installation, (Phaidon Press 2009); texts by various authors, p.11
  • Keegan, Matt, Americamerica, (Printed Matter, New York 2008), p.43
  • Celant, Germano, The American Tornado: Art in Power 1949-2008 (Skira 2008), pp.371-384
  • Heartney, Eleaor, Art & Today (Phaidon Press London and New York 2008), p.44
  • Ceuleers, Jan and Focillion, Henri, Artists’ Handbook (S.M.A.K., Ludion, Ghent, Belgium 2008)
  • Gauthier, Michel and Claude Closky, Claude Closky 8002-9891 (Editions du MAC / Val Musee d’ Art contemporain du Val-de-Marne 2008), pp. 91-92
  • Poli, Fraancesco, Martina Corgnati, Giorgina Bertolino, Elana Del Drago, Francesco Bernardelli and Francesco Bonami, Contemporanea: Arte dal 1950 a ogg (Mondadori Arte 2008), p.623
  • Yee, Lydia and Francesco Manacorda, Martian Encyclopaedia of Terrestrial Life Volume VIII (Merrell, 2008)
  • Aupetitallot, Yves, Espèces D’espace: The Eighties: First Part (Le Magasin, Grenoble 2008); texts by Yves Aupetitallot, Hal Foster, Maria Garzia, Ludger Gerdes, Dan Graham, Félix Guattari, Fredric Jameson, Lucy Lippard, Alan Moore, Paolo Portoghesi and Sally Webster, pp.114, 115 and 119
  • Manacorda, Francesco, Lydi Yee, and Tom McCarthy, Martian Museum of Terrestrial Art (Barbican Art Gallery 2008), pp.108 and 221
  • Stokes, Kerry and John Stringer, Peep: Glimpses of the Last 4 Decades from the Kerry Stokes Collection (Australian Capital Equity Pty. 2008), p.41
  • Armleder, John, Reality Bag (PUMA Urban Mobility, the Serpentine Gallery and Glamour Engineering 2008)
  • Lütticken, Sven, The Art of Iconoclasm: The Return of Religion and Other Myths Handbook (basis voor actuele kunst (BAK), Utrecht, Netherlands 2008), p.60
  • Rosenberg, Aura, Who Am I? What Am I? Where Am I? (Hatje Cantz Verlag, Ostfildern-Ruit, Germany 2008), pp.102-103 and 167
  • Scholz-Strasser, Inge, Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna (Sermet Cifter Salonu, Yapi Kredi: Kultur Sanat Yayincilik, Vienna 2007), p.79 and 53
  • Living in the Material World: ‘Things’ in Art of the 20th Century and Beyond (National Art Center, Tokyo 2007), pp.233, 289, 354, 360 and 388
  • Wiehager, Renate, Minimalism and After (DaimlerChrysler Collection 2007), p.62, 117, and 480-481
  • Maubant, Jean Louis, Une galerie dans ville: Roger Pailhas (Presses du réel, ARCA 2007)
  • Collins, Judith, Sculpture Today (Phaidon Press 2007), p.102
  • Cloudman, Ruth H., The Speed Art Museum: Highlights from the Collection (Merrell Publishers Limited 2007), p.208
  • Smith, Trevor, Unmonumental: The Object in the 21st Centry, ‘Sculpture: a minor place’ (New Museum of Contemporary Art, New York 2007), p.184 and 187
  • Scholz-Strasser, Inge, The Contemporary Art Collection of the Sigmund Freud Museum, Vienna in Moscow (Stella Kay, Moscow 2007); texts by Stella Kay, Boris Manner, Peter Pakesch, Susan Schwarz, and Inge Scholz-Strasser, pp.28-29
  • Flint, Lucy (ed.), Branded and On Display (Krannert Art Museum and Kinkead Pavilian, University of Illinois at Urbana-Champaign, Illinois 2006), p.26
  • Contemporary Sculpture (Zwirner & Wirth, Transcontinental Litho Acme, Montreal 2006), p.6, 55 and 56
  • Scholz-Strasser, Inge and Peter Pakesch, Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna (Austrian Cultural Forum, New York 2006), pp.30- 31
  • Staple, Polly and Gronlund, Melissa (ed.) Frieze Projects: Artists’ Commissions and Talks 2003-2005 (Frieze 2006), pp.124-135 and 318
  • Hirst, Damien and Hans-Ulrich Obrist, In the Darkest Hour, There May Be Light: works from Damien Hirst's murderme collection (Serpentine Gallery, London 2006)
  • Lemoine, Serge L’Art Moderne et Contemporain (Larousse 2006), pp.286-287
  • Masterpieces (Musée d’art contemporain de Bordeaux (CAPC) 2006), pp.138-141 and 236
  • Shanes, Eric, The Pop Art Tradition: Responding to Mass-Culture (Parkstone Press International, New York 2006), p.231
  • O. Janovy, Karon, Sculpture From the Sheldon Memorial Art Gallery (University of Nebraska Press, Lincoln and London 2006), pp.209-211
  • Schwenger, Peter, The Tears of Things: Meloncholy and Physical Objects (University of Minnesota Press 2006), pp.132-39, 144 and 182
  • Ellegood, Anne, The Uncertainty of Objects and Ideas: Recent Sculpture (Hirshhorn Museum, Washington D.C. 2006), p.69
  • Zwanzig Jahre Schirn ‘Twenty Years of the Schirn: In Pictures and Interviews’ (Schirn Kunsthalle Frankfurt 2006), pp.311-312
  • Les Rencontres Rossiniennes 1980-2005: venticinque anni di mostre del Teatro degli Artisti a Pesaro (Galleria di Franca Mancini, Umberto Allemandi & Co, Pesaro, Italy 2005), pp.118-121
  • Gibbons, Joan, Art and Advertising (I.B. Tauris & Co. Ltd., London and New York 2005), pp.68, 70, 77 and 81
  • Busto, Andrea, Chronos – Il tempo nell’arte dall’epoca barocca all’eta contemporanea (CeSac-Centro Sperimentale per le Arti Contemporanee, Il Filatoio, Edizioni Marcovaldo, Caraglio, Italy 2005), pp.342-343
  • Kaiser, Philipp Flashback: Revisiting the Art of the 80’s (Kunstmusem Basel, Museum für Gegenwartskunst, Hatje Cantz Verlag, Ostfildern-Ruit, Germany 2005), pp.39, 54 and 118
  • Collins, Patricia and Richard Milazzo, Hyperframes: Un Discorso Sulla post-Appropriazione in Arte (Campanotto Editore 2005), pp.87, 89, 94, 95, 101 and 124
  • Bangma, Anke Looking, Encountering, Staging (Piet Zwart Institute & authors, Willem De Kooning Academy Publications, Rotterdam, Netherlands 2005), p.87
  • Generations of Art (Fondazione Antonio Ratti, Como, Edizoni Charta, Milano 2005), pp.50-53a nd 126-127
  • Herford, Marta, (my private) Heroes (Kerber Publications 2005), p.71
  • Drucker, Johanna Sweet Dreams: Contemporary Art and Complicity (University of Chicago Press 2005) pp.67 and 101
  • Foster, Hal, Rosalind Krauss, Yve-Alain Bois and Benjamin Buchloh, Art Since 1900 (Thames & Hudson, Vol.2, UK 2005), pp.600-601
  • Dehò, Valerio and Anne Schloen, Brillant(e) (Kunsthaus Meran, Merano, Italy 2004); texts by various authors, pp.144-145
  • Farrelly, Liz, Brooklyn: New Style (718) (Booth-Clibborn Editions, UK 2004), pp.14-17
  • Lauf, Cornelia, Camera Oscura (Cornelia Lauf Edition, 2004), pp.35
  • Gianelli, Ida (ed.), Castello di Rivoli: 20 Anni d’Arte Contemporanea (Museo d’Arte Contemporanea, Skira Press 2004), pp.238-242
  • Flint-Gohlke, Lucy (ed.), Domestic Archeology: Boston and Beyond (The Rose Art Museum Brandeis University, Massachusettes 2004), pp.8-9
  • Kuspit, Donald, The End of Art (Cambridge University Press 2004), p.83
  • Piranio, Michelle (ed.), East Village USA (New Museum of Contemporary Art, New York 2004), pp.30 and 51-52
  • Olch Richards, Judith (ed.), Inside the Studio: Two Decades of Talks with Artists in New York (Independent Curators International (ICI), New York 2004); interviews with the artists by ICI, pp.70-73
  • Greene, Rachel, Internet Art (Thames and Huson World of Art, London 2004), p.27
  • Riout, Denys, Norbert Hillaire, Yvan Gastaut and Gilbert Perlein, Intra-Muros (MAMAC Nice 2004), pp.208-210.
  • Bonk, Ecke, Peter Gente and Margit Rosen (eds.), Liebesgrüsse aus Odessa für/for/á Peter Weibel (Merve Verlag, Berlin 2004), pp.47-49
  • Deitch, Jeffrey (ed.), Monument to Now: The Dakis Joannou Collection (DESTE Foundation for Contemporary Art 2004), pp.286-387
  • Coetzee, Mark, Not Afraid: Rubell Family Collection (Phaidon Press 2004)
  • Steffen, Barbara, Visions of America (Sammlung Essl Publisher, Vienna, Austria 2004), pp.53, 61, 107 and 109
  • Luckow, Dirk, Accessoire Maximalismus (Kunsthalle zu Kiel der Christian-Albrechts-Universität, Germany 2003); texts by various authors, pp.90-91
  • Joselit, David, American Art Since 1945 (Thames & Hudson World of Art, New York 2003), pp.207-208 and 215
  • Archer, Michael, Art Since 1960; New Edition (Thames & Hudson World of Art, London 2003), pp.166-168, 184 and 186
  • Gianelli, Ida and Marcella Beccaria, The Castle: The Collection (Castello di Rivoli Museum of Contemporary Art, Umberto Allemandi & C., Turin 2003), pp.338-343
  • Köb, Edelbert, Concrete Art: Ein Projekt von Graz (Kulturhauptstadt Europas Organisations GmbH, Kunst Bundeskanzleramt, Graz 2003)
  • Haidu, Rachel, DaimlerChrysler Collection (DaimlerChrysler AG, Berlin 2003); texts by various authors, p.44-45
  • Hoet, Jan (ed.) Grazie (Stiftung Schloss Dyck, Zentrum für Gartenkunst und Landschaftsarchitektur, Jüchen 2003), pp.146-153, 156 and 173
  • Boutin, Christophe, Je Veux (One Star Press, France 2003), p.35
  • Pearlman, Alison, Unpackaging Art of the 1980’s (University of Chicago Press, Chicago 2003)
  • Welchman, John C., Art After Appropriation; Essays on Art in the 1990s (G+B Arts International, Canada 2002), pp.19,39, 42-433, 59 and 228
  • Morris, Simon (ed.), bibliomania 2000/2001 (Simon Morris and individual contributors 2002), pp.507-525
  • Guerra, Carles, Catalogue Raisonné Collection of Contemporary Art Fundación la Caixa (Gràfiques Iberia, Vol. 2, Barcelona 2002); texts by various authors, pp.627-629
  • Malet, Rosa Maria, Lóránd Hegyi and Jose Jiménez, Conceptes de L’Espai (2002), pp.11-15, 64 and 115-116
  • Stainback, Charles Ashley and Rachl Haidu, From Pop to Now (D.A.P. 2002), p.134-135
  • Amsellem, Guy and Hervé Legros, Le Livre du Frac-Collection Aquitaine Panorama de l’art d’aujourd’hui (Le Festin, France 2002), pp.650-653
  • Smith, Elizabeth A.T., Alison Pearlman and Julie Rodrigues Widholm, Life Death Love Hate Pleasure Pain (Museum of Contemporary Art, Chicago 2002); texts by various authors, pp.188-189
  • Schmidt- Wulffen, Stephan, Perfektimperfekt (modo, Germany 2002), pp.153, 154 and 163-164
  • Hollein, Max and Christopher Grünenberg, Shopping, A Century of Art and Consumer Culure (Hatje Cantz Verlag, Germany 2002), pp.208-209
  • Tillman, Lynne, This Is Not It (D.A.P., New York 2002), p.196
  • De Giorgis, Alfonso and Maria Carla Prette, la Storia dell’ ARTE (Giunti, Firenze 2001), p.258
  • Polak, Doron, Markers (Projective, 2001), p.180
  • Heinrich, Christoph, Ludger Derenthal and Martina Fuchs, Monets Vermächtnis (Hatje Kantz Verlag, Germany 2001); texts by various authors, p.167
  • Schmidt-Wulffen, Stephan, Perfektimperfekt (modo, Germany 2001), pp.152, 154, 156 and 163-164
  • Schaffner, Ingrid, Fred Wilson and Werner Muensterberger, Pictures, Patents, Monkeys, and More… On Collecting (Independent Curators International, New York 2001), p.11
  • Petrovsky, Vladimir, Sergio Scalpelli, Danilo Santos de Miranda, Adelina von Fürstenberg and Yorgos Tzirtzilakis, The Overexcited Body; Arte e Sport nella Societe’ Contemporanea (Art for the World, Geneve 2001), pp.90-91
  • Belgiorno-Nettis, Guido and David Malouf, Biennale of Sydney 2000 (Biennale of Sydney, Australia 2000); texts by various authors, p.184
  • Calendar 2000; Art for Art’s Sake (New York and the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York 2000)
  • Huberman, Anthony (ed.), Around 1984: A Look At Art In The Eighties (P.S.1, Queens, New York 2000), statement by Haim Steinbach, p.1 and 4
  • Vilarasau, Jose, Maria De Corral and Nimfa Bisbe, Catalogo de la Coleccion de Arte Contemporaneo Fundacion ‘la Caixa’ (Fundacion la Caixa Diagonal, Barcelona 2000), p.144
  • Lauer, David A. and Stephen Pentak, Design Basics (Harcourt Brace College Publishers, Orlando 2000), p.85
  • Vitali, Christoph, Axe Hackel and Stephanie Rosenthal, Dinge in der Kunst des XX. Jahrhunderts (Haus der Kunst, Munich and Steidl, Göttingen 2000); texts by various authors, pp.248-251
  • Oliva, Achille Bonito, Gratis. A bordo dell’arte, (Skira editore, Milano 2000), p.XXVII
  • Sellmann, Mattias and Wolfgang Isenberg, Konsum als Religion?: Über die Wiederverzauberung der Welt (B. Kuhlen Verlag, Mönchengladbach 2000); texts by various authors, p.58
  • Abruzzese, Alberto, Giulio Giorello, Franco Speroni and Luisa Valeriani, L’assenza Invadente del Divino (Edizione de Luca, Italy 2000), pp.19-21 and 30-31
  • Nickas, Robert and Christophe Cherix, Live Free or Die, collected Writings 1985-1999 (Presses du reel 2000), pp.32-42
  • Danto, Arthur C., The Madonna of the Future, Essays in a Pluralistic World (University of California Press 2000), pp.xxix-xxx
  • Meyer, James (ed.), Minimalism (Phaidon Press Limited, London 2000), p.39
  • Hoet, Jan, Over the Edges (Stedelijik Museum voor Actuele Kunst, Ghent 2000); texts by various authors, p.232
  • Over the Edges (Stedelijik Museum voor Actuele Kunst, Ghent 2000), p.50
  • Prat, Thierry, Thierry Raspail and Jean-Hubert Martin, Partage D’ Exotismes: 5th Biennale D’ Art Contemporain De Lyon (Reunion des Musees Nationaux, Vol.2, 2000); texts by various authors, pp.79-80
  • Tasca, Catherine, Marie-Josee Roig and Jean-Jacques Aillagon, Rendez-Vous: Collection Lambert (Actes Sud, France 2000); texts by various authors, p.267
  • Castelli in aria: Art in Naples at the End of the Millennium (Umberto Allemandi & C. 2000), p.57
  • Morrow, Bradford (ed.), Conjunctions 32: Eye to Eye, Writers and Artists (Bard College, Annandale-on-Hudson, New York 1999); texts by Lynne Tillman, Haim Steinbach and various authors, pp.197-207, 202, 204, 205 and 207
  • Dreaming III, Contemporary American Art & Japanese Old Ceramics (Akira Ikeda Gallery, New York 1999)
  • Gould, Claudia and Valerie Smith, 5000 Artists Return to Artists Space: 25 Years (Artists Space, New York 1999), pp.107, 111, 157, 176 and 267
  • Riemschneider, Burkhard and Uta Grosenick (eds.), Art at the Turn of the Millenium (Taschen, Germany 1999), pp.471-481
  • Morris, Simon and Helen Sacoor (eds.), Bibliomania (Simon Morris and Helen Sacoor, 1999), pp. 79-101
  • Hollein, Max, Contemporary Art During the Art Market Boom (Böhlau, Vienna 1999)
  • Zaunschirm, Thomas, Die Farben Schwarz (Landesmuseum Joanneum, Graz, Austria 1999); texts by various authors, p.74
  • LeVitte Harten, Doreet (ed.), Heaven (Hatje Cantz Verlag, Ostfildern-Ruit, Germany 1999), pp.151-153
  • Adriani, Gotz, KunstSammeln (Museum für Neue Kunst, Karlsruhe and Hatje Cantz Verlag, Ostfildern-Ruit, Germany 1999), p.154
  • Hegyi, Lóránd, Henry Meyric Hughes and Hanno Millesi, La casa, il corpo, il cuore; Konstruktion er Identitäten (Museum Moderner Kunst Stiftung Ludwig, Vienna 1999); texts by various authors, pp.41-46
  • Welchman, John C., Isabelle Graw and Anthoiny Vidler, Mike Kelley (Phaidon Press, London 1999), pp.67 and 71
  • Mottahedan, Mohammad, Tony Godfrey, and Karsten Schubert, Once Upon a Time in America (The Mottahedan Collection, Christie’s Books Ltd., London 1999), pp.8-13 and 56-57
  • Deecke, Thomas, Mike Bidlo and Ernst Caramelle, Originale echt falsch (Neues Museum Weserburg, Bremen 1999); texts by various authors, pp.140-141
  • Hoet, Jan, Laurens De Keyzer, Steven Jacobs and Els Roelandt, S.M.A.K, The Collection (Ludion, Stedelijk Museum voor Actuele Kunst, Ghent, Amsterdam 1999), pp.184, 186 and 197
  • Rose, Trica and Lydia Yee, Urban Mythologies; The Bronx Represented Since the 1960’s (The Bronx Museum for the Arts, New York 1999); texts by various authors, p.107
  • Visual Artists Salute Harvey Lichtenstein (Brooklyn Academy of Music, Feigen Contemporary, New York 1999)
  • Schneede, Uwe M. and David Rimanelli, Wall Works (Edition Schellmann, Munich 1999), pp.196-201
  • Hollein, Max, Zeitgenössiche Kunst und der Kunstmarktboom (Böhlau Verlag, Vienna 1999), pp. 69-73 and 92
  • Bourriaud, Nicolas, 80 Artistes autour du Mondial: Marina Abramovic, Valerio Adami, Carlos Andrade... (Galerie Enrico Navarra, Paris 1998); texts by Nicolas Bourriaud, Gilles de Bure, Henri-François Debailleux, Philippe Labro, Paul Lombard, Michel Nuridsany, Pierre Restany, pp.152
  • De Corral, Maria, Alexandre Melo, Dan Cameron and José Gil, Años 80: The Eighties (Cultureguest, Lisbon 1998), pp.19 and 157
  • Art: A World History (Dorling Kindersley Limited, London 1998), pp.664-665
  • Lauf, Cornelia and Clive Phillpot, Artist/Author: Contemporary Artists’ Books (Distributed Art Publishers and The American Federation of the Arts, New York 1998); texts by various authors, pp.69, 75, 150, 152 and 158
  • Walther, Ingo F. (ed.), Art of the 20th Century (Taschen, Köln 1998); texts by Karl Ruhrberg, Manfred Schenburger, Christiane Fricke,Klaus Hennef, pp.570-571
  • Art Editions 2 (Edition Schellmann, München and New York 1998)
  • Godfrey, Tony, Conceptual Art (Phaidon Press Limited, London 1998), pp.393-395
  • Ropac, Thaddeus and Günter Salzmann, Ensemble Moderne (Galerie Thaddeus Ropac, Salzburg and Distributed Art Publishers, New York 1998), p.134 and 182
  • Scholz-Strasser, Inge, Joseph Kosuth, Elisabeth Schlebrügge and August Ruhs, Foundation for the arts, Sigmund Freud-Museum Vienna (Foundation for the Arts, Sigmund Freud-Museum, Vol. 2, Vienna 1998), p.20 and 36
  • Pellegrin, Maurizio (ed.), Innerscapes: An Anthology of Artists Writings (Trieste Contemporenea 1998), pp.267-271
  • Weibel, Peter and Friedrich Tietjen, Kunst ohne Unikat: Edition Artelier, Graz 1985-1998 (Verlag der Buchhandlung Walther König, Köln 1998); texts by various authors
  • Stokes, Kerry and John Stringer, Material Perfection: Minimal Art and Its Aftermath (Lawrence Wilson Art Gallery, University of Western Australia, Perth 1998), pp.40-41
  • Causey, Andrew, Oxford History of Art - Sculpture Since 1945 (Oxford University Press, 1998), pp.229, 241, 246-247 and 256
  • Hegyi, Lorand and Nira Itzhaki, Passage: Gideon Gechtman, Bertrand Lavier, Haim Steinbach (Checlouche Gallery for Contemporary Art, Tel Aviv 1998), pp.4, 5, 6-9, 13, 25 and 33 (English text) pp.5, 6 and 22-23 (Hebrew text)
  • Van den Bussche, Willy, René Magritte and the contemporary art (Museum voor Moderne Kunst, Oostende 1998); texts by various authors, p.186-189
  • Ardenne, Paul, Art L’Âge Contemporain (Edition du Regard 1997), pp.216, 219 and 229
  • Archer, Michael, Art Since 1960 (Thames and Hudson, London 1997), pp.171-172
  • Christov-Bakargiev, Carolyn, Maria Grazia Tolomeo and Ludovico Pratesi, Citta Natura (Fratelli Palombi Editori, Rome 1997), pp.19 and 179-181
  • Bisbe, Nimfa and Juliá Guillamon, Colección de Arte Contemporáneo (Edita Fundación la Caixa, Barcelona 1997) Troncy, Eric, Yves Aupetitallot and Alessandra Galasso, Dramatically Different (Centre National D’Art Contemporain De Grenoble 1997), pp.18, 23, 25, 45 and 54
  • Schmidt-Wulffen, Stephan (ed.), Kunst…Arbeit (Südwestdeutschem Landesbank, Stuttgart, Hatje Cantz Verlag, Ostfildern-Ruit, Germany 1997); texts by Stephan Schmidt-Wulffen, Melitta Kliege, Matthais Michalka, pp.166-167
  • Calza, Gian Carlos (ed.), Kunst: die Weltgeschichte (DuMont Buchverlag, Cologne 1997); texts by Enrico Annoscia, Marco Biscione, Rossana Bossaglia, p.665
  • Köb, Edelbert (ed.) KünstlerInnen: 50 Gespräche (Kunsthaus Bregenz and Walther König, Köln 1997); interview with Haim Steinbach, pp.218-223
  • Köb, Edelbert, KünstlerInnen (Kunsthaus Bregenz 1997), p.21
  • Künstlerlexicon: Von der Antike bis zur Gegenwart (DuMont Buchverlag, Cologne 1997)
  • Celant, Germano, Nancy Spector and Giorgio Verzotti, La Biennale di Venezia, XLVII Esposizione Internazionale d’Arte (La Biennale di Venezia, 1997); texts by various authors, pp.246-249
  • Celant, Germano, La Biennale di Venezia, XLVII Esposizione Internazionale d’Arte, Futuro, Presente, Passato (La Biennale di Venezia 1997); texts by various authors, pp.LXXXI-LXXXII and 581-587
  • Von Maur, Karin, Ina Cozen and Dietmar Guderian, Magie der Zahl in der Kunst des 20. Jahrhunderts: Staatsgalerie Stuttgart, 1. Februar bis 19. Mai 1997 (G. Hatje, Ostfildern-Ruit, Germany 1997); texts by various authors, p.166
  • Lucie-Smith, Edward, Movements in art since 1945 (Thames and Hudson 1997), p.225
  • Di Pietroantonio, Giacinto, Odisseo (Ulysses) (Stadio Della Vittoria, Bari, Italy 1997), pp. 92-95
  • The Thames and Hudson Dictionary of Art and Artists (Thames and Hudson, London 1997)
  • Arte Contemporanea: La linea del Modello, Arte come progetto del mondo (Guinti 1996), pp.640 and 650-651
  • Sandler, Irving, Art of the Postmodern Era (Harper Collins, New York 1996), pp.482-483, 491-493, 500, 507, 518 and 528
  • Weintraub, Linda, Art on the Edge and Over (Art Insights, Inc., Litchfield CT 1996), pp. 27 and 134-139
  • Page, Judith and Adam Strauss, Body Language (Museum of Fine Art, Florida State University, Tallahassee 1996), pp.15 and 17
  • Balkema, Annette W. and Henk Slager (eds.), Lier en Boog: The Intellectual Conscience of Art (Editions Rodopi, B.V, Vol.11, Amsterdam and Atlanta 1996); text by Haim Steinbach, p.52
  • Gianelli, Ida, Collezionismo a Torino (Castello di Rivoli and Edizioni Charta, Milano 1996), pp.17 and 21
  • Deitch, Jeffrey (ed.), Everything That’s Interesting is New (Deste Foundation for Contemporary Art, Athens and Hatje Cantz Verlag, Ostfildern-Ruit, Germany 1996); texts by various authors, pp.254-257
  • Deitch, Jeffrey (ed.), Everything That’s Interesting is New (The Deste Foundation for Contemporary Art and ART
  • Magazine Publications, Ltd., Athens 1996), p.26 and 30
  • Di Pietroantonio, Giacinto, Gilda Williams and Antonella Marino, Fuori Uso ‘95; Caravanserraglio Arte Contemporanea (Umberto Sala Editore, 1996); texts by various authors, p.92, 97 and 138
  • Weaver, Thomas, Handmade Readymades (Hunter College of The City University of New York, 1996), pp.5-6
  • Le Livre, Du Frac Collection Acquitaine: Panorama de l”Art d’aujourd’hui (Frac Collection Acquitaine, France 1996)
  • Gian Ferrari, Claudia and Manlio Brusatin, Nudo & Crudo (Edizioni Charta, Milan 1996), p.63
  • Panoramas; 1981-1996, la collection du Frac Bretagne (Grand Hotel du Golf et des Panoramas, St. Briac, Bretagne 1996), p.388-89
  • Passions Privées, Collections particulières d’art moderne et contemporain en France (Musée d’Art moderne de la Ville De Paris 1996), p.680
  • Le Thorel-Davidot, Pascale, Petit Dictionnaire des Artistes Contemporains (Bordas, Paris 1996), p. 244
  • Foster, Hal, The Return of the Real (The MIT Press, Cambridge 1996), pp.107 and 109-116
  • Greenberg, Reesa, Bruce Ferguson and Sandy Nairne, Thinking About Exhibitions (Routledge, London 1996), pp.278-279 and 285
  • The 20th Century Art Book (Phaidon Press Limited, London 1996), p.441
  • art editions 1 (Edition Schellman, Munich 1995), pp.299-300
  • Taylor, Brandon, The Art of Today (Everyman Art Library, London 1995), pp.88, 89-90, 154
  • Fineberg, Johnathan, Art Since 1940: Strategies of Being (Harry N. Abrams Inc. Publishers, New York 1995), p.459-460
  • Balkema, Annette W. and Henk Slager (eds.), Lier En Boog: The Intellectual Conscience of Art (Lier En Boog, Vol.12, Amsterdam 1995); text by Haim Steinbach, p.120
  • Taylor, Brandon, Avant Garde and After: Rethinking Art Now (Harry N. Abrams Inc., New York 1995), pp.88 and 89-90
  • Hoet, Jan, Giorgio Verzotti and Steven Jacobs, Corpus delicti (Museum van Hadendaagse Kunst, Ghent 1995), p.158
  • Politi, Giancarlo (ed.), Dictionary of International Contemporary Artists (Flash Art Books for Giancarlo Politi Editore, Italy 1995), pp.310-311
  • McDaris, Wendy, David Halberstam and Kate Millet, Elvis + Marilyn: 2 X Immortal (Rizzoli, New York 1995); texts by various authors, p.123
  • Manzo, Cesare and Giacinto di Pietroantonio (eds.), Fuori Uso ‘95, Projects: Caravanseray of Contemporary Art or Why the Egyptians were Cubists? (Arte Nova, Pescara, Italy 1995), pp.84-85
  • Rubin, David, Stacy Sims and Deborah Harry, It’s Only Rock and Roll (Prestel-Verlag, Munich and New York 1995), p.133
  • Mellitzer, Ulrich and Anselm Wagner (eds.), Kunst: Brauch (Galerie 5020, IG Bildender Künstlerinnen Salzburg, 1995), pp.27-28
  • Chivrac, Thierry, François Bazzoli, Lionel Bovier and Jean Cambefort, L'objet (Villa du Parc, Annemasse 1995); texts by various authors, p.104
  • Mercurio, Gianni and Stefano Petricca (eds.), Marilyn Monroe: The Life, The Myth (Rizzoli, RCS Libri & Grandi Opere, Rome 1995), p.243
  • Cavalli-Björkman, Görel and Bo Nilsson, Still Leben (National Museum, Stockholm 1995), p.134 and 252
  • Goldfarb, Brian and Mimi Young (eds.), Temporarily Possesed: The Semi-Permanent Collection (The New Museum of Contempoary Art, New York 1995), pp.95 and 175
  • Di Pietroantonio, Giacinto (ed.), Territorio Italiano (Giacinto di Pietroantonio Productions, Milan 1995), p.44
  • Levin, Kim and Milada Slizinska, Translation (Centre for Contemporary Art, Ujadowski Castle, Warsaw 1995), pp.44
  • Who’s Who in American Art 1995-96 (R.R. Bowker, New Providence, New York 1995), p.1164
  • Un-authored, ‘Meme si c’est la nuit’ (Musee d’art contemporain de Bordeaux (CAPC), November 1994), p.15
  • Beeren, Wim, Rini Dippel and Dorine Mignot, Acquisitions, 1985-1993 (Stedelijk Museum, Amsterdam 1994); texts by various authors, p.78
  • Melo, Alexandre, Marga Paz and Fernando Pernes, Arce de Noé/Noah’s Ark (Funaçao de Serralves, Porto 1994); texts by various authors, pp. 74-75 and 144-147
  • Hegyi, Lorand, Erhard Busek and Arpard Göncz, Comentario Sobre Europa 1994 (Sala Parpalló, Diputacion de Valencia 1994); texts by various authors, pp.112-115
  • Felix, Zdenek, Stefan Germer, Claus Pias and Katerina Vastella, Das Jahrhundert des Multiple: von Duchamp bis zur Gegenwart (Deichtorhallen Hamburg, Oktagon Verlag 1994), pp.69 and 227
  • Amouroux, Eric, Paul Ardenne, and Thierry De Duve, De A a Z les Centres d’art Contemporain (DCA, Flammarion, France 1994); texts by various authors, p.98
  • Decter, Joshua, Don’t Look Now (Thread Waxing Space, New York 1994), p.13
  • Entre la presencia y la representacion - the Collection of the “La Caixa” Contemporary Art Foundation (El Centro, Las Palmas de Gran Canaria 1994), p.37
  • Hegyi, Lorand, Kommentar zu Europa (Museum Moderner Kunst Stiftung Ludwig, Vienna 1994); texts by various authors, pp.239 and 241
  • Même si c’est la nuit (Musée d’art contemporain (CAPC), Bordeaux 1994), p.15
  • Gould, Claudia and Susan Stewart, The Music Box Project (on the table inc., New York 1994), pp.26-27 and 80
  • De Oliveira, Nicolas, Nicola Oxley and Michael Petry (eds.), Installation Art (Smithsonian Institute Press 1994), pp.125 and 154
  • Di Pietroantonio, Giacinto, Francesco Bonami and Victor Misiano, Opera Prima (Trevi Flash Art Museum of Contemporary Art, Italy 1994)
  • Portraits de femmes (Chateau Notre-Dame des Fleurs, Vence 1994), p.64
  • Private Mix 1 (Galerie Eigen + Art, Berlin 1994)
  • Eccles, Tom and Patricia Phillips, Public Art Issues Vol.3 – Urban Paradise: Gardens in the City (Public Art Fund, New York 1994); texts by various authors
  • Sontag, Susan, Nam June Paik and Robert Rauschenberg, Tradition and Invention: Contemporary Artists Interpret the Japanese Garden, AmFAR International 1994); texts by various authors, plates 22-24
  • McDonald, Ewen and Julia Engberg (eds.), Binocular: Focusing, Materials, Histories (Möet & Chandon Contemporary Edition, Sydney 1993), pp.138-153
  • Ardenne, Paul, CAPC Musée: 1973-1993 (Editions du Regard, Paris 1993); texts by various authors, pp.132-138
  • Frogier, Larys and Jean-Marc Poinsot, C’est pas la fin du monde: un point de vue sur l’art des annees 80 (Universite de Haute-Bretagne, Centre d’ histoire de l’ art contemporain, Rennes, France 1992)
  • Picazo, Gloria, Collection pour une region, “Lieux de Fictions”: Richard Baquié, Jedermann N.A., Jeff Koons, Rombouts & Droste, Haim Steinbach (Musée d’Art Contemporain de Bordeaux (CAPC) 1993), pp.49-55
  • Documentario 2 (Territorio, Italy 1993)
  • Martin, Richard, Fall From Fashion (The Aldrich Museum of Contemporary Art 1993), pp.7-8 and 61
  • Sturm, Martin and Elisabeth Madlener, The Foreign / The Guest (Offenes Kulturhaus, Turia & Kant, Vienna 1993)
  • Hoet, Jan, Gent te Gast: de Keuze van Jan Hoet uit de collectie van het Museum van Hedendaagse Kunst in Gent (De Beyerd, Breda, The Netherlands 1993)
  • Leigh, Christian, I Am The Enunciator: 9 January through 20 February 1993 (Thread Waxing Space, New York 1993)
  • Buchholz, Daniel, International Index of Multiples: from Duchamp to the Present (Spiral/Wacoal Art Center, Tokyo and Verlag der Buchhandlung Walther König, Köln 1993)
  • La Biennale di Venezia: XLV Esposizione Internazionale d’Arte (Marsilio Editori, Venice 1993), p.944
  • Breuille, Jean-Philippe, L’art du XXe Siecle (Larousse, Paris 1993), p.794
  • Tosatto, Guy, Elizabeth Lebovici and Pierre Restany, L’Ivresse du Reel: L-Objet dans l’art du XXè` siècle (Carré a’Art, Nimes 1993), p.20, 153-154 and 190
  • Wood, Paul, Francis Frascina, Johnathan Harris and Charles Harrison, Modernism in Dispute, Art since the Forties (Yale University Press, New Haven 1993), pp.241 and 243
  • Sussman, Elisabeth, Mike Kelley: Catholic Tastes (Whitney Museum of American Art, New York 1993); texts by various authors, p.27
  • Celant, Germano, Thomas Krens and Nancy Spector, Osmosis: Ettore Spalleti & Haim Steinbach (Guggenheim Museum, New York 1993)
  • Kuspit, Donald, Signs of Psyche in Modern and Post-Modern Art (Cambridge University Press 1993), pp.149, 150 and 278
  • De Ville, Nicholas and Stephen Foster (eds.), Space Invaders: Issues of Presentation, Context and Meaning in Contemporary Art (John Hansard Gallery, University of Southampton, England 1993)
  • Bon, Francois and Jean-Louis Froment, Jerome Schlomoff: Portraits (Musee d’Art Contemporain de Bordeaux (CAPC) 1993), p.70
  • Oliva, Achille Bonito, Francesca Pasini and Fernanda Pivano, Viaggio verso Citera (XLV Biennale di Venizia, Zerynthia Associazione per l’Arte Contemporanea, Edizioni Marpesia, Venice 1993); texts by various authors, p.11 and20-21
  • Schellman, Jörg, Wall Works (Edition Schellmann, Cologne and New York 1993), p.101
  • Mendini, Alessandro (ed.), 100% Make-Up (Alessi, 1992)
  • Blonsky, Marshall, American Mythologies (Oxford Univ. Press. 1992), pp.464-5
  • Harrison, Charles and Paul Wood, Art in Theory 1900-1990: An Anthology of Changing Ideas (Blackwell Publishers, Cambridge 1992) (reprint of “Ashley Bickerton, Jeff Koons, Peter Halley, Haim Steinbach: From Criticism to Complicity,” Peter Nagy, moderator), pp.1080-1083
  • Harten, Jürgen and Michael Schirner, Art Meets Ads (Edition Cantz, Stuttgart 1992), plate 73
  • Bond, Anthony, Stephen Bann, Ian Burn and John Welchman, The Boundary Rider: 9th Biennale of Sydney, 15 December 1992-14 March 1993 (Biennale of Sydney 1992), pp.222-223
  • Waldman, Diane, Collage, Assemblage, and the Found Object (Harry N. Abrams Inc., New York 1992), pp.314-315
  • documenta 9, Die Magische Dose (The Staatlische Museen, Neue Galerie Kassel, Edition Cantz, Stuttgart 1992)
  • Hoet, Jan, Denys Zacharopoulos and Luigi Tazzi, Documenta IX (Edition Cantz, Vol. 1, Kassel 1992); texts by various authors, pp.223-224
  • Documenta IX (Edition Cantz, Vol.3, Kassel 1992), pp.522-532
  • De Almeida, Bernardo, Pinto Fernando Pernes and Joao Pinharanda, Fundacao de Serralves, A Portugese Museum (1992)
  • Celant, Germano and Cornelia Lauf, Guggenheim Museum A to Z (The Solomon R. Guggenheim Foundation, New York 1992); texts by various authors, p.252-253
  • Fuller, Gregory, Kitsch-Art (DuMont Buchverlag, Köln 1992), pp.23, 25, 26, 27, 83, 92, 161, 164, 168 and 187
  • Brisebois, Marcel and Manon Blanchette, La Collection: tableau inaugural (Musee d’Art Contemporain de Montreal 1992); texts by various authors
  • Schmatz, Ferdinand and Heimo Zobernig, Lexikon der Kunst (Edition Patricia Schwartz, Stuttgart 1992)
  • Stehr, Werner and Johannes Kirschenmann, Materialien zur Documenta IX: Ein Reader für Unterricht und Studium (Editons Cantz, Stuttgart, 1992)
  • Livingstone, Marco (ed.), Pop Art: An International Perspective (Rizzoli, New York 1992), pp.20, 2l and 264
  • Leigh, Christian, Octavio Zaya and Donald Kuspit, Psycho (Kunsthalle, New York 1992)
  • De Ville, Nicholas, Dick Hebdige and Lewis Johnson, Refusing to Surface: Art and the Transfiguration of the Ordinary (John Hansard Gallery, The University, Southampton, Great Britain 1992)
  • Collins, Patricia and Richard Millazzo, Theoretically Yours (Autonomous Region of the Aosta Valley Department for Education 1992)
  • Levin, Kim and Milada Slizinska, Translation (Centre for Contemporary Art, Ujadowski Castle, Warsaw 1992), pp.39-44
  • Cameron, Dan, TROPISMES (Collecio d’Art Contemporani Fundacion la Caixa 1992)
  • Dercon, Chris and Jeff Wall, Witte de With: The Lectures 1992 (Witte de With, Rotterdam 1992); texts by various authors, p.66
  • Bozo, Dominique and Joelle Pijaudier, Yvon Lambert collectionne (Musee d’Art Communaute Urbaine de Lille, Villeneuve d’Ascq, Musee des Beaux-Arts de Tourcoin 1992)
  • Kuspit, Donald, Christian Leigh and Octavio Zaya, Altrove (Centro per l’Arte Contemporanea Luigi Pecci 1991), pp.149 and 150-153
  • Belli, Gabriella and Jerry Saltz, American Art of the 80’s (Museo d’Arte Moderna e Contemporanea di Trento e Rovereto; Electa, Milan 1991)
  • Barilli, Renato, Anni Novanta (Arnoldo Mondadori 1991); texts various authors
  • Wheeler, Daniel, Art Since Mid-Century: 1945 to the Present (The Vendome Press, New York 1991), pp.330-332
  • Gumpert, Lynn and Brian Wallis, Beyond the Frame / American Art l960-l990 (Setagaya Art Museum, 1991)
  • Blue Box #l, Blast (New York 1991)
  • Messler, Norbert, Denk-Bilder: Kunst der Gegenwart l960-l990 (Hirmer-Verlag GmBH, München 1991)
  • Kuspit, Donald, Christian Leigh and Octavio Zaya, Desplazamientos (Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria 1991)
  • Osterwald, Tilman, Das Goldene Zeitalter (Württembergischer Kunstverein, Stuttgart 1991); texts by various artists
  • Grant Lewin, Susan (ed.), Formica & Design: From the Counter Top to High Art (Rizzoli 1991)
  • Ribettes, Jean-Michel, Jacques Foucart and Michel Nuridsany, Les Couleurs de L’Argent (Edition du Musee de la Poste, Paris 1991)
  • Cameron, Dan, History as Fiction (Meyers/Bloom Gallery, Los Angeles 1991)
  • Joel Benzakin, Benjamin Buchloh, Germano Celant, John Knight, Dirk Snauwaert, Haim Steinbach (Les Expositions duPalais des Beaux Arts, Imschoot, Uitgevers, Bruxelles 1991)
  • Cameron, Dan, Just what is it that makes today’s homes so different, so appealing? (The Hyde Collection, Glens Falls, New York 1991)
  • Dobbels, Daniel, La Sculpture Contemporaine après 1970 (Fondation Daniel Templon, Musée Temporaire, Fréjus 1991); texts by Daniel Dobbels, Pierre Cabanne, Siegfried Gohr, Demetrio Paparoni, Carter Ratcliff, Caroline Smulders
  • Joachimides Christos M. and Norman Rosenthal, Metropolis (Rizzoli, New York 1991); texts by various authors
  • Papadakis, Andreas, Clare Farrow and Nicola Hodges (eds.), New Art: An International Survey (Rizzoli, New York 1991), pp.67 and 145.
  • Objects for the Ideal Home / The Legacy of Pop Art (Serpentine Gallery, London 1991)
  • Day, Holliday T., Power: Its Myths and Mores in American Art l96l-l99l (Indianapolis Museum of Art, in cooperation with Indiana University Press 1991); texts by various authors, pp.14, 20, 26, 81-82, 141 and 151
  • Wiedermann, Christoph, Dietmar Kuhne and Heinrich Habel, Praterinsel: Ausstellung der Ateliergemeinschaft Praterinsel (Praterinsel, Munich 1991)
  • Restany, Pierre, Renato Barilli and Giorgio Segato, Quindicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova 1991 (Electa, Milan 1991); texts by various authors
  • Gablik, Suzi, The Reenchantment of Art (Thames and Hudson, New York and London 1991)
  • Benezra, Neal (ed.), Charles F. Stuckey and Mark Rosenthal, Affinities and Intuitions: The Gerald S. Elliot Collection of Contemporary Art (Thames and Hudson, New York, The Art Institute of Chicago 1990); texts by various artists
  • Collins, Tricia and Richard Milazzo (ed.), An Anthology of Statements Celebrating the Twentieth Anniversary of White Columns New York (White Columns, New York 1990), p.6l.
  • Taylor, Elizabeth, Art Against AIDS (American Foundation for AIDS Research, New York 1990), p.92
  • Baldassari, Anna and Francois Burkhardt, Art et Publicite (Beaux Arts Magazine, Publications Nuit et Jour, Paris 1990)
  • Baldassari, Anna, Francois Burkhardt and Jean-Hubert Martin, Art & Pub (Editions du Centre Pompidou, Paris 1990); texts by various authors
  • Lucie-Smith, Edward, Art in the Eighties (Phaidon Press, Oxford 1990), pp.73 and 76
  • Blau: Kaleidoskop einer Farbe (Heidelberger Kunstverein, 1991)
  • Sangster, Gary, Lowery Sims and Laura Trippi, The Decade Show (The New Museum of Contemporary Art, The Studio Museum in Harlem, Museum of Contemporary Hispanic Art, 1990); texts by various authors
  • Politi, Giancarlo and Helena Kontova, Flash Art: XXI Years: Two Decades of History (MIT Press, Cambridge, Mass., 1990), pp.149-151
  • Baker, Kenneth, The Future of the Object! A Selection of American Art: Minimalism and After (Ronny Van de Velde, Antwerp 1990)
  • Collins, Tricia, Richard Milazzo and Robert Pincus-Witten, The Last Decade / American Artists of the 80’s (Tony Shafrazi Gallery, New York 1990)
  • Landau, Suzanne (ed.), Life-size / A Sense of the Real in Recent Art (Israel Museum, Jerusalem 1990)
  • Deliss, Clementine, Lotte, or the Transformation of the Object (a special issue of Durch, No.8/9, 1990)
  • Cameron, Dan, Multiples, Hirschl & Adler Modern, New York 1990)
  • Freeman, Phyllis and Mark Greenberg (ed.), New Art (Harry N. Abrams Inc., New York 1990); texts by various authors
  • Martin, Richard (ed.), The New Urban Landscape (Olympia & York Companies (U.S.A.), Drenttel Doyle Partners, New York, 1990)
  • Cameron, Dan and Paul Schimmel, Objectives: The New Sculpture (Newport Harbor Art Museum, California, Rizzoli, 1990); texts by various authors, pp.154-169
  • Livingstone, Marco, Pop Art: A Continuing History (Abrams, 1990), pp.222 and 244-46
  • Taylor, Sue (ed.), The Refco Collection (Refco Group, Ltd., Chicago 1990)
  • Bourel, Michel, Sonnabend Collection Exhibition (Sezon Museum of Art, Japan 1990)
  • Lieberman, Rhonda, Catherine Liu and Lawrence Rickels The Stendhal Syndrome (Andrea Rosen Gallery, New York 1990)
  • Poinsot, Jean-Marc, Le Spectaculaire (Centre d’histoire de l’art contemporain, Rennes, France 1990); texts by various authors
  • Blanchet, Paul, Nicolas Bourriaud and Dan Cameron, Un Art de la Distinction? (Abbaye Saint-Andre Centre d’Art Contemporain, Meymac, France 1990); texts by various authors, pp.139-147
  • Biller, Gerry, Russell Bowman and Dean Sobel, Word as Image, American Art l960-l990 (Milwaukee Art Museum, 1990)
  • Pennanen, Ulla, Worlds Maailmat 90 (Joensuu Art Museum, Finland 1990)
  • Edition Schellmann l969-l989 (Edition Schellman, Munich and New York l989)
  • Ferguson, Bruce, Joan Simon and Roberta Smith, Abstraction in Question (John and Mable Ringling Museum of Art, Sarasota, Florida 1989)
  • Bourel, Michel, La Collezione Sonnabend: Dalla Pop Art in poi (Electa, Milan 1989); texts by various authors
  • Sachs, Sid, Conspicuous Display (Stedman Art Gallery, Rutgers University 1989)
  • Schweinebraden, Jürgen, D&S Ausstellung (Kunstverein, Hamburg 1989); texts by various authors
  • Goldstein, Ann and Mary Jane Jacob, A Forest of Signs, Art in the Crisis of Representation (Museum of Contemporary Art, Los Angeles 1989); texts by various authors, pp. 58-59, 118- 119 and 153
  • Hamburg Projekt l989 (Kulturbehörde Hamburg, Kunstverein Hamburg l989)
  • Cameron, Dan and Gosse Oosterhof, Horn of Plenty (Stedelijk Museum, Amsterdam 1989)
  • Collins, Tricia and Richard Milazzo, Hyperframes (Editions Antoine Cadeau 1989)
  • Onorato, Ronald, Microsculpture (University of Rhode Island 1989)
  • Lauf, Cornelia, Nature Naturata (Josh Baer Gallery, New York 1989); texts by various authors
  • Oeuf Alpha (Musee d’art contemporain (CAPC), Bordeaux 1989)
  • Celant, Germano, Periodi di Marmo (Electa, Milan 1989)
  • Repetition (Hirschl & Adler Modern, New York 1989)
  • De Duve, Thierry, Resonances du Readymade (Editions Jacqueline Chambon 1989)
  • Leigh, Christian, The Silent Baroque (Edition Thaddeus Ropac, Salzburg 1989); texts by various authors
  • Oliva, Achille Bonito, Superart (Giancarlo Politi Editore, Milan 1989), p.31
  • Survey of the Collection (Stedelijk Museum, Amsterdam 1989)
  • Cameron, Dan, What is Contemporary Art? (Rooseum, Malmo, Sweden 1989)
  • Kosuth, Joseph, Wittgenstein / The Play of the Unsayable (Wiener Secession, Vienna 1989)
  • Foray, Jean-Michel, Fonds National D’Art Contemporain: Acquisitions l988 (Centre National des Arts Plastiques 1989)
  • Nickas, Robert, Works, Concepts, Processes, Situations, Information (Galerie Hans Mayer, Düsseldorf l988-89); texts by various authors
  • Cameron, Dan, Art and Its Double (Fundacion Caja de Pensiones, Barcelona 1988)
  • Fox, Howard N., Avant-Garde in the Eighties (L.A. County Museum of Art 1988)
  • Bourel, Michel, Coleccion Sonnabend (Centro de Arte Reina Sofia, Ministerio de Cultura, Madrid 1988)
  • Halle, Howard and Walter Hopps, Les Courtiers du Desir (Centre Georges Pompidou, Paris 1988)
  • Sobel, Dean, Currents 12: Simulations, New American Conceptualism (Milwaukee Art Museum 1988), p.3
  • Cameron, Dan, NY Art Now: The Saatchi Collection (Giancarlo Politi Editore, Milan 1988)
  • Wallis, Brian, New York Now (The Israel Museum, Jerusalem 1988)
  • Nickas, Robert, Perverted by Language (Hillwood Art Gallery, Long Island University/C.W. Post Campus,
  • Greenvale, New York 1988)
  • Reconstruct (John Gibson Gallery, New York 1988)
  • Collins, Tricia and Richard Milazzo, Art at the End of the Social (Rooseum, Malmo, Sweden 1988)
  • Kertess, Klaus, Artschwager: His Peers and Persuasion l963 – 88 (Daniel Weinberg Gallery, Los Angeles 1988)
  • Crow, Thomas and Lynne Tillman, The Binational, American Art of the Late 80s (Institute of Contemporary Art and Museum of Fine Arts, Boston, Dumont Buchverlag, Köln 1988)
  • Deitch, Jeffrey and Peter Halley, Cultural Geometry (Deste Foundation for Contemporary Art, Athens 1988); texts by various authors
  • Collins, Tricia, Richard Milazzo and Gary Indiana, Hybrid Neutral (Independent Curators Inc., New York 1988)
  • Imagine (Gruppo GFT, Turin 1988)
  • Scott, Martha B., Innovations in Sculpture l985-88 (Aldrich Museum of Contemporary Art 1988)
  • Honnef, Klaus, Kunst der Gegenwart (Taschen, Cologne 1988)
  • Baker, Kenneth, Mimimalism (Abbeville Press, New York 1988)
  • Leffingwell, Edward and Karen Marta (ed.), Modern Dreams, The Rise and Fall of Pop (Institute for Contemporary Art, The Clocktower Gallery, New York 1988)
  • Felix, Zdenek and Noemi Smolik, New York in View (Kunstverein München 1988)
  • Tomkins, Calvin, Post-to-Neo: The Art world of the 1980’s (Penguin Books, New York 1988)
  • ReDefining the Object (Wright State University, Dayton 1988)
  • Bruderlin, Marcus, Veit Loers and Lucius Burckhardt, Schlaf der Vernunft (Museum Fridericianum Kassel, Germany 1988)
  • Bourel, Michel, The Sonnabend Collection (Musee d’Art Contemporain de Bordeaux (CAPC) 1988)
  • Guenther, Bruce, Camille Oliver- Hoffman, I. Michael Danoff, Phyllis Tuchman and Lynn Warren, Three Decades, The Oliver Hoffman Collection (Museum of Contemporary Art, Chicago 1988)
  • Celant, Germano, Unexpressionism (Rizzoli, New York 1988)
  • Cameron, Dan, Art and Its Double (Fundación Caja de Pensiones, Barcelona 1987)
  • Fox, Howard N., Avant-Garde in the Eighties (L.A. County Museum of Art 1987)
  • Bourel, Michel, Coleccion Sonnabend (Centro de Arte Reina Sofia, Ministerio de Cultura, Madrid 1987); texts by various authors
  • Halle, Howard and Walter Hopps Les Courtiers du Desir (Centre Georges Pompidou, Paris 1987)
  • Sobel, Dean, Currents 12: Simulations, New American Conceptualism (Milwaukee Art Museu, 1987), p.3
  • Cameron, Dan, NY Art Now: The Saatchi Collection (Giancarlo Politi Editore, Milan. 1987)
  • Wallis, Brian, New York Now (The Israel Museum, Jerusalem 1987)
  • Nickas, Robert, Perverted by Language (Hillwood Art Gallery, Long Island University / C.W. Post Campus, Greenvale, New York 1987)
  • Reconstruct (John Gibson Gallery, New York 1987)
  • Halle, Howard and Walter Hopps, A Brokerage of Desire (Otis Art Institute, Los Angeles 1986)
  • O’Brien, Glenn, Arts and Leisure (Group Material and The Kitchen, New York 1986)
  • Saltz, Jerry, Beyond Boundaries (Alfred van der Marck Editions, New York 1986)
  • Foster, Hal and Brian Wallis, Damaged Goods / Desire and the Economy of the Object (The New Museum of Contemporary Art, New York 1986); texts by various authors
  • Bois,Yve-Alain, Thomas Crow and Hal Foster, Endgame (Institute of Contemporary Art, The MIT Press, Cambridge, Massachusetts, Boston 1986); texts by various authors
  • Fake (The New Museum of Contemporary Art 1986)
  • Garrels, Gary, New Sculpture (Renaissance Society of the Univ. of Chicago, 1986)
  • Prospect 86 (Frankfurter Kunstverein, Schirn Kunsthalle Frankfurt 1986)
  • Buchloh, Benjamin H.D., Gabriele Guercio and Joesph Kosuth, Rooted Rhetoric (Castel dell’Ovo, Guida Editori, Naples 1986); texts by various authors
  • Trow, George W.S., David Robbins and Thomas Lawson; Infotainment (Livet Reichard Co. Inc., New York 1985)
  • Klein, Michael, Objects, Structures, Artifice (Fine Arts Gallery (SVC), University of South Florida, Tampa 1983)


Newspaper and magazine articles

  • Pechman, Ali, ‘Steinbach’s Shelfies’, ARTnews, Summer 2014, p.23
  • Huberman, Anthony, 'interview with Haim Steinbach', Mousse, No.36, December 2012 - January 2013
  • Schwenger, Peter, 'Haim Steinbach', Bomb, No.121, Fall 2012
  • Stillman, Steel, ‘Haim Steinbach in the Studio with Steel Stillman’, Art in America, January 2012, pp.82-91
  • Burton, Johanna, ‘Haim Steinbach’, Artforum, December 2011, p.252
  • Doran, Anne, ‘Haim Steinbach’, Art in America, November 2011
  • Un-authored, ‘Haim Steinbach’, The New Yorker, Goings On About Town, 10 October 2011, p.18
  • Schmerler, Sarah, ‘Haim Steinbach, ‘Creature’, Time Out New York, 6-12 October 2011, p.49
  • Demetry, John, ‘Stephen King Debunks the Art of Horror’, City Arts, 28 September 2011, p.19
  • Smith, Roberta, ‘Haim Steinbach: creature’, The New York Times, 23 September 2011
  • O’Connel, Alex, ‘Po-Mo: it feels so very yesterday.’ The Times, 19 September 2011, p.11
  • Vergne, Philippe, ‘Roving Eye: After Robert Bresson’, Art in America online, 16 September 2011
  • Sterngast, Tal, ‘There was a Secret before there was something to Hide’, Texte zur Kunst, September 2011, No. 83, p.203
  • Un-authored, ‘Critics’ Picks’, Time Out (New York), 8-14 September 2011, p.55 and 57
  • Un-authored, ‘You can’t be serious’, Financial Times, 4 September 2011, p.8
  • Docx, Edward, ‘Postmodernism is dead’, Prospect, August 2011, p.41
  • Russeth, Andrew, ‘Off the Shelf’, The New York Observer, 5 August 2011, p.42
  • Un-authored, ‘Entertainment’, The New Yorker, 4 April 2011, p.13
  • Ciraugui, Manuel, ‘Haim Steinbach’, Lapiz, No.262, June-July 2010
  • Ciraugui, Manuel, ‘Haim Steinbach’, Double, No.18, Autumn-Winter 2009, p.110 and 117
  • Benhamou-Huet, Judith, ‘l’a aventura de Steinbach’, bc, Winter 2008, pp.54-57
  • Johnson, Ken, ‘John Armleder, Olivier Mosset, Haim Steinbach’, The New York Times, 1 August 2008, p.29
  • Banai, Nuit, ‘John Armleder, Olivier Mosset, Haim Steinbach’, Time Out New York, 17-23 July 2008, p.58
  • Un-authored, ‘Armleder/Mosset/Steinbach’, The New Yorker, 7 July 2008
  • Herbert, Martin, ‘Haim Steinbach’, Time Out (London), 19-25 June 2008, p.61
  • Lewis, Ben, ‘An exhibition fom another planet’, Evening Standard, 6 March 2008
  • Porret, Karine, ‘Totems & Tabous’, Stilletto Homme, Febuary 2008, pp.88-89
  • Heartney, Eleanor, ‘Haim Steinbach at Sonnabend’, Art in America, January 2008, p.132
  • Ardenne, Paul, ‘Haim Steinbach’, Artpress, January 2008, pp.82-83
  • Troncy, Eric, ‘Don’t Let Me Be The Last To Know’, Frog, January 2008, pp.107-113
  • Steinbach, Haim, ‘The Eyes Had It’, Artforum, January 2008, pp.73 and 74
  • Nose, Shiny, ‘Block #05’, Block Magazine, Tel Aviv 2008, pp.127-131
  • Hainley, Bruce, ‘Haim Steinbach’, Artforum, December 2007, pp.338 and 339
  • Griffin, Tim, ‘Haim Steinbach’, Artforum, October 2007, p.368
  • Un-authored, ‘Special Project by Haim Steinbach’, Tema Celete, September-October 2007, pp.66-71
  • Un-authored, ‘Haim Steinbach’, The New Yorker, 4 June 2007, p.17
  • Scuderi, Massimiliano, ‘Haim Steinbach – Vistamare/ Lia Rumma (MI)’, Flash Art, No.269, June-July 2007
  • Scuderi, Massimiliano, ‘Haim Steinbach, Vistamare, Pescara’, Arte e Critica, No.51, June-July 2007
  • Meazza, Stefania, ‘Haim Steinbach – Lia Rumma, Milano: Vistamare, Pescara’, Il Segno, May-June 2007, p.213
  • Schwendener, Martha, ‘Proof That Things Are People Too (Well, Almost)’, The New York Times, 18 May 2007, p.E29
  • Ferrara, Jolanda, ‘L’opera concettuale di Haim Steinbach da Vistamare’, Il Centro – Cultura & Spettacoli, 17 April 2007, p.42
  • Bonazzoli, Francesca, ‘Mensole-ritratto’ tra Duchamp e Carver, Gli oggetti reinventati dall’israeliano Haim Steinbach, Corriere Della Sera, 11 April 2007, p.19
  • Un-authored, ‘Haim Steinbach – Works 1983-2006’, Mousse, April 2007, p.79
  • Tremblay, Nicholas, ‘Haim au pays des objets’, Numero, December 2006 - January 2007, pp.40-43
  • Douglas, Sarah, ‘Staying Power’, Art + Auction, November 2006, pp.160-167
  • Von Döltzschen, Ulrich, ‘Akira Ikeda Gallery zeigt Objekte von Haim Steinbach’, Die Welt, 20 October 2006
  • Casadio, Mariuccia, ‘The Objects and Haim Steinbach’, L’uomo Vogue, October 2006, pp.45-47
  • Hilgenstock, Andrea, ‘Michael Pauseback und die Galerie Akira Ikeda’, Kunstzeitung, October 2006, p.23
  • Glueck, Grace, ‘Freud and Contemporary Art, The Collection of the Sigmund Freud Museum, Vienna’, The New York Times, 16 June 2006, p.E33
  • Un-authored, ‘Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna’, The New Yorker, 5 June 2006
  • Matter Grey curated by Joseph Kosuth’, Les Inrockuptibles, No.538, 21-27 March 2006
  • Ramade, Bénédicte, ‘Matiére grise’, L’oeil, No.578, March 2006
  • Lebovici, Elizabeth, ‘l’esprit de la matière’, Libération, mardi 2, February 2006
  • Leydier, Richard, ‘Joseph Kosuth ‘Matter Grey’, Art Press, February 2006, pp. 77-79
  • Petronio, Ezra (ed.), Rebeginning, ‘Overexposed’, Self Service (arts magazine), Spring-Summer 2006, p.288
  • Celant, Germano, ‘Haim Steinbach: An Existential Building Site’, InterReview 2006, pp.56-57
  • Estep, Jan, ‘More and Less: Haim Steinbach’s Dialectics’, InterReview 2006, pp.58-60
  • Lapthisophon, Stephen, ‘Stephen Lapthisophon on Haim Steinbach’, InterReview 2006, pp.61-62
  • Rauer, Valentin, ‘The Thing in Search of Company: The Object and Social Texture in Haim Steinbach’s ‘North East South West’’, InterReview 2006, pp.63-66
  • Wolfe-Suarez, Ginger, ‘Ginger Wolfe-Suarez Interviews Haim Steinbach’, InterReview 2006, pp.51-55
  • Steinbach, Haim, ‘Artist's Project’, InterReview 2006, pp.20-28 (cover)
  • Celant, Germano, ‘Oggetti e feticci’, L’espresso, September 2005, p.102
  • Baker, Kenneth, ‘Defying the notion of uselessness as a sign of authenticity’, San Francisco Chronicle, 6 August 2005, p.E10
  • BAM/PFA, University of California, Berkeley Art Museum & Pacific Film Archive, Art & Film Notes, July-August 2005, pp.5
  • Gregg, Gail, ‘How to Talk to an Artist’, Artnews, June 2005, pp.114
  • Doran, Anne, ‘Passages’, Time Out (New York), 7-13 April 2005, p.82
  • Un-authored, ‘Ten Years – Generations of Art’, Fondazione Antonio Ratti, Como, La Provincia Suppliment, April 2005, p.6
  • Bankowsky, Jack, ‘East Village USA’, Artforum, April 2005, pp.179-180
  • Huntington, Richard, ‘Artists evoke da Vinci in ‘Reverse Engineers’’, Buffalo News, March 2005
  • Moreno, Gean, ‘Good Titles From Bad Books’, Art Us, 2005, p.20
  • Schwabsky, Barry, ‘Shelf Life (on the art of Carol Bove)’, Artforum, January 2005, pp.164-165
  • Vanderbilt, Tom, ‘Shop After Pop’, Artforum, May 2005, pp.77 and 80
  • Smith, Roberta, ‘Looking Back At the Flurry On the Far Side’, New York Times, 10 December 2004
  • Coomer, Martin, ‘Haim Steinbach, Gimpel Fils’, Time Out, 10-17 November 2004, p.58
  • Lawson, Thomas, ‘Infotainment: Thomas Lawson on Media Moguls’, Artforum, October 2004, p.93
  • Leffingwell, Edward, ‘Haim Steinbach at Sonnabend’, Art in America, October 2004, p.154
  • Fusco, Maria, ‘Haim Steinbach’s NON’, Afterart news (Paris), Winter 2003-2004
  • Wilsher, Mark, ‘Breaking God’s Heart’, What’s On In London, December 2003
  • Güner, Fisun, ‘Art Incorporated’, Metro, May 2003, pp.26
  • Steinbach, Haim, ‘More or Less’, Der Standard, Austria, 13 May 2003. p.6-7
  • Crow, Thomas, ‘Marx to Sharks: the Art-Historical ‘80’s’, Artforum, April 2003, pp.45-48
  • Griffin, Tim, ‘Interview with Haim Steinbach’, Artforum, April 2003
  • Rimanelli, David, ‘Time Capsules 1986 – 1990’, Artforum, April 2003, p.87
  • Sharp, Amanda, ‘Amanda Sharp visits Prada and Moss with Haim Steinbach’, Frieze, April 2003, pp.50-53
  • Rimanelli, David, ‘Time Capsules 1980 – 1985’, Artforum, March 2003, p.134
  • Titz, Walter, ‘170 Tonnen Kunst im öffentlichen Raum’, Kultur, März 2003
  • Herbert, Martin, ‘Shopping: A Century of Art and Consumer Culure’ Art Monthly, February 2003, p.24 (cover)
  • Senaldi, Marco, ‘Haim Steinbach: Essenza É Apparenza’, Impackt, February 2003, pp.78-85 (cover)
  • Worth, Alexi,’The Trouble with Christian’, Artforum, March 2003, pp.242-245
  • Noble, Kate, ‘The Art of Shopping’, Time Europe, 18 November 2002, p.24
  • Drier, Melissa, ‘The Art and Splendor of Shopping’, WWD, October 2002 p.11
  • Mittringer, Markus, ‘Der Kompromiss als Zukunftswink’, Der Standard, 20 June 2002, p.31
  • Un-authored, ‘Alles ist hübsch’, Der Standard Rondo, 5 April 2002, p.6
  • ‘Survey; Art World Commentary’, tema celeste, March-April 2002, pp.72-75
  • Tansini, Laura, ‘Mediatore di Oggetti’, ARS, April 2002, pp.84-88
  • Un-authored, ‘Haim Steinbach, Galerie Hubert Winter’, artsmagazine.com, 15 March 2002
  • Hofleitner, Johanna, ‘Haim Steinbach, Galerie Hubert Winter’, Die Presse, 13 March 2002
  • Metzger, Rainer, ‘Gallerie Hubert Winter: Haim Steinbach’, Art Magazine, 3 March 2002, p.1
  • Gambari, Olga, ‘Steinbach, gli oggetti tra metafisica e pop’, La Republica, 4 February 2002
  • Parola, Lisa ‘Steinbach, il Museo dell’o Ordanario’, Torinosette, 4 January 2002
  • Un-authored, ‘Haim Steinbach’, Urban, No.5, January 2002
  • Perlo, Luisa, ‘Haim Steinbach’, Recensioni, Da Titolo, Winter 2001-2002
  • Mammi Alessandra, ‘Ressa in Galleria’ Artbox, L’Espresso, 19 December 2001
  • Curto, Guido, ‘Steinbach, un Morandi Postmoderno’, Da Tuttolibri, 15 December 2001
  • Meneguzzo, Marco, ‘Haim Steinbach, Galleria Massimo Minini, Brescia’, tema celeste, September-October 2001, p.79
  • Di Pietrantonio, Giacinto, ‘Because I Admit that I Would Like to Be Somewhere Else If and When It/He Will Come: A Meeting with Bart De Baere, Eran Schaerf, Moshe Ninio, Irit Rogoff, Haim Steinbach’, Perche, May 2001, pp.8-29
  • Matthews, Lisa; Schaller, Matthias Petrus, ‘Disordine e Immaginazione’, D la Republica della Donne, March 2001, pp.286-291
  • Di Bartolomeo, Massimiliano, ‘When Art Subverts Design’, Domus, 2001
  • Zitty, Claudia Wahjudi, ‘Steine, Porzellankatzen, Rindfleisch-Konserven: Haim Steinbach im Neuen Berliner, Kunstverein’, Kunstnippes, December 2000
  • Heartney, Eleanor, ‘An Adieu to Cultural Purity’, Art in America, October 2000, p.154
  • Griffin, Tim and Dominique Palombo, ‘Working the Room’, Smock, Fall-Winter 2000, pp.62-69
  • Muller, Dorothee, ‘Ding sucht Gesellschaft’, Süddeutsche Zeitung, No.207, 8 September 2000, p.19
  • Erfle, Anne, ‘Jeder Kitsch hat seine eigne Geschichte’, Süddeutsche Zeitung, No.206, 7-13 September 2000, p.4
  • Schneck-Sorge, Jutta, ‘Haim Steinbach: North East South West’, Kunstforum, Vol.151, July-September, pp.312-313
  • Pratesi, Ludovico, ‘Divino Castello: L’arte sugli spalti che guarda a bio’, La Repubblica, Anno7/No.28, 17 July 2000, p.IV
  • Muller, Katrin Bettina, ‘Bei Dingfamilien zu Besuch’, Die Tageszeitung, 5 June 2000
  • Ruthe, Ingeborg, ‘Wenn die Dinge reden: Der amerikanisch-israelische Objectkünstler Haim Steinbach im NBK’, Feuilleton, No.125, 30 May 2000
  • Berg, Ronald , ‘Wenn die Dinge heimlich sprechen: Im Neuen Berliner Kunstverein spielt Haim Steinbach den Vermittler’, Frankfurter Allgemeine Zeitung, No.120, 24 May 2000
  • Lambrecht, Luk, ‘Kunstgrepen’, De Morgen, 14 April 2000
  • KBM, ‘Alltagswelten’, Berlin Magazine, No.11, 25 March 2000
  • Steinbach, Haim, ‘L’arte frammentata’, Tema Celeste, January-February 2000, pp.84-85
  • Jensen, Jennifer, ‘College exhibit explore 50 years of faculty artwork’, Addison County Independent, 24 January 2000, p.3
  • Traub, Ulrich, ‘Tarzanschreie hallen durch die City’, Gmünder Tagespost (Kulturspiegel), 2000
  • Reissner, Katje, ‘Die Codes der Kannen: Ein Werk von Haim Steinbach im Neuen Berliner Kunstverein’, DerTaggesspiegel, No.17067, 2000
  • Cotter, Holland, ‘Building Histories’, The New York Times, 5 November 1999, p.E41
  • Boos, Michelle, ‘Haim Steinbach, The Ritual of Everyday’, Wall Street Reporter (Magazine), Inside Art, September 1999, pp.1 and 3-5
  • Steinbach, Haim, ‘dirty dozen* / more or less’, Intercommunication, No.30, Autumn 1999, pp.152-153
  • Beccaria, Marcella, ‘Haim Steinbach’, castellodirivoli.torino.it, 29 July 1999
  • Johnson, Ken, ‘Scripta Manent’, The New York Times, 4 June 1999
  • Steinbach, Haim, (book statement), Bookforum, Summer 1999, p.27
  • Davidson, Susan, ‘Unending Irreverence’, ARTnews, May 1999, p.147
  • Dennison, Lisa, ‘Industrial Revolution’, ARTnews, May 1999, p.134
  • Dutan, Esther, ‘Alternative View at the Haifa Museum’, Studio Art, No.101, March 1999, pp.41-44
  • Levine, Angela, ‘Who’s Afraid of Conceptual Art?’, The Jerusalem Post, 5 February 1999, p.30-31
  • Un-authored, ‘In Gray and Pink’, B’Aeer, 22 January 1999, pp.44-45
  • Skolnik, Hila, ‘Opening’, Kol Bo, Tel Aviv, Israel, 15 January 1999, pp.84-85
  • Gilerman, Dina ‘Ten in One’, H’Arretz, 14 January 1999
  • Marucci, Luciano, ‘Glocalcult’, Juliet, No.90, December 1998-January 1999; statement by Haim Steinbach, p.36-37
  • Marucci, Luciano, ‘Haim Steinbach’, Juliet, No.90, December 1998 - January 1999, pp.42-43
  • Schütz, Heinz, ‘Lifestyle’, Kunstforum International, Vol.142, October-December 1989, pp.446-448
  • Ferri, Silvia, ‘Haim Steinach’, Flash Art Italia, October-November 1998, p.142-143
  • Marucci, Luciano, ‘Spray Italy: Pesaro’, Juliet, No.89, October-November 1998, p.77
  • Barilli, di Renato, ‘Corpi sospesi conttro la gravità’, L’Espresso, 17 September 1998, p.119
  • Un-authored, ‘Steinbach, il Multimediale che Piacerabbe a Rossini’, Arte, September 1998
  • Un-authored, ‘I Manichini di Steinbach alla Galleria di Franca Mancini’, Corriere Adriatico, 11 August 1998
  • Niccolini, Lucilla, ‘Personaggi d’Opera Sognano l’Italiana’, Corriere Adriatico, 8 August 1998
  • Beil, Ralf, ‘Werbung ist das halbe Leben: Das Kunsthaus Bregenz und der ‘Lifestyle’’, Neue Zürcher Zeitung, 8 August 1998
  • Tozer, John, ‘Haim Steinbach’, Art Monthly, May 1998, p.28-29
  • Verzotti, Giorgio, ‘Reviews, Vienna: Haim Steinbach, Museum Moderner Kunst’, Artforum, May 1998, pp.157-158
  • Arnold, Venna, ‘Review: Winchester School of Art’, ViewPoint, 30 April 1998, p.11
  • Gorsen, Peter, ‘Was die Dinge erzählen: Ready-mades im Regal: Haim Steinbach in Southampton’, Frankfurt Allgemeiner Zeitung, 7 April 1998, p.44
  • Searle, Adrian, ‘All Played Out’, The Guardian, 7 April 1998, p.10-11
  • Gennari, Maurizio, ‘Caro Amico ti Scrivo. Tuo Rossini’, Il Giorno, 4 August 1998
  • Zeleznik, Adela, ‘Successful Art Marks Time: An Interview With Haim Steinbach’, M’ARS Centre for Contemporary Arts (Moscow), x/3, April 1998, pp.1-16
  • Thompson, Patricia, ‘Gallery Scoops a Steinbach UK First’, The Daily Echo, 7 March 1998
  • O’Shaughnessy, Sally, ‘Shelf Life’, The Latest, March 1998
  • Schor, Gabriele, ‘Am Nullpunkt der Kunst: Haim Steinbach in Wien’, Neue Zürcher Zeitung, No.2, 5 January 1998
  • Un-authored, ‘Wiener Museen’, Memo, January 1998, p.6
  • Hollander, Vera, ‘Making the Connection’, Bezalel News: Bulletin of the Friends of Bezalel Academy of Arts and Design, Vol.10, No.4, 1998, p.9
  • Horny, Henriette, ‘Die Wunderkammer eines kühlen Denkers’, Kurier, 22 December 1997
  • Borchhardt-Birbaumer, Brigitte, ‘Die neue Aura serieller Ordnungen; Zwanz’ger Haus: Arbeiten von Haim Steinbach’, Weiner Zeitung, 21 December 1997
  • Schwendener, Martha, ‘Haim Steinbach’, Time Out (New York), No.115, 4-11 December 1997, p.55
  • Un-authored, ‘Haim Steinbach’, Vernissage, No.12, December 1997
  • Un-authored, ‘Haim Steinbach’, Falter, No.50, December 1997
  • Amiel, Petra, ‘Haim Steinbach: 20er Haus, Wien’, Noëma, December 1997, p.90
  • Reininghaus, Alexandra, ‘Wein: Haim Steinbach, Studien zur Soziologie des Bügelbretts’, Art (Das Kunstmagazin), No.12, December 1997, pp.98-99
  • Sotriffer, Kristian, ‘Auf der Alltagswelt-Baustelle’, Die Presse, 27 November 1997
  • Melchart, Erwin, ‘Wann ist etwas ‘Kunst’?’, Neue Kronen Zeitung, 22 November 1997
  • Hofleitner, Johanna, ‘Von der subjektiven Wertzuschreibung’, Die Presse, 14 November 1997
  • Krumpl, Doris, ‘Postfreudianisches auf der Couch’, Der Standard, 11 November 1997
  • Hofleitner, Johanna, ‘Das weite Feld der Psychoanalyse beackern’, Die Presse, 11 November 1997, p.26
  • Un-authored, ’Kunst: Haim Steinbach’, Vogue (Munchen), November 1997
  • Mittringer, Markus, ‘Wählen und Ordnen Steinbach im 20er Haus’, Der Standard, November 1997, p.9
  • Marucci, Luciano, ‘Biennale Documenta, e altre storie’, Juliet, No.84. October-November 1997; statement by Haim Steinbach p.26
  • Weh, Vitus H., ‘Zeitreisen im Tuk-Tuk-Taxi: Haim Steinbach’, Stadtzeitung Wein Falter, Week 49, Illustrierte Neue Welt, No.10, October 1997, p.1-3
  • Träger, Wolfgang, ‘Biennale Venedig’, Kunstforum, Vol.138, September-November 1997, p.409
  • Un-authored, ‘Kunst: Wien; Haushaltskunst’, Architektur & Wohnen, June 1997, p.184
  • Conti, Tiziana ‘Futuro Presente Passato 1967-1997; Haim Steinbach’, Tema Celeste, May-June 1997, p.67 and 72
  • Felicetti, Gianluca, ‘Morire per una mostra’, La Repubblica, 1 May 1997
  • Branzi, Andrea, ‘Un neo-classicimo imperfetto’, Tema Celeste, May-June 1997, p.49 and 50
  • Danto, Arthur, ‘Stile, narrazione e post-Storia; conversazione tra Arthur Danto, Demetrio Paparoni e Mario Perniola’, Tema Celeste, May-June, p.40
  • Detheridge, Anna, ‘Visioni inattuali della citta selva’, Il Sole - 24 Ore, No.115, 27 April 1997, p.32
  • Malara, Giuseppe, ‘Quindici criceti sacrificiati per una mostra’, Il Tempo, 26 April 1997
  • Pieroni, Augusto, ‘La natura della citta’, Liberazione, 26 April 1997, p.26
  • Un-authored, ‘Criceti ‘opera d’arte’ denuncia della Lav’, La Repubblica, 24 April 1997
  • Di Genova, Arianna, ‘Giardino di cemento: Haim Steinbach, La serra rumorosa dei media’, il manifesto, 23 April 1997, p.24
  • Pacifico, Maya, ‘Napoli per l’arte’, Next, No.38, Spring 1997 p.55
  • Barucco, Simona ‘Recensioni; Haim Steinbach, Lia Rumma’, Flash Art Italia, No.202, February-March 1997, p.113
  • Pratesi, Ludovico, ‘Haim Steinbach da Lia Rumma’, Artel, 17 January 1997, p.8
  • Caroli, Ela, ‘Steinbach, il sottile potere dei nostri feticci qoutidiani’, L’Unita, 13 January. 1997
  • Chambers, Christopher, ‘December Picks: Haim Steinbach at Sonnabend Gallery’, NY Arts (magazine), No.16, December 1996-January 1997
  • Un-authored, ‘Art News: Steinbach, Anzinger, Gonzales-Torres at the Museum Moderner Kunst Stiftung Ludwig Wien’, Art International, Vol.37, 1997
  • Pratesi, Ludovico, ‘Archaeologie D’Oggi’, Quadri & Sculture, December 1995-January 1996
  • Cristov-Bakargiev, Carolyn, ‘In contemplazione della formica’, Il Sole, 24 Ore, 15 December 1996, p.32
  • Curto, Guido, ‘Haim Steinbach: Castello di Rivoli’, Flash Art (Italia), December 1995-January 1996
  • Barucco, Simona, ‘Esperienza d’artista’, Il Giornale Di Napoli, 29 November 1996
  • Cicelyn, Eduardo, ‘L’arte, il gioco delle allegorie’, Il Mattino, 26 November 1996, p.14
  • Trimarco, Angelo, ‘La mensola sul pentagramma’, Il Mattino, 26 November 1996, p.14
  • Rohr-Bongard, Linde, ‘Capital Kunst Kommpass 1996 — Die 100 Größten’, Capital, November 1996, p.276
  • Budney, Jen, ‘Haim Steinbach: Naked in the Nineties’, Flash Art International, November-December 1996, pp.88-92
  • Steinbach, Haim, ‘The Hall of Antiquities’, The New York Times (magazine), 29 September 1996; installation project, with text by Jane and Michael Stern, pp.112-113
  • Conti, Tiziana, ‘Haim Steinbach; Castello di Rivoli, Torino’, Tema Celeste, Winter 1995-1996
  • Marten, Blair, ‘The Museum Gaze: Haim Steinbach at the W.A.G.’, The Plug In Harold; Winnipeg’s (art magazine), June 1996, p.14
  • Lütticken, Sven,’De einden van de kunstgeschiedenis’, De Witte Raaf, No.61, May-June 1996, p.3
  • Gauthier, Michel, ‘Le rapport expositionel (a propos des objets sur étagères de Haim Steinbach)’, Art Presence, No.18, April-May-June 1996, pp.12-31
  • Steinbach, Haim, Excerpt in ‘Everything That’s Interesting is New’, Flash Art Italia, April-May 1996, p.73
  • Politi, Giancarlo, ‘Lettere: Dal Realismo al Reale’, Flash Art (Italia), April-May 1996, pp.47-48
  • Budney, Jen, ‘Haim Steinbach’, Flash Art Italia, April-May 1996, pp.54-57 (cover)
  • Serlenga, Lucia, ‘Strenesse Group, Partendo dall’Italia’, Fashion, 8 March 1996, p.90
  • Hainley, Bruce, ‘All the Rage: The Art/Fashion Thing’, Artforum, March 1996, pp.77-78
  • Marucci, Luciano, ‘Haim Steinbach’, Juliet, No.76, February-March 1996, p. 36- 37
  • Un-authored, ‘Carmencita, sei gia mia!’, Vernissage supplement to Il Giornale Dell’Arte, February 1996
  • Bortolotti, Maurizio, ‘Haim Steinbach: review of Charta/Rivoli catalogue’, Domus, February 1996, p.116
  • Pasini, Francesca, ‘Primavera d’arte: Con i mecenati rifiorisce Torino’, Il Secolo XIX, 2 January 1996
  • De Chassey, Eric, ‘Visite Trés Privee Chez Les Plus Grands Collectioneurs’, Beaux Arts, No.141, January 1996, pp.56-57
  • Un-authored, ‘Vogue bei...Strenesse’, Vogue (German), January 1996, p.210
  • Un-authored, ‘Oggetto e contesto’, Gap Casa, January-February 1996, p.32
  • Bertoni, Mario, ‘Bagnoli Pistoleto, Steinbach, Neuhaus, Kapoor, Icaro; Assonanze di fine secolo’, Segno, January-February 1996, p.19-21
  • Zevi, Adachiara, ‘Haim Steinbach’s Incongruous Relationships’, L’Architettura, XLII, 1996, p.312-314
  • Steinbach, Haim, ‘&, we thought of everything’, slogan project for Permanent Food 2, 1995
  • Steinbach, Haim, ‘you don’t see it, do you?’, Grand Street, Vol.53, 1995, pp.249-256
  • Marziani, Gianluca, ‘Feticci sulle tombe murali’, L’Opinione, 21 December 1995
  • Un-authored, ‘Steinbach, o l’allegoria della contemporanità’, Messagero Veneto, 19 December 1995
  • Gandini, Manuela, ‘Gli oggetti cosi alieni del caos quotiditiano firmati da Haim Steinbach’, Il Giorno, 16 December 1995
  • Robertazzi, Di Silvia; ‘Un israeliano al Castello di Rivoli’, Elle Decor, December 1995, p.149
  • Un-authored, ‘L’arte va di moda: Un’installazione-passerella ideata da Steinbach per Strenesse’, Il Giornale Dell’Arte, No.139, December 1995
  • Un-authored, ‘Oggettualità sonora e sonorita virtuale: Haim Steinbach e Max Neuhaus’, Vernissage supplement to Il Giornale Dell’Arte, No.139, December 1995
  • Curto, Guido, ‘Recensioni; Haim Steinbach, Castello di Rivoli’, Flash Art (Italia), No.195, December 1995 - January 1996, p.116
  • Zevi, Adachiara, ‘Merce fatta ad arte: Scarpe a tazze. Da collezionare’, Corriere Della Sera, 20 November 1995
  • Roso, Marco, ‘Steinbach e Neuhaus gli estremi si toccano’, La Stampa, 6 November 1995
  • Vettese, Angela, ‘Caravanserraglio Arte Contemporanea’, domus, November 1995, pp.69-70
  • Manetas, Miltos, ‘Haim Steinbach: Strenesse Group Showroom’, Flash Art, No.185, November-December 1995, pp.137-138
  • Un-authored, ‘Spotlight on Art’, Mondo Uomo, No.88, November-December 1995, p.14
  • Vinella, Maria, ‘Pescara, Fuori Uso’, Juliet, No.74, October-November 1995, p.70
  • D’Arrigo, Laura, ‘In due al Castello’, Luna Nuova, 31 October 1995
  • Di Genova, Arianna, ‘Mi metto in mensola’, L’Espresso, No.43, 29 October 1995, p.132
  • Misuraca, Giuseppe, ‘Le installazione e il suono’, Luna Nuova, 27 October 1995
  • Levi, Paolo, ‘Al supermarket di Haim Steinbach’, La Repubblica, 26 October 1995
  • Paglieri, Marina, ‘L’Agenda Di Oggi: Da Vedere’, La Repubblica, 26 October 1995
  • Un-authored, ‘Lo scultore Steinbach tra abiti e spruzzi’, La Repubblica, 13 October 1995
  • Vettese, Angela, ‘A Oguno il Suo Museo; Incontro con Haim Steinbach, Artista Che Non Crea Ma Seleziona’, Il Sole - 24 Ore, 8 October 1995, p.31
  • Alfonsi, Maria Vittoria, ‘La moda italiana s’esalta sotto le luci del cinema’, Bresciaoggi, 5 October 1995
  • Meneguzzo, Marco, “Memorie di minimaalisti sull’altare della quoditianà’, Avvenire, October 1995
  • Un-authored, ‘L’Evoluzione Di Strenesse Group: L’arte di essere molto speciale’, La Nazione, October 1995
  • Drolet, Owen, ‘Construction in Process V’, zingmagazine, Autumn 1995
  • Volk, Gregory; ‘Drawing on the Desert for a ‘Utopian’ Art Show’, Forward, 19 May 1995, p.9-10
  • Cuvelier, Pascaline, ‘Canape, table, frigo meublent l’art moderne’, Liberation, 15 May 1995, p.28
  • Un-authored, ‘In the Field’, STUDIO (art magazine), May 1995, p.7
  • Levin, Kim, ‘Galleries: Eadweard Muybridge, Michael Snow, Haim Steinbach’, The Village Voice: Voice Choices, 14 March 1995, p.9
  • Karmel, Pepe, ‘Art in Review: Haim Steinbach’, The New York Times, 3 March 1995
  • Halle, Howard, ‘Haim Steinbach’, Grand Street, Vol.53, 1995, pp.249-256
  • Bayliss, Sarah, ‘Construction in Process’, World Art, Vol.3, 1995, p.86, 88
  • Jones, Bill, ‘Michael Snow: Memories of Overdevelopment’, Trans>art.culture.media, Vol.1, No.1, 1995, p.73
  • Un-authored, ‘Speciale Anteprima: Fuori Uso ‘95’, Segno, No.141, 1995, p.22
  • Un-authored, ‘Hundreds of My Favorite Things’, Drilt Collector’s Newsletter, November 1994, p.182
  • Un-authored, ‘Elefantenfüße; Die Sammlung stört nicht: ‘Private mix’ in der Galerie eigen + art’, Der Tagesspiegel, 8 May 1994
  • Schöllhammer, Georg, ‘Über die Leere zwischen den Dingen’, Der Standard, 22 March 1994, pp.11
  • Juliet, No.66, February-March 1994; portrait of Haim Steinbach by L. Marucci
  • Decter, Joshua, ‘Haim Steinbach’, Journal of Contemporary Art, Winter 1993, p.108-117
  • Madlener, Elisabeth and Kurt Kladler, ‘Das Fremde—Der Gast’, Kulturbericht, 10 October 1993
  • Schwaner, Birgit, ‘Wer nicht dazugehört... ‘Das Fremde - Der Gast’: durch eine Austellung im Offenes Kulturhauus Linz’, Wiener Zeitung, 1 October 1993
  • Tager, Alisa; ‘Haim Steinbach: Sonnabend”, ARTnews, October 1993, p.160
  • Decter, Joshua, ‘Haim Steinbach: Sonnabend’, Artforum, October 1993, p.88
  • Stocklinger, Andreas, ‘Die moralische Rute im Fenster’, Der Standard, 28 September 1993
  • Thor, Rainer, ‘Gestalt geworden Spekulationen: Ausstellung im Offenen Kulturhaus, ‘Das Fremde–Der Gast’’, Kronenzeiktung, 21 September 1993
  • Cotter, Holland, ‘Galleries in Review:‘Haim Steinbach: Sonnabend Gallery’’, Critics Choice, July 12, Vol. 1, No. 20
  • Marucci, Luciano, ‘Incontro alla XLV Biennale D’arte di Vienza, L’obiettivo > di Di Paolo é all’opera’, Corriere Adriatico, 27 June 1993
  • Cotter, Holland, ‘Haim Steinbach: Sonnabend Gallery’, The New York Times, 25 June 1993
  • Levin, Kim, ‘Haim Steinbach / Voice Listings’, TheVillage Voice, 1 June 1993, p.72
  • Un-authored, ‘Goings on About Town: Haim Steinbach’, The New Yorker, June 1993
  • Bekkers, Ludo, ‘Het ‘Rendez-Vous’ Van Jan Hoet’, Kunstbeeld, No.5, May 1993
  • Bornstein, Lisa, ‘Haim Steinbach Gets a Shelf at the Guggenheim’, Forward, 2 April 1993, p.11
  • Un-authored, ‘Pleasure from Quotation’, Bijutsu Techo, March 1993
  • Gimelson, Deborah, ‘Painting by Numbers’, Mirabella, February, No.45, pp.40-43
  • Träger, Wolfgang, ‘Biennale Venedig ‘93’, Kunstforum International, No.124, 1993, p.316
  • Schenk-Sorge, Jutta, ‘Osmosis: Eine Gemeinschaftsarbeit von Ettore Spallettie und Haim Steinbach’, Kunstforum International, Vol.123, 1993, p.377
  • Hettig, Frank Alexander, ‘no rocks allowed’, Kunstforum International, No.121, 1993, pp.452
  • Kravagna, Christian, ‘Das Fremde - der Gast’, Kunstforum International, No.124, 1993, pp.398-9
  • Bechtloff, Dieter, ‘Kunst und Humor 2’, Kunstforum International, No.121, 1993, pp.221
  • Cosemans, Catherine, ‘Conversation with Haim Steinbach’, Kunst & Museum Journal, Vol.4, No.4, 1993, pp.35-41
  • Welling, Dolf, ‘‘Ontastbare kunst’ in Witte de With’, Dagblad, Rotterdam, 10 November 1992
  • Schenke, Menno, ‘Jonge Kunst Blijft Spannend’, Algemeen Dagblad, 6 November 1992
  • Wilson, Andrew, ‘Refusing to Surface’, Art Monthly, November 1992, p.20-21
  • Jacobs, Cornee, ‘Grijs en grauw en overal is water’, Utrechts Nieuwsblad, 30 October 1992
  • Tilroe,Anna, ‘Waterstanden Van Gisteren in Witte de With’, De Volkskrant, Rotterdam, 30 October 1992
  • Macmillan, Kyle, ‘‘Eclectic’ Describes New Show: Exhibition Opens at Sheldon’, Omaha World Herald, 16 October 1992, pp.43, 51
  • Batchelor, David, ‘Almost Everything is Available’, Frieze, October 1992
  • Maiwald, Walther, ‘Te Water’, Magazijn, No.218, October 1992, pp.16-17
  • Decter, Joshua, ‘Haim Steinbach’, Journal of Contemporary Art, Fall, 1992, p.114-122
  • Geerling, Let, ‘Zondeval’, Metropolis (magazine), No.4, August 1992
  • Levin, Kim, ‘Jan Who? Docu What?’, The Village Voice, 14 July 1992, pp.95-96
  • Marcade Bernard, ‘Jan Hoet Denys Zacharopoulos, propos sur une Documenta’, Art Press 70, June 1992, p.11-18
  • Braet, Jan, ‘Ronden Rond de Toren’, Knack (magazine, Belgium), May. 1992
  • Aillaud, Charlotte, ‘Shopping in Paris with Francois Catroux’, Architectural Digest, May 1992, pp.62-69
  • Steinbach, Haim, (reproductions only), Arti (Athens), Vol.10, May-June-July 1992, pp.117 and 138
  • Steinbach, Haim, ‘beep, honk, toot.’ Tema Celeste (international edition), No.34, January-March 1992, pp.85
  • Francblin, Catherine, ‘Yvon Lambert, des oevres a soi’, Art Press 165, January 1992, pp.26-30
  • Un-authored, ‘Yvon Lambert, Choix Reserve’, Connaissance des Arts, No.479, January 1992, pp.59-67
  • Decter, Joshua, ‘Haim Steinbach’, Arts, Vol.66, No.5, January 1992, pp.80
  • Brock, Hovery, ‘Haim Steinbach: Jay Gorney’, ARTnews, Vol.91, No.1, January 1992, p.l26.
  • Adcock, Craig, ‘After Duchamp’, Tema Celeste, No.36, Summer 1992, pp.50-53
  • Un-authored, ‘Schrager Mondwandler’, Der Spiegel, No.21, 1992
  • Kunz, Martin, ‘USA - Blickpunkt Eastcoast’, Kunstforum International, No.119, 1992, pp.169
  • Dank, Ralf (ed.), ‘>>documenta als Motor<< – Kommentare von Jan Hoet’, Kunstforum International, No.119, 1992, pp.438-441
  • Maharaj, Sarat, ‘Pop Art’s Pharmacies: Kitsch, Consumerist Objects and Signs, the ‘Unmentionable’’, Art History, Vol.15, No.3, 1992, p.337, 341
  • Floyd, Phylis, ‘An Interview with Haim Steinbach’, Kresge Art Museum Bulletin (Michigan State University), Vol.VII, 1992
  • Steinlechner, Carin, ‘Billige Ziernaht an der Lederhose’, Munchner Merkur, No.285, 11 December 1991, p.9
  • Levin, Kim, ‘Voice Choices’, The Village Voice, 21 November 1991
  • Smith, Roberta, ‘Haim Steinbach’, The New York Times, 8 November 1991
  • Un-authored, ‘Goings on About Town’, The New Yorker, 1 November 1991
  • Larson, Kay, ‘Getting Physical’, New York (magazine), November 1991
  • Un-authored, ‘Il cambio d’identita e ALTROVE’, Il Tirreno, cronaca di Prato (Italy), 10 October 1991
  • Hall, Charles, ‘The Legacy of Pop’, Arts Review (London), 4 October 1991, pp.492-493
  • Hayt-Atkins, Elizabeth, ‘It’s Art by Fax and Phone’, Elle Decor, No.l8, October 1991, pp.42-44
  • Johnson, Ken, ‘Haim Steinbach’, Art in America, October 1991, pp.202-203
  • Kent, Sarah, ‘Objects for the Ideal Home’, Time Out, No.1101, London, 25 September- 2 October 1991
  • Un-authored, ‘Pop Art Today’, The News Line (London), 21 September 1991, pp.10
  • Collings, Mathew, Art reviews, City Limits (London), 19 September 1991
  • Craddock, Sacha, ‘Bear Essentials’, The Guardian, 19 September 1991
  • Feaver, William, ‘Hellbent descent into the funfair’, Observer, 15 September 1991
  • Schneider, Greg, ‘Pondering the Past’, Artweek, 5 September 1991, pp.11
  • Un-authored, ‘Eat your heart out, Andy’, New Statesmen & Society (London), September 1991, pp.29-30
  • Taylor, Paul, ‘Soho’s Avant Guardian’, Connoisseur, Vol.221, No.956, September 1991, pp.16-22
  • Arbasino, Alberto, ‘Metropolis il tempio dei mercanti’, Il Venerdi di Repubblica, No.l77, Rome, 28 June 1991, p.l06
  • Lingner, Michael, ‘Haim Steinbach/Strategien Asthetischen Handelns II: Imaginarer Gebrauch’, Kunst + Unterricht, June 1991, pp.l4-l5
  • Messler, Norbert, ‘Berlin: Metropolis’, Artforum, Vol.XXIX, No.l0, Summer 1991
  • Legros, Herve, ‘Haim Steinbach’, Beaux Arts (magazine), No.90, May 1991, pp.96-97
  • Koskina, Katerina, ‘Metropolis: Setting the Stage?’, Arti, Art Today, Vol.5, May-June 1991, pp.ll5-l27
  • Zellien, Werner; ‘Metropolis/Fotodokumentation’, Kunstforum, No.ll3, May-June 1991
  • Hicks, Alistair, ‘Metropolis - or Necropolis?’, Art & Auction, May 1991
  • Un-authored, (interview), Bijutsu Techo, Vol.43, No.637, May 1991
  • Camard, Florette, ‘Jean Pierre Raynaud and Haim Steinbach’, Galleries (magazine), No.42, April-May 1991, pp.94-103
  • Hahn, Otto, (review of exhibition at Yvon Lambert), L’Express, No.2077, 25 April-1 May 1991, p.43.
  • Albig, Jorg-Uwe, ‘Kleiner Beitrag zu einem Traum’, Stern(Hamburg), No.l7/9l, 18 April 1991, pp.232-233
  • Van Mulders, Wim, ‘Knight en Steinbach neefjes van Duchamp?’, Kunst & Cultuur, April 1991, pp.40-43
  • Schilling, Antigone, ‘Rumors: Japan’, Vogue (Hommes International Mode), No.13, Spring 1991
  • Dreher, Thomas, ‘Haim Steinbach, The Exotic of the Familiar’, Artefactum, No.37, February-March 1991, pp.24-29
  • Un-authored, ‘Reproduced Authentic’, Switch (Japan), February 1991
  • Brown, Azby, ‘Reproduced Authentic’, Artforum, February 1991, p.141
  • Dannatt, Adrian, ‘Vertigo’, Flash Art, January 1991
  • Un-authored, ‘Art in the Age of Fax’, Asahi Evening News, 1991
  • Muller, Hans-Jurgen, ‘We Can Put You on the Waiting List’, Kunstforum, November-December 1990
  • Levin, Kim, ‘Haim Steinbach: signes de progres/objets contradictoires’, Artstudio, Winter 1990
  • Gutterman, Scott, Art International, Autumn 1990, p.58-59
  • Taylor, Paul, ‘SOHO’s Avant-Guardian’, Connoisseur, Vol.221, No.956, September 1990, pp.16-22
  • Un-authored, ‘Aufstand gegen den guten Geschmack’, Art, September l990, p.37
  • Marriner, Robin, ‘Signs of the Times: Sculpture as Non-Specific Objects: The work of Koons and Steinbach’, Art Monthly, July-August 1990
  • Prest, Veronique, ‘Carnet de Bale’, Beaux Arts, June 1990, p.l74
  • Levin, Kim, ‘Choices’, Village Voice, 15 May 1990
  • Cameron, Dan, ‘Haim Steinbach’, Art Today, Arts Video New Service (N.Y.), Vol.II, No.5, May 1990
  • Collins, Tricia, and Richard Milazzo, ‘McDonald’s in Moscow and the Shadow of Batman’s Cape’, Tema Celeste, No.25, April/June 1990, pp.35-37
  • Curtis, Cathy, ‘There’s Art in Arrangement of Everyday Objects’, L.A. Times Calendar, 15 April l990
  • Curtis, Cathy, ‘Three Sculptors Discuss the Art of OBJECTives’, Los Angeles Times (Orange County Edition), 10 April 1990
  • Rimanelli, David, ‘Desires: Artists Buys his Work at Store’, Interview (magazine), Vol.XX, No.4, April 1990, p.62
  • Un-authored, ‘Che cosa vuole diventare il Guggenheim’, Il Giornale Dell’Arte, No.79, June l990, p.42
  • Senaldi, Marco, ‘The Joker’s Apology and Disclaimer’, Flash Art, March-April 1990, p.129
  • Steinbach, Haim, ‘once’, slogan project, Artforum, March 1990
  • Celant, Germano, ‘Unexpressionism, Art Beyond the Contemporary’, Art and Design, New Art International, 1990, pp.31-41
  • Steinbach, Haim, (project and interview), Pataphysics (Melbourne, Australia), G/H, 1990
  • Gilbert-Rolfe, Jeremy, ‘The Price of Goodness’, Artscribe, November-December l989
  • Graw, Isabelle, ‘Wittgenstein, the Game of the Unsayable’, Flash Art, November-December 1989
  • Ziegler, Ulf Erdmann, ‘Nach Ganz Fest Kommt Ganz Lose’, Taz, 15 November 1989, p.13
  • Un-authored,’Bordeaux invite Steinbach’ Evasions, Paris, Winter l988-l989
  • Soutif, Daniel, ‘Found and Lost, On the Object in Art’, Artforum, October l989
  • Bosetti, Petra, ‘Hamburg: D & S; Asthetik aus der Welt der Waren’, Art, October 1989, pp.138-139
  • Pasini, Francesca, ‘'Inespressionisti’ ma non lo dimonstrano’’, Il Secolo XIX, Giovedi, 14 September 1989, pp.7
  • Gaver, Eleanor, ‘The Big Sleep’, Art and Antiques, September l989, pp.65-68
  • Rubin, Jane, ‘Haim Steinbach and Dennis Adams, Alan Belcher, Jennifer Bolande’, Art Issues, No.6, September 1989, p.23.
  • Curtis, Cathy, (review of exhibition at Margo Leavin), Los Angeles Times, 9 June 1989
  • Avgikos, Jan, ‘The Binational’, Artscribe, Summer 1989
  • Taylor, Paul, ‘Haim Steinbach: An Easygoing Aesthetic That Appeals to the Flaneur in Many of Us’, Flash Art, No.l46, May/June 1989, pp.l33-l34
  • McKenna, Kristine, ‘In the Footsteps of Warhol’, L.A. Times Calendar, 7 May 1989
  • (interview), Bijutsu Techo (Japan), Vol.4l, No.609, May 1989, pp.l3 - 3l
  • Jeannot, Francois, ‘Haim Steinbach - Galerie Yvon Lambert’, New Art International, May 1989
  • Kuspit, Donald, ‘Breakfast of Duchampians’, Contemporanea, May l989, pp.68-73
  • Clearwater, Bonnie, ‘Consensus ‘88,’ Art Issues, No.3, April 1989
  • Siegel, Jeanne, ‘Suits, Suitcases and Other Look-Alikes’, Arts Magazine, April 1989, pp.70-75
  • Cornand, Brigitte, ‘Inexpressionniste ou Deconstructionniste’, Actuel, No.ll8, April 1989, pp.l44-l53
  • Un-authored, ‘Exhibition Update: Hybrid Neutral’, I.C.I. Newsletter, Vol.4, No.2, Spring-Summer 1989
  • Arnaudet, Didier, ‘Haim Steinbach, CAPC, Bordeaux’, Contemporanea, Vol.II, No.2, March-April 1989
  • Smith, Roberta, ‘Natura/Naturata (An Argument for Still Life)’, The New York Times, 10 March l989
  • Perrault, John; ‘Through a Glass Darkly’, Artforum, March 1989
  • Marter, Joan, ‘The World Financial Center: ‘The New Urban Landscape’’, Arts Magazine, March 1989
  • Arnaudet, Didier, ‘Haim Steinbach’, New Art (Paris), February-March 1989
  • Soutif, Daniel, ‘Steinbach: la cle Duchamp’, Liberation, Paris, 8 February 1989
  • Pelenc, Arielle, ‘Haim Steinbach, CAPC Musee d’art contemporain’, Art Press, No.l33, February 1989, p.62.
  • Fernandez, Horacio, ‘Haim Steinbach, El Languaje de los Objetos’, El Europeo (Madrid), February 1989
  • Schwartzmann, Allan, ‘Corporate Trophies’, Art in America, February 1989
  • Un-authored, ‘Les etageres de Steinbach’, Glamour, Paris, February 1989
  • Leigh, Christian, ‘Art on the Verge of a Nervous Breakdown’, Contemporanea, Vol.II, No.1, January-February 1989
  • Un-authored, Gai Pied (Paris), 10 January 1989
  • Plagens, Peter, ‘Under Western Eyes’, Art in America, January 1989
  • Arnaudet, Didier, ‘Haim Steinbach de l’objet manufacture a l’objet de collection’, Gironde (magazine), January 1989
  • Un-authored, ‘objet de consommation dans l’art, C.A.P.C., Haim Steinbach’, Bordeaux Mensuel, January 1989
  • Manor, Dalia, ‘Haim Steinbach: Still Life’, Kav (Israel), January 1989
  • Moreau, Catherine, ‘Haim Steinbach’, Beaux Arts, 1989, p.92
  • Steinbach, Haim, ‘fresh once upon a time’, De Rijksdakademie, Amsterdam, September 1989, p.ll
  • Steinbach, Haim, ‘get out of the dark’, Flash Art, Russian Edition, No.l, l989, pp.70-7l
  • Compton, Michael, ‘Pop Art II - Jeff Koons and Co’, Art and Design Profile l6: New York, New Art, 1989
  • Leigh, Christian, and Octavio Zaya, ‘The silent Baroque’, Balcon, No.5/6, 1989, pp.46-62.
  • Un-authored, ‘Haim Steinbach: Works’, Spazio Umano / Human Space, No.2, 1989, pp.76-79
  • Un-authored, Spazio Umano / Human Space, No.4, 1989
  • de Saint-Do, Valerie, ‘Les Objets du Derisoire’, Le Courrier Francais, 30 December 1988
  • Un-authored, ‘Archeologue de la Consommation’, Elle (Paris), 26 December 1988
  • Baldewyns, Claire, L’Evenement (Paris), 13 December 1988
  • Espagnet, Patrick, ‘Derisoire derision de Panchounette’, Sud-Ouest, 10 December l988
  • Dallay, Willy, ‘Le jeu de miroirs de Steinbach’, Sud-Ouest, 10 December l988.
  • Dallay, Willy, ‘Steinbach, temoin de notre temps’, Sud-Ouest, 9 December 1988
  • Un-authored, ‘Artists Talk, Flash Art News, Supplement No.l43, November-December 1988
  • Smith, Roberta, ‘A Wide Ranging Spread of Artists and Installations’, The New York Times, 15 November 1988
  • Hess, Elizabeth, ‘Captives of Industry’, The Village Voice, 15 November 1988
  • Verzotti, Giorgio, ‘The Object in the Gallery’, Lei (magazine), October 1988
  • Leigh, Christian, ‘Haim Steinbach at Jay Gorney Modern Art’, Artforum, October 1988, pp.143-144
  • Kuspit, Donald, ‘The Modern Fetish’, Artforum, October 1988
  • Taylor, Paul, ‘Object Lessons’, House and Garden, October 1988
  • Morgan, Robert, ‘Haim Steinbach at Jay Gorney Modern Art’, Flash Art, October 1988, pp.128-129
  • Morgan, Robert, ‘The Spectrum of Object-Representation’, Arts, October 1988, p.78-80
  • Dreher, Thomas, ‘New York in View, Munchen, Kunstverein’, Artefactum, September-October 1988
  • Pelenc, Arielle, ‘la consommation de l’art ou l’art de la consommation’, Art Press (Paris), September 1988
  • Langsfeld, Wolfgang, ‘Ruckwartsdrehende Uhren’, Süddeutsche Zeitung, No.56, August 1988
  • Koniger, Maribel, ‘Nippes aus Stahl im Kaufhaus ‘Kunst’’, Mittelbayerische Zeitung Regensburg, July 1988
  • Bochner, Mel, ‘Ileana Sonnabend’, Galleries (magazine), June-July 1988
  • Smith, Roberta, ‘Haim Steinbach at Jay Gorney Modern Art’, The New York Times, 5 June 1988
  • Perretta, Gabrielle, ‘Haim Steinbach’, Juliet (art magazine), June 1988, pp.14 and 32
  • Czoppan, Gabi, ‘Gallerie, New York Im Auge’, Munchner Stadtzeitung, June 1988
  • Jones, Ronald, ‘Hover Culture’, Artscribe Summer, 1988, pp.46-51
  • Blase, Christoph, ‘Schlaf und Stress der Vernunf’, Wolkenkratzer Art Journal, No.3, May-June 1988, p.54- 55
  • Joselit, David, ‘Investigating the Ordinary’, Art in America, May 1988, pp.149-55
  • Czoppan, Gabi, ‘Fussballelf und Eishockeypuck, Das Skulpturenprojekt Durr’, Munchner Stadtzeitung, May 1988, p.152
  • Cotter, Holland, ‘Haim Steinbach: Shelf Life’, Art in America, May 1988, p.156-163
  • Schwarze, Dirk, ‘Das Kasseler Museum Fridericianum als Kunsthalle, Eine zu stille Ausstellung’, HNA Kultur, April
  • Un-authored, ‘Trend, Warhol Entlasst Seine Kinder’, lui, April 1988
  • Nemeczek, Alfred, ‘Geduldig den Augenaufschlag abwarten’, Art, No.4, April 1988, pp.30
  • Wehlte-Hoschele, Martina, ‘Die Moderne träumt von sich ‘Schlaf Vernunf’ Gegenwartskunst in Kasseler Museum Fridericianum’, Frankfurter Allgemeine, No.86, April 1988
  • Van der Ploeg, Kees, ‘De opgegraven toekomst, Nieuwe kunst uit New York’, Akt over Kunst 39, April 1988
  • Morgan, Stuart, ‘School of Athens’, Artscribe, March-April 1988
  • Christov-Bakargiev, Carolyn, ‘Spotlight: Haim Steinbach -Staging the Illusion of Fake’, Flash Art, March-April 1988, p.104.
  • Un-authored, ‘Eine neue Volkskunst?’, Suddeutsche Zeitung, No.76, March-April 1988
  • Deitch, Jeffrey, ‘Geometrie Culturali’, Flash Art ( Italy), March-April 1988, pp.50-52
  • Bode, Peter M., ‘Kunst mit vier Staubsaugern’, Abendzeitung, 5-6 March 1988
  • Bruderlin, Marcus, ‘Konsum-Seelen-Strip’, Kleine Zeitung, March 1988
  • Beuth, Reinhard, ‘Gartenschlauch, Scherzartikel und Staubsauger’, Die Welt, No.52, March 1988
  • Prestele, Charly, ‘Die kalte Ironie der Verfuhrung’, Mannheimer Morgen, March 1988
  • Schmitz, Rudolf, ‘Kunst in ‘Verpuppungszustand’’, Handelsblatt, No.62, March 1988
  • Schwartze, Dirk, ‘'Schlaf der Vernunf’ im Kasseler Museum Fridericianum, Zwischen den Stilen’, HNA Kultur, March 1988
  • Karcher, Eva, ‘Auf dem Vormarsch’, Munchner Theaterzeitung, March 1988
  • Hegewisch, Katharina, ‘Gefuhl gegen Kalkul’, Frankfurter Allgemeine Zeitung, No.55, March 1988
  • Faust, Wolfgang Max, ‘Nove New York New’, Wolkenkratzer, No.1, January-February 1988, pp.20-35
  • Graw, Isabel, ‘The Sleep of Reason’, Flash Art, No.141, January-February 1988, pp.139-140
  • Un-authored, ‘New Yorker in Munchen’, Muncher Merkur, Vol.27/28, February 1988
  • Un-authored, ‘Wo Stehen Die Kunstler l988?’, Art Das Kunstmagazin, February 1988
  • Schwarze, Dirk, ‘'Schlaf der Vernunf’ im Museum Fridericianum in Kassel, Bitte nicht stören?’, HNA Kultur, February 1988
  • Dittmar, Peter, ‘Goldfish mit Psychose’, Die Welt, February 1988, pp.19
  • Greenspan, Stuart, ‘Visual Obsessions: Am I Good Enough to Own a Painting?’, Avenue, February 1988
  • Miller, John, ‘The Consumption of Everyday Life’, Artscribe, January-February 1988
  • Oliva, Achille Bonito, ‘Neo-America’, Flash Art, January-February 1988
  • Tazzi, Pier-Luigi, ‘Haim Steinbach’, Galeries, December 1987 - January 1988, pp.88-9l
  • Avni, Beni, ‘Haim is No Longer Ours: Tel Aviv-New York, New York-New York’, Monitin (Israel), No.ll2, January 1988, pp. 36-39
  • Comi, Enrico R., ‘Ileana Sonnabend, Great Lady of Art’, Spazio Humano, No.2, 1988, pp.6-7 and 22
  • Un-authored, ‘Kunst, Schamlos Schon’, Der Spiegel, No.12, 1988
  • Steinbach, Haim, (Semiotext), U.S.A., No.13, 1988
  • Taylor, John Russell, ‘The New New Yorkers and the Avant Avant-Garde’, Art and Design, Vol.4, No.3/4, 1988 pp.41-45
  • Tremarco, Angelo, ‘Haim Steinbach nella gelleria Rumma: oggetti banali in bella mostra, Dopo il moderno resta il consumo’, Il Mattino (Naples), No.96, December 1987
  • Celant, Germano, ‘Haim Steinbach’s Wild, Wild, West’, Artforum, December 1987, pp.75-79
  • Izzo, Arcangelo, ‘Scenografie per i turisti della vita’, il Gioranale di Napoli, December 1987
  • Salvioni, Daniella, ‘Haim Steinbach at Sonnabend’, Flash Art, October 1987, p.105
  • Collings, Matthew, ‘Posthumous Meaning’, Artscribe, September-October 1987
  • Cooke, Lynne, ‘Object Lessons’, Artscribe, September-October 1987, p.55-60
  • Hart, Claudia, ‘Reconstruct: John Gibson’, Artscribe, September-October 1987
  • Miller, John, ‘Haim Steinbach at Rhona Hoffman’, Artscribe, September-October 1987
  • Jones, Ronald, ‘Haim Steinbach at Sonnabend’, Artscribe, September-October 1987
  • Graham-Dixon, Andrew, ‘Neo-Geo’, Vogue (London), September 1988
  • Glueck, Grace, ‘Tastemakers’, The New York Times (magazine), 30 August 1987
  • Un-authored, ‘Comedy of Mannerism’, New York (magazine), 24 August 1987
  • Zimmer, William, ‘Summer Splendors Outside the City’, The New York Times, 14 August l987
  • Beaumont, Mary Rose, ‘One Hand Clapping’, Arts Review (London), Vol.XXXIX, No.l6/l7, August 1987
  • Miller, John, ‘Avant-Garde in the Eighties: Los Angeles County Museum of Art’, Artscribe, Summer 1987
  • Larson, Kay, ‘Material Boys’, New York (magazine), 11 May 1987
  • Smith, Roberta, ‘Where to See the Newest of the New American Art’, The New York Times, 1 May 1987
  • Olander, William, ‘Made in U.S.A.’, Beaux Arts (magazine), May 1987
  • Cameron, Dan, ‘Art and its Double’, Flash Art, May 1987, pp.57-72
  • Smith, Dinita, ‘Art Fever’, New York (magazine), 20 April 1987
  • Nickas, Robert, ‘Shopping with Haim Steinbach’, Flash Art, April 1987, pp.70-72
  • Greenfield-Sanders, Timothy, ‘Sculptors’, Artfinder, Spring 1988, p.113
  • Miller, John, ‘In the Beginning There Was Formica’, Artscribe, March-April 1987
  • Morgan, Stuart, ‘School of Athens’, Artscribe, March-April 1987
  • Liebman, Lisa, ‘M.B.A. Abstractionism’, Flash Art, March 1987, pp.86-89
  • Linker, Kate, ‘Sherrie Levine/Haim Steinbach at Jay Gorney Modern Art’, Artforum, March 1987, p.123-124
  • Nickas, Robert and Kevin Power, ‘Art and Its Double’, Flash Art, March 1987
  • Collins, Patricia and Richard Milazzo, ‘Benny ‘Kid’ Paret’, New Observations, March 1987
  • Braff, Phyllis, ‘Language Becomes the Medium of the Message’, The New York Times, 1 March 1987
  • Shaul, Moshe Ben, ‘New York, New York’, Maariv, 23 February 1987
  • Un-authored, ‘In/Out, New York Now’, Jerusalem Voice, 23 February 1987
  • Lipson, Karen, ‘A Few Words on Art’, Newsday, 20 February 1987
  • Un-authored, ‘El Arte neoyorquino es un art de la apropriacion seguin Dan Cameron’, El Pais (Madrid), 6 February 1987
  • Manor, Dalia, ‘New York Now, The New Movement’, The Jerusalem Voice, February 1987
  • Ronnen, Meir, ‘What You See is What You Get’, The Jerusalem Post, 30 January 1987
  • Heartney, Eleanor, ‘Simulationism’, ARTnews, January 1987
  • Un-authored, ‘The Saatchi Factor’, ARTnews, January l987
  • Cameron, Dan, ‘Image and Quotation’, Artics (Barcelona), No.16, 1987
  • Steinbach, Haim, ‘Joy of Tapping Our Feet’, Parkett, No.14, 1987
  • Steinbach, Haim, ‘Untitled’, File Magazine, No.28, 1987, pp.4-65
  • Collins and Milazzo, ‘Radical Consumption and the New Poverty’, New Observations, No.51, 1987
  • Un-authored, ‘Art Stop - Manhattan Doble’, Elle (Spain), 1987
  • Smith, Roberta, ‘Art: ‘Advent of Modernism’ at Brooklyn Museum’, The New York Times, 26 December 1986
  • Un-authored, ‘Die Kunst’, Skyline, October 1986
  • Bob, Paul, ‘Postmodern Pop’, Esquire, September 1986, p.252
  • Jones, Alan, ‘Paravision: An Interview with Tricia Collins and Richard Milazzo’, Galleries (magazine), August-September 1986
  • Indiana, Gary, ‘Castle to Castle’, The Village Voice, 19 August l986
  • Un-authored, ‘Deus ex McLuhan’, (review of “The Brokerage of Desire"), L.A. Weekly, 15/21 August 1986
  • Knight, Christopher, ‘The L.A. Invasion of ‘It’’, Los Angeles Herald Examiner, 10 August l986
  • Muchnic, Suzanne, ‘Commodity-Culture Art Rides Again’, Los Angeles Times, 26 July 1986
  • Levin, Kim, ‘Shop Art’, The Village Voice, 22 July 1986
  • Raynor, Vivien, ‘Art: Objects are Subject of Damaged Goods’, The New York Times, 18 July l986
  • Knight, Christopher, ‘The 80’s Become the Era of Memorex Art’, LA Times Examiner, 15 June 1986
  • McKenna, Kristine, (review), Los Angeles Times, 13 June 1986
  • Cone, Michele, ‘Ready-Mades on the Couch’, Artscribe, June-July 1986
  • Jones, Ronald, ‘Damaged Goods’, Flash Art, Summer 1986
  • Nagy, Peter, ‘From Criticism to Complicity’, Flash Art, Summer 1986, p.46-49
  • Artner, Alan G., ‘3 Sculptors Achieve Unsettling Transformations of Everyday Objects’, The Chicago Tribune, 11 May 1986
  • Smith, Roberta, ‘Where to See the Newest of the New American Art’, The New York Times, 1 May 1986
  • Cameron, Dan, ‘Pretty as a Product’, Arts, May 1986, pp.22-25
  • Collings, Matthew, ‘Mythologies: Art and the Market’, Artscribe, April-May 1986, p.22-26
  • Collins, Tricia and Richard Milazzo, ‘Tropical Codes’, Kunstforum International, Vol.83, Spring 1986
  • Indiana, Gary, ‘Formal Wares’, The Village Voice, 25 March 1986
  • Steinbach, Haim, ‘I give you the sweetest taboo’, Arts, March 1986, pp.24-25
  • Smith, Roberta; ‘Haim Steinbach at Cable’, Art in America, February 1986, p.128
  • Sozanski, Edward, ‘Infotainment: The Anti-Art of the Television Age’, Philadelphia Inquirer, 19 January 1986
  • Heartney, Eleanor, ‘Neo-Geo Storms New York’, New Art Examine, 1986
  • Levin, Kim, ‘Season’s Greetings’, The Village Voice, 31 December 1985
  • Miller, John, ‘Producer as Consumer’, East Village Eye, November 1985
  • Indiana, Gary, ‘Charm of Tradition’, The Village Voice, 22 October 1985
  • Levin, Kim, ‘Voice Choices’, The Village Voice, 22 October 1985
  • Wallach, Alan, ‘CAPS Sculptors’, Arts, December 1984
  • Klein, Michael, ‘Haim Steinbach’, Arts (magazine), September 1982, p.7
  • Smith, Roberta, ‘Some Things Old, Some Things New’, The Village Voice, 27 April 1982
  • Levin, Kim, ‘Haim Steinbach’, The Village Voice, 27 April 1982
  • Sozanski, Edward, ’Visual Feast Satisfies Avant Garde Appetite’, The Providence Sun Journal, 24 January 1982
  • Bonetti, Charles, ‘Design for a Yogurt Bar at BBC’, The Berkshire Eagle (Pittsfield, MA), 7 March 1981
  • Steinbach, Haim, (project), Observations: Art and Culture, No.4, Fall 1981
  • Larson, Kay; ‘Briefly Noted’, The Village Voice, 24 December 1979
  • Zimmer, William, ‘Installation Feed’, Soho Weekly News, 13 December 1979


Related texts

  • Steinbach, Haim, ‘The Artists on Artists: Haim Steinbach on Shelley Silver’, Artforum, December 2008, p.100
  • Gianelli, Ida and Haim Steinbach, Armando Testa (Edition Charta, Milan, 2001), pp.76-79