Galerie Nagel Draxler

Renée Green



Born: 1959 born in Cleveland, Ohio,
Based in: Somerville, MA and New York City.


Whitney Independent Study Program, 1989-90.
Radcliffe Publishing Procedures Course, Harvard University, 1981.
Wesleyan University, B.A., 1981.
Parsons School of Design, 1982 and 1984.
School of Visual Arts 1979-80.


MIT HASS Award, 2015
Art Matters Grant, 2012
MIT HASS Award, 2012
USA Simon Fellow, 2010
DAAD Grant, Berlin, 1993-1994. Artist in Residency.
Arts International Grant, Lisbon, 1992. Artist in Residency.
The Fabric Workshop with Mid-Atlantic States Grant, 1992.
New Jersey State Council on the Arts, 1991-1992 and 1987-1988. Grant recipient.
New York State Council on the Arts, Harlem School of the Arts, 1989-1990. Artist-in-Residence Program Grant.
Art Matters Inc.,1989-1990 and 1993. Grant recipient.
The Studio Museum in Harlem, 1988-1989. Artist in Residency.
Geraldine Dodge Foundation (via Jersey City Museum), 1988. Grant recipient.
School of Alternative Media, New York University, 1987-1988. Artist in Residency.
Artist’s Space Exhibition Grants, 1986-1987.
Bronx Museum of the Arts, 1985-1986.


since 2011
Professor, MIT Program in Art, Culture and Technology

Director, MIT Program in Art, Culture and Technology

Professor, San Francisco Art Institute.

Dean of Graduate Studies, San Francisco Art Institute.

Distinguished Artist/ Professor. Art Department, University of California, Santa Barbara. Autumn 1998 Yale University, Gast der Fakultät.

Akademie der Bildenden Künste, Wien, Professur.

Whitney Independent Study Program, director of studio program.

Vermont College, Fakultätsmitglied.

Universität Lüneburg, Gast- Künstlerin, fortlaufendes Computer-/
Informatik-Projekt, Abteilung für Kunstgeschichte und Soziologie.

Hochschule der Kunst (HDK) Berlin, Freie Klasse, Gastprofessur.

Hochschule für Angewandte Kunst, Wien, Gastprofessur.

since 1991
Whitney Museum of American Art Independent Studies Program, Gast der Fakultät.

Bank Street College, Professur, Medienkritik.

New Museum of Contemporary Art, Professur, High School Art Criticism Program.


“A screening of ‘Partially Buried (1996–97)’ by Renée Green”, Reading: International, Reading School of Art, University of Reading, UK.
“New Media Series—Renée Green”, Saint Louis Art Museum, St. Louis, Missouri.
“Within Living Memory”, Carpenter Center for the Visual Arts at Harvard University, Cambridge.

2016 – 2018
“Pacing”, Carpenter Center for Visual Arts, Harvard University. (two-year project with an exhibition in 2018)

“Facing”, Prefix, Toronto.
“Cinematic Migrations”, XXII CSAV – Artists Research Laboratory, Fondazione Antonio Ratti, COM, Italy.                  
“Tracing”, as part of the XXII edition of the CSAV – Artists Research Laboratory, Fondazione Antonio Ratti, Como, Italy.
“Placing”, Galerie Nagel Draxler, Berlin.
“Spacing”, Lumiar Cité, Lisbon.

„Begin Again, Begin Again“, MAK Center, Schindler House, Los Angeles.

„Media Bichos & Space Poem #3 (Media Bichos) for MoMA Media Lounge“, Museum of Modern Art, New York. Commission.

„Sigetics 2“, Espai Visor, Valencia.
„Sigetics“, Elizabeth Dee Gallery, New York.

„Endless Dreams and Time-Based Streams“, Yerba Buena Center for the Arts, San Francisco.

“Ongoing Becomings Rétrospective 1989-2009″, Musée cantonal des Beaux-Arts, Lausanne.
„Endless Dreams and Water Between“, National Maritime Museum, Greenwich, London.

„Le rêve de l’artiste et du spectateur“, Jeu de Paume, Paris.

„United Space of Conditioned Becoming (1)“, Participant Inc., New York.
„United Space of Conditioned Becoming (2)“, Galerie Christian Nagel, Berlin.

„Wavelinks“, Neuberger Museum of Art, Purchase, New York.
„Survey”, caltrans headquarters, Los Angeles.
„Unité d’habitation“ Galerie Martine Aboucaya, Paris.

„Index (From Oblivion): Paradoxes and Climates”, in Einstein Spaces, Berlin.
„Index (From Oblivion): Paradoxes and Climates”, Galleria Emi Fontana, Milan.
„Index (From Oblivion): Paradoxes and Climates”, Privatwohnung, Berlin.
„Der soziographische Blick 7. Renée Green: Relay“, Kunstraum Innsbruck.
„Sound Politics“, with Mayo Thompson and Ultra-Red, Baltimore Museum of Art, Baltimore.

“Elsewhere? Here”, Galeria Filomena Soares, Lisbon.
„Wavelinks“, Contemporary Arts Center, Cincinnati.

“Phases + Versions”, Portikus, Frankfurt.

„Shadows and Signals,” Fundació Antonio Tàpies, Barcelona.
„Other Planes of There”, Pat Hearn Gallery, New York.
„Platform: Ongoing Conversations and Work”, The Swiss Institute, New York.
„Returns:Tracing Lusitania”, Centro Cultural de Belem, Lisbon.

„Between and Including,” Vienna Secession, Vienna.
„Making History: Renée Green and Sam Durant“, Bard College, Center for Curatorial Studies.
„Project Wall,” Rosamund Felsen Gallery, Los Angeles.

„Some Chance Operations,” Emi Fontana Gallery, Milan.

„The Digital Import/Export Funk Office,” Kunstverein Kreis Gütersloh, Gütersloh.

„Certain Miscellanies,” Stichting de Appel, Amsterdam.
„Flow,” FRI-ART Centre d’Art Contemporain Kunsthalle, Fribourg.
„Partially Buried,” Pat Hearn Gallery, New York.
„Übertragen/Transfer,“ Galerie Christian Nagel, Cologne.
„The Digital Import/Export Funk Office, Kunstraum, Universität Lüneburg.

„miscellaneous,” DAAD Gallery, Berlin.
„miscellaneous continued,” Neuger/Riemschneider Gallery, Berlin.

„Taste Venue,” Pat Hearn Gallery, New York.
„Quest,” Emi Fontana Gallery, Milan.

„World Tour“, Museum of Contemporary Art, Los Angeles.
„World Tour“, Dallas Museum of Art, North Harwood.

„Import/Export Funk Office,” Galerie Christian Nagel, Cologne.

„VistaVision: Landscape of Desire,” Pat Hearn Gallery, New York.
„Bequest,” Worcester Art Museum, Worcester.
„Sites of Genealogy. P.S.1 Museum“, Long Island City.

„Anatomies of Escape,“ Institute of Contemporary Art, The Clocktower Gallery, New York.


“Familienbande. Die Schenkung Schröder”, Museum Ludwig, Cologne.

“The Conditions Of Being Art: Pat Hearn Gallery And American Fine Arts, Co. (1983-2004)”, Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY.

“The Ocean After Nature”, YBCA – Yerba Buena Center for the Arts, San Francisco.
“Récit d´un temps court”, mamco – Museum of Contemporary Art, Geneva.
“Don´t Look Back: The 1990s at MOCA”, Museum of Contemporary Art, Los Angeles.
“Anti:modern”, Museum der Moderne, Salzburg.
“Less Than One”, Walker Art Center, Minneapolis.

“No Mans Land. Women Artists from the Rubell Family Collection“, Rubell Family
Collection, Miami.
“to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990“, Mumok, Museum moderner Kunst Stiftung Ludwig, Vienna.
„The Freedom Principle: Experiments in Art and Music, 1965 to now“, Museum of Contemporary Art, Chicago.
„Beyond the Monument“, Le Commun, Batiment d’art contemporain, Geneva.
„Politics of Attachment“, University of Amsterdam [Screening].
„Ailleurs Ici“, Le Quartier, Centre d’art contemporain de Quimper, France.

„Wörter als Türen – in Sprache, Kunst, Film“, Halle für Kunst und Medien, Graz.
„Take It or Leave It: Institution, Image, Ideology“, UCLA Hammer Museum, Los Angeles.
„Une histoire: art, architecture, design. Des annés 1980 à nos jours“, Centre George
Pompidou, Paris.
„Art/Histories“, Museum der Moderner, Salzburg.
„Under Another Name“, Studio Museum in Harlem, New York.

„NYC 1993: Experimental Jet Set, Trash and No Star“, New Museum, New York.
„1993“, Centro Galego de Arte Contemporánea, Santiago de Compostela.
„1993“, Galerie Thaddaeus Ropac, Paris.
„Make an Effort to Remember. Or, if Failing That, Invent.“, Bétonsalon – Centre for Art and Research, Paris.
„Das Anthropozän-Projekt 2013“, Haus der Kulturen, Berlin.
„Blues for Smoke“, Museum of Contemporary Art, Los Angeles.
„New Humans“, Bureau, New York.
„Some Issues of History“, Agathenburg Castle, Agathenburg.
„The Alumni Show II.“ Wesleyan University’s Ezra and Cecile Zilkha Gallery, Middletown.
„Book Machine“, Centre Georges Pompidou, Paris.

„Zoo“, Musée d’art contemporain de Montréal, Canada
„Global Flows“, Tufts University Art Gallery, Aidekman Arts Center
„Blues for Smoke“, Museum of Contemporary Art, Los Angeles
„Endless Dreams and Water Between“, Participant Inc., New York [Screening]
„Endless Dreams and Water Between“, MIT List Visual Arts Center [Screening]

„The Smithson Effect. Utah Museum of Fine Arts
„lieb & teuer“, Kunstverein Tiergarten, Berlin.
„the Avantgarde: Specters of the Nineties“, Marres, Centre for Contemporary Culture, Maastricht.
„I don’t know if it makes any sense – I feel quite dizzy and a little drunk due to the blow. I will return with more info shortly“, IMO, Copenhagen.
„Contemporary Art Archipelago“, Turku, Finland.
„Fakt & Fiktion: das Interview als künstlerische Praxis“, Universität zu Köln, Filmclub 813, Cologne.

“Bilder in Bewegung. Künstler & Video / Film”, Museum Ludwig, Cologne.
“How many Billboards?“, MAK Center, Los Angeles.
Too Many Billboards (Screenings). Endless Dreams and Water Between. Museum of Contemporary Art, Los Angeles [Screening]
Endless Dreams and Water Between. Urbanomic Studio, Falmouth, UK [Screening]

„Art Basel 40. Premiere. Renée Green’s Partially Buried & Adrian Piper’s“, Hypothesis: Situation. Parallel Grid Proposal for Duguay Proving Grounds Headquaters. Elisabeth Dee.
„Azminda“, Goethe-Institute, Lisbon.
“Geschichte/n verwahren”, Galerie der IG Bildende Kunst, Wien.
“Schere-Stein-Papier. Pop Musik als Gegenstand Bildender Kunst”, Kunsthaus Graz, Graz.
“Regift”, Swiss Institute Comtemporary Art, New York.

„30 Americans“, Rubel Family Collection, Miami.
„Scenarios. Manifesta 7 Trentino – Alto Adige 2008“, International Foundation Manifesta, Südtirol.
„Mundos Locais/Local Worlds“, Centro Cultural de Lagos, Portugal.
„Cinema Remixed and Reloaded“, Museum of Fine Art, Spelman College, Atlanta.
„e-flux – video rental“, CAMJAP (Centro de Arte Moderna José de Azeredo Perdigão Fundação Calouste Gulbenkian), Lisbon.

“Simply Red”, FWM – The Fabric Workshop and Museum, Philadelphia.
„Elsewhere? Video works by Monica Bonvicini, Lovett/Codagnone, Renée Green, Liliana Moro, Diana Thater, Gillian Wearing”, Galleria Emi Fontana, Milan.
„La parola nell’arte. Ricerche d’avanguardia nel ‘900. Dal Futurismo ad oggi attraverso le Collezioni del Mart“, Museo di arte moderna e contemporanea di Trento e Rovereto.
„Not Only Possible, But Also Necessary: Optimism in the Age of War. 10th International Istanbul Biennial“, Istanbul.
Cinema Cavern“, P.S.1 Contemporary Art Center, Long Island City, New York.
„Unter dem Vesuv. Neapel im Film/Under Vesuvius: Naples in Film“, Liechtenstein Museum, Vienna. [screening]
„Shooting Back“, Thyssen-Bornemisza Art Contemporary, Vienna. [screening]
„Work, Rest & Play“, National Gallery, London. Traveling exhibition. Other venues: Bristol’s City Museum and Art Gallery & Laing Art Gallery, Newcastle upon Tyne.

“The Unhomely: Phantoms Scenes in Global Society”, 2nd International Biennial of Contemporary Art of Seville, Sevilla, Spain.
“10 ans d’acquisitions de dons et de legs, 1996-2006”, Musée cantonal des Beaux-Arts, Lausanne.

“Artist’s Books, Revisited“, Art Metropol, Canada.
“Artist’s Books, Revisited“, Printed Matter, New York.
“Double Consciousness: Black Conceptual Art Since 1970.” Contemporary Arts Museum, Houston.
“Transformer 1”, Fluc im Exile, Vienna.

“La fin du XVIIIe siècle et aujourd’hui”, L’ancien Musée de peinture de Grenoble
(organized by Magasin), Grenoble.
„Mobilien/Movables”, Galerie im Taxispalais, Innsbruck.
„I-Peg.bild.ton.maschine. Schnittstelle von bildender Kunst und Musik”, Künstlerhaus Bethanien, Berlin.
„Wavelinks“, Arsenal, Berlin (screening).
„Social Capital”, Whitney Museum of American Art Independent Study Program Exhibition, At Gallery of the CUNY Graduate Centre, New York.
„Sound Forest Folly“, Lustwarande 04, Disorientation by Beauty, Tilburg.
„Born to Be a Star”, Kunsthaus Vienna, Wien.
„On the Wall: Contemporary Wallpaper.”, Museum of Art, Rhode Island School of Design, Providence.

“Conceptualism. Zeitgenössische Tendenzen in Musik, Kunst und Film.
Aufführungen, Ausstellung, Lectures und Filmprogramm”, Akademie der Künste, Berlin.
“Imperfect Marriage“, Galleria Emi Fontana, Milan.
“Attack”, Kunsthalle Wien, Wien.
“Tuscia Electa”, Impruneta, Toskana.
„What Lies Between: The Autobiographical Impulse in Film and Video“, UCLA Hammer Museum, Los Angeles (screening).
“Strangers: The First ICP Triennal of Photography and Video”, International Center of Photography, New York.

Documenta XI, Kassel (commission).
„Stories,” Haus der Kunst, Munich.
„Global Complex,” OK Centrum für GegenwartKunst Oberösterreich, Linz.
„Museum unserer Wünsche/Museum of our Wishes,” Museum Ludwig, Cologne.
„Sonic Process,” MACBA, Barcelona; Centre Georges Pompidou, Paris.

„Take Two,” The Ottawa Art Gallery, Canada.
„Ausgeträumt…”, Secession, Vienna.
„Love Supreme,” La Criée Centre d’Art Contemporain, Rennes.
„Berlin Biennale,” Kunstwerke, Berlin.
„Public Offerings,” MOCA, Los Angeles.
„Memorial Exhibition,” Pat Hearn Gallery, New York.
„One Planet,” Bronx Museum of Art, New York.

„Voilà!: Le Monde dans la tete,” Musée de la Ville de Paris.
„Das Gedächtnis der Kunst. History and Memory,” Historisches Museum and Schirn Kunsthalle, Frankfurt.

“Ruins in Reverse,” CEPA Gallery, Buffalo.
“The Comfort Zone,” The Public Art Fund, New York.
“Graf, Green, Kogler, Schlegel, Schmalix, Williams,” Museum of Contemporary Art, Brno, Czech Republic.
“Studio One,” Clocktower Gallery, New York (screening).
“The Stockholm Syndrome,” CD-ROM exhibition scripted and designed by Måns Wrange, Igor Isaksson,Ilkka Isaksson, in partnership with Stockholm-Cultural Capital of Europe 1998.
“Architecture of Resistance,” International Center for Urban Ecology, Detroit (screening).
“Persuasion,” Lombard/Freid Fine Arts, New York .
“Pat Hearn Gallery Summer Show“, New York.
“Elsewhere 3,” Glassbox, Paris (screening).
“Harn Museum of Art,” screening series, Gainesville, Florida.
“Art-Worlds in Dialogue,” Museum Ludwig, Cologne.
“Making History”, Renée Green and Sam Durant, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, New York

“The Cultured Tourist,” Leslie Tonkonow Artworks & Projects, New York.
“Anticipation, Version 4,” Centre pour l’Image Contemporaine, Geneva.
“Sharawadgi,” Felsenvilla, Baden.
“All Over the Map,” L.A. Freewaves 6th Celebration of Independent Video & New Media, Los Angeles.
44th International Short Film Festival, Oberhausen.
“The Style Engine,” Pitti Immagine, Florence.
„Graf, Green, Kogler, Schlegel, Schmalix, Williams,” Kunsthalle Krems, Krems.
“Artist/Author: Contemporary Artist’s Books,” Museum of Contemporary Art, Chicago (travelling exhibition).
“Performance Anxiety,” La Jolla Museum, CA and Site Sante Fe, Santa Fe.
„Changing Spaces,” The Power Plant, Toronto, Vancouver Art Gallery, Vancouver.

Robert Flaherty Film Seminar, Ithaca.
“Performance Anxiety”, Museum of Contemporary Art, Chicago.
“Letter & Event”, Apex Art, C.P., New York.
“Critical Images: Conceptual Works from the 1960s to the present”, Leslie Tonkonow Artworks & Projects, New York.
“Home Sweet Home: Einrichtungen/Interieurs”, Deichtorhallen Hamburg, Hamburg.
“Changing Spaces: Artists’ Projects from The Fabric Workshop and Museum“, Philadelphia – The Power Plant, Toronto.
“Changing Spaces: Artists’ Projects from The Fabric Workshop and Museum“,
City Gallery at Chastain, Atlanta.
“Partially Buried in Three Parts”, Kwangju Biennale, Korea (1996-1999).
“Tracing Lusitania: Excerpts from an Imagined Prototype”, An Ongoing Project by Renée Green, Johannesburg Biennale, South Africa.
“Translocations”, organized by Displaced Data, London and IRADAC (The Institute for Research on the African Diaspora in the Americas and the Caribbean), City University of New York, New York.
“Résonances”, ANGI-Galerie ART’O, Paris.

“Now/Here,” Louisiana Museum of Art, Copenhagen.
“Nach Weimar,” Neues Museum, Weimar.
“Embedded Metaphor,”1996-99,A traveling exhibition organized by Independent Curators International/Nina Felshin [ICI], New York, John and Mable Ringling Museum, Sarasota, FL; Western Gallery, Western Washington U., Bellingham,
WA; Bowdoin College Museum of Art, Brunswick, ME; Virginia Beach Center for the Arts, Virginia Beach, VA; Ezra and Cecile Zilkha Gallery, Wesleyan U., Middletown, CT; Pittsburgh Center for the Arts, Pittsburgh.
“A/Drift,“ Bard College, New York.
“Handmade Readymades,” Bertha and Karl Leubsdorf Gallery, Hunter College, New York.

“Mirage” Institute of Contemporary Art, London.
“Architectures of Display“, Architectural League of New York and Minetta Brook, New York.
“Das Ende der AvantGarde: Kunst als Dienstleistung“, Kunsthalle der Hypo-Kulturstiftung, Munich.
“It’s Not A Picture“, Galleria Emi Fontana, Milan.
“Video: l’immagine e l’ogetto. Artisti degli Stati Uniti/Video: The Image and the Object. Artist from the U.S.“, Museo Laboratorio de Arte Contemporanea, Rome.
“Wallpaper Works“, Contemporary Arts Museum Houston.
„Proof“, The Fabric Workshop and Museum, Philadelphia

“Installation: Selections from the Permanent Collection“, Museum of Contemporary Art, Los Angeles.
“Don’t Look Now“, The Thread-Waxing Space, New York.
“Services”, Universität Lüneburg, Lüneburg.
“Sogetto Sogetto“, Castelo di Rivoli, Rivoli.
“The Seventh Museum“, Stroom, The Hague.
“The Ideal Place“, HCAK, The Hague.
“The Body as Measure“, Davis Art Museum, Wellesley College, MA.
“Temporary Translations“, Deichtorhallen, Hamburg.
“The Cooked and the Raw“, Museo Reina Sofia, Madrid.
“Sommerakademie München – Eine Freie Akademie auf Zeit,” Kunstverein München, Munich.
“Kontext Kunst/Context Art,” Neue Galerie am Landesmuseum Johanneum, Graz.
“Mapping,” American Fine Arts, New York.
„The Social Fabric“, Arcadia University Art Gallery, Glenside.

Whitney Museum of American Art Biennial, New York.
“Aperto”, Venice Biennale, Venice.
“Project Unité“, Firminy, France.
“Just what is it that makes today’s homes so different so appealing?“, Galerie Jennifer Flay, Paris.
“Fontanelle: Kunst in (x) Zwischenfällen“, Kunstspeicher Potsdam, Potsdam.
“On taking a normal situation…”, Museum van Hedendaagse Kunst, Antwerpen (MUHKA), Antwerp.
“What Happened to the Institutional Critique?“, American Fine Arts, New York.
“Peccato di Novita“, Galerie Emi Fontana, Milan.
“Die Arena des Privaten“, Kunstverein München, Munich.
“Theater of Refusal: Black Art and Mainstream Criticism“, Fine Arts Gallery, University of California, Irvine.

“True Stories“, Institute of Contemporary Art, London.
“Dirty Data“, Sammlung Schürmann 1992, Ludwig Forum for International Art, Aachen.
“Multiple Cultures“, Convent of San Egidio, Rome.
“Inheritance”, LACE, Los Angeles.
“Wohnzimmer/Büro”, Galerie Christian Nagel, Cologne.
“Mary Kelly/Renee Green“, Herbert F. Johnson Museum of Art, Cornell University, Ithica, New York.
“Speak”, Randolph Street Gallery, Chicago
“Huitiemes Ateliers Internationaux Pays de Loire“, F.R.A.C., Clisson, France.
“Transgressions in the White Cube: Territorial Mappings,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont.
“Travel Documents“, San Francisco Cameraworks.
“Informationsdienst”, Kubinski Galerie, Cologne.
“More Books as Art“, Hecksher Museum, Huntington.

“Lost Illusions: Recent Landscape Art“, Vancouver Art Gallery, Vancouver.
“Arte Joven en Nueva York“, Sala Mendoza, Caracas/Venezuela.
“Natural History“, Barbara Farber Gallery, Amsterdam.
“New Generations: New York“, Carnegie Mellon Art Gallery, Pittsburg.
“SiteSeeing: Travel & Tourism in Contemporary Art“, Whitney Museum of American Art, New York.
“Color Theory“, Amelie A. Wallace Gallery, State University of New York at Old
Westbury, New York.

“Out of Site“, P.S.1 Museum/Institute of Contemporary Art Long Island City,
New York.
“The Construction of Knowledge“, Diane Brown Gallery, New York.
Nicole Klagsbrun Gallery, New York.
“Social Studies: 4 + 4 Young Americans“, Allen Memorial Art Museum, Oberlin College, Oberlin.
“Selections: Aljira & Artists Space“, Artists Space, New York.
“Expense Account: Figuring the Damage“, University of Rochester, Rochester.
„Sally Apfelbaum“, Nicole Klagsbrun Gallery, New York.

“From the Studio: Artists in Residence, 1988-89“, The Studio Museum in Harlem, New York.


VistaVision: Landscape of Desire. Pat Hearn Gallery, New York, 1991. [Films screened: Dal Polo all’equatore (Yervant Gianikian and Angela Ricci-Lucci, 1987); Apunti per una Oriestiade africana (Pier Paolo Passolini, 1970); La noire de… (Ousmane Sembéne, 1965); Song of Freedom (J. Elder Wills, starring Paul Robeson, 1936); films by Osa and Martin Johnson: Across the World with Mr. and Mrs. Johnson (1930); Congorilla (1932); Baboona (1935); I Married Adventure (1940), discussion by Linda Earle and Jewelle Gomez]

Tracing Lusitania: A Prototype. 1991-2001. [Film screened: Paixao Nacional (Karim Aïnouz, 1994)]

Flow. FRI-ART Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland, 1996. [Films screened: Der sechste Kontinent (Benno Maggi, 1992); Alpen-Internat (Hans Liechti, 1991); Füürland 2 (Clemens Klopfenstein and Remo Legnazzi, 1992); Last Supper (Robert Frank, 1992); I was on Mars (Dani Levy, 1991); Lumumba, la mort du prophète (Raoul Peck, 1992); Hors saison (Daniel Schmid, 1992); James Baldwin: The Price of the Ticket (Karen L. Thorsen, 1990)]

Some Chance Operations. Galleria Emi Fontana, Milan, 1998.

Between and Including. Filmhaus Spittelberggasse, Vienna, 1999. [Films screened: Shadows (John Cassavetes, 1959); Zorns Lemma (Hollis Frampton, 1970); Nostalgia (Hollis Frampton, 1971); Sink or Swim (Su Friedrich, 1990); James Baldwin: The Price of the Ticket (Karen L. Thorsen, 1990); Lumumba, la mort du prophète (Raoul Peck, 1992); Last Supper (Robert Frank, 1992); Der sechste Kontinent (Benno Maggi, 1992); E’Piccerella (Elvira Notari, 1922); Midnight Ramble (Bestor Cram and Pearl Bowser, 1994); Some Chance Operations (Renée Green, 1999)]

Shadows and Signals. Cine Ambigu-Apolo, Barcelona, 2000. [Films screened: Programme 1: Vida en sombras (Lorenzo Llobet Gracia, 1948) and Bajo el signo de las sombras (Ferran Alberich, 1984); programme 2: Medium Cool (Haskell Wexler, 1976) and Underground (Emile de Antonio, Mary Lampson and Haskell Wexler, 1976); programme 3: Dante no es únicamente severo (Jacinto Esteva and Joaquim Jordà, 1967) and Film About a Woman Who… (Yvonne Rainer, 1974); programme 4: Journeys from Berlin (Yvonne Rainer, 1971-1080) and De cierta manera (Sara Gómez, 1974); programme 5: Zorns Lemma (Hollis Frampton, 1970) and Nostalgia (Hollis Frampton, 1971); programme 6: Vida en sombras (Lorenzo Llobet Gracia, 1948) and Some Chance Operations (Renée Green, 1999)]

Forces of Circumstance. Kölnischer Kunstverein, Cologne, 2002. [Films screened: Berlin-Jerusalem (Amos Gitai, 1989); Who Killed Vincent Chin? (Christine Choy and Renee Tajima, 1988); La noire de… (Ousmane Sembéne, 1965); The Grapes of Wrath (John Ford, 1940); I am British But… (Gurinder Chadha, 1989); Dreaming Rivers (Martine Attile, 1988); Pressure (Horace Ovè, 1975)]


“Other Planes of There”, n.b.k. Neuer Berliner Kunstverein, Berlin. Film screening of “Begin Again, Begin Again.“ and conversation with Renée Green and André Rottmann.
“Other Planes of There”, Schindler House, Hollywood. Book presentation and discussion with Renée Green and professors Gloria Sutton and Nizan Shaked.

„Other Planes of There + Begin Again, Begin Again“, Participant Inc., New York. Reading,screening, and conversation with Howie Chen and Lia Gangitano.
„After Black Mountain College“, Northeastern College for the Arts, Boston.
Harvard Art Museum, Cambridge, MA. Lecture and conversation with Carrie Lambert-Beatty. Segué Poetry Series, New York.
„Begin Again, Begin Again“, Ooga Booga #2, Los Angeles. Screening and conversation with Fred Moten.
National Gallery of Art, Washington D.C. Conversation with Associate Curator, James Meyer.
„Other Planes of There book presentation“, MAK Center for Art + Architecture at the Schindler House, Los Angeles. Conversation with Gloria Sutton and Nizan Shaked.

„Montage and the Black Moving Image“, Kobena Mercer seminar, Yale University, New
„Art and Its Frames Symposium“, Kunstraum der Leuphana, University of Lüneburg.
Maumaus, Escola de Artes Visuais, Lisbon. Seminar.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.
„Cinematic Migrations Symposium“, MIT Program in Art, Culture and Technology. Organizer.
Screenings and conversation with John Akomfrah & Lina Gopaul.

„After Marker“, Carpenter Center for the Arts, Harvard Film Archive, Cambridge, MA.
Finnish Academy of Fine Arts, Helsinki. Seminar at Studio Aalto, Helsinki.
„Perception, Experience, Experiment, Knowledge: Objectivity and Subjectivity in the Arts and
the Sciences“, Graduale 13, Universität der Künste, Berlin.
„Paradoxes Experiences by Artists-Thinkers“, Hexagram Resource Centre, Concordia
University, Montréal. Seminar.
„Other Planes of There“, Distinguished Speakers Series, Hexagram, Concordia University,
Montréal. Lecture.
„What Happened to the Institutional Critique: James Meyer and Renée Green in
Conversation“, New Museum, New York.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.
„Things That Quicken The Heart: Chris Marker, A Symposium“, Slought Foundation,
Philadelphia. Organized by Temple University and the University of Pennsylvania.
„The Anthropocene Project: An Opening“, Haus der Kulturen der Welt, Berlin. In cooperation
with the Max-Planck-Gesellschaft, Deutsches Museum, the Rachel Carson Center for
Environment and Society, Munich and the Institute for Advanced Sustainability Studies,

Finnish Academy of Fine Arts, Helsinki
Lucerne University of Applied Sciences and Arts, Hochschule Luzern, Switzerland. Master
Dialog, Lecture.
Museum of Modern Art, New York. Modern Mondays. Lecture.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.
Union Theological Seminary, New York City. Lecture.

Northwestern University, Evanston, Ill. Lecture.
Geneva University of Art and Design; University of Applied Sciences Western Switzerland,
Politics of Memory and Artistic Practices Research Group. Construire la mémoire des crimes
contre l’humanité: interventions artistiques et politiques mémorielles. Keynote lecture.
LeRoy Neiman Gallery, Columbia University, New York City. Spectral Value: Art Through the
Financial Prism. FIAT. Experiments in Financial Semantics. Lecture.
Facultad de Artes de San Carlos, Valencia, Spain. Lecture.
„Archipelago Logic: Towards Sustainable Futures“, Turku & Korpoström, Finland. Lecture.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

Art Institute of Boston at Lesley University, Boston. Lecture
Sint-Lukas Art Institute, Brussels.The Academy Strikes Back. EARN, European Art Research
Network Conference. Keynote Lecture
University of Southern California & MAK/Schindler House, Los Angeles. Lecture
Duke University, Durham, NC. Innovating Forms Franklin Humanities Institute Annual
Seminar. Lecture
University of Illinois, Chicago. Lecture
Yerba Buena Center for the Arts, San Francisco. Ongoing Becomings: The Whole Is Simpler
Than The Parts. Lecture
San Francisco Museum of Modern Art. 75 Reasons To Live, a 7.5 minute talk, on On
Kawara’s Mar. 16, 1993 from the Today series.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

Barnard College. Lecture
Columbia University. Center for the Critical Analysis of Social Difference. Colloquium, film
screening and lecture. Respondent: Eduardo Cadava.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

„L’art contemporain et les savoirs hétérodoxes“, Conversation with Elvan Zabunyan. Institute
natiotanal d’historie de l’art, Paris
„Climates and Paradoxes“, Carpenter Center for the Visual Arts, Harvard University,
Cambridge, MA.
Orange County Museum of Art, University of California, Irvine.
„Le rêve de l’artiste et du spectateur: Renée Green“, Conversation with Elvan Zabunyan. Jeu
de Paume, Paris.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

„Multitudes Workshop: Documenta 12 Magazine Project“, Documenta 12, Kassel.
The Public In Question. Akademie der bildenden Künste, Vienna. Conference/Seminar
conducted by Chantal Mouffe.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

“Sonic.Focus”, Brown University, Providence. Lecture
“States of Exception”, San Fransisco Art Institute. Dean of Graduate Studies, Inaugural
Visual Culture Caucus Panel, College Art Assiciation, Boston.
“Index of Oblivion: Public/Private Climates+Paradoxes”, Works in Progress Series, Getty
Research Institute, Los Angeles.
Jeu de Paume, Paris. Lecture.
Whitney Independent Studies Program, Whitney Museum of Art, New York City. Seminar.

Baltimore Museum of Art. “Institute Silence.” Panelist.
J. Paul Getty Museum. “Performance and the Re-Do”. Pnael discussion in the Workshop on
Performance and the Visual Arts, organized by Peggy Phelan. Panelist.
Los Angeles County Museum of Art. “Institutional Critique and After.” Moderator.
University of California, Los Angeles. MFA Graduate Program, Los Angeles. Lecture.

Haus der Kulturen der Welt, Berlin. Panel discussion
Los Angeles Contemporary Exhibition. “Looking Oureselves in the Mouth:
Conversations with Yvonne Rainer.” Colloquium participant
University of California Santa Barbara. Afrogeeks: From Technophobia to Technophilia.
Screening: Wavelinks: A different Reality. University of California, Irvine.
Department of Art Studio. MFA Graduate Program, Irvine. Lecture.

Victoria Miro Gallery, Goldsmiths College, London. “Field Work: Reports From The Fields of
Visual Culture”. Lecture
Santa Barbara Museum of Art, Panel with Okwui Enwezor, Dick Hebdige u.a.
Columbia University, New York. Lecture.
Art Institute of Chicago. Lecture.
Northwestern University, Evanston. Lecture.
Milwaukee Art Museum and Center for 21st Century Studies. Museums
Difference. Lecture and video presentation

Sataatliche Hochschule für Bildende Künste, Städelschule Frankfurt. Lecture.
Drawing Center, New York. Drawning (as) Center.

“Contemporary Moments,” Symposium, Centro Cultural de Belem, Lissabon.

“Contemporary Returns to Conceptual Art,” Renée Green, Silvia Kolbowski, and Stephen
Prina, organized by Simon Leung, New York University.

“Translocations,” symposium participant, in Vienna (Generali Foundation) and in Prague
(Academyof Fine Arts).
Regent´s Lecturer, UCLA, Los Angeles, participant in “Image Trauma” symposium.
College Art Association, “Who Choses?”, Lydia Yee, moderator, Los Angeles
Tate Gallery of Art, London, “Museums of Modern Art and the End of History” symposium.
Radio Temporaire, Genève, via Le Magasin, Centre National d´art Contemporain de
Witte de With & Netherlands Architectur Instituut, Rotterdam, “Changing the System the
System?” : Artists Talk About Their Practice

“Out of Site” Malmö Kunstakademie, Schweden.
Cal Arts, Valencia, CA, Vortrag.
University of California, San Diego, Vortrag.
Site Santa Fe, New Mexico, Vortrag.

Booktalk, with Abigail Solomon-Godeau and Martin Jay, San Francisco Museum of Modern
“AGENDA-Perspektiven kritischer Kunst,” Wien Secession (book forthcoming)
“Loving the Alien: Science Fiction, Diaspora, Multikultur,” Volksbühne, Berlin.
Emory University, Atlanta, Vortrag.

Mixed Up, Tagung, gesponsert vom British Council und Amerikahaus und der Universität zu
Köln, Cologne.

Arte, Identita Confini, Palazzo delle Esposizioni di Roma, Rom (Buch).
Mirage, ICA, London (Buch).
New York University, Linda Nochlin seminar, Vortrag.
Yale University, Vortrag.
Kunstwerke, Vortrag, Berlin.
“Social Plastic,” Royal Danish Academy, symposium, Kopenhagen.

SommerAkademie, Kunstverein München, München.
“Negotiations in the ´Contact Zone´,” Drawing Center, New York, (ein Symposium organisiert
und moderiert von Renée Green) (Buch).
Wellesley College, Vortrag.

Hochschule der Kunst, Berlin.
University of Lüneburg .
University of California, Irvine.
Museum of Contemporary Art, Los Angeles.
Wien Secession.

Hochschule für Angewandte Kunst, Wien.
Goldsmiths College, London.
Institute of Contemporary Art, London.

Hotel des Rothschilds, Paris.
Worcester Museum of Art, Worcester, Massachusetts.
Rutgers University.
Society for Photographic Research Conference, New Orleans.

National Women´s Studies Conference, Akron University.
Berkeley Women´s History Conference, Rutgers University.
Museum of Modern Art, NYC.


„MoMA Media Lounge: Media Bichos & Space Poem #3 (Media Bicho)“, 2012-2013 permanent installation. Museum of Modern Art, New York. In progress.
„Code: Survey“, Permanent public work located at the Caltrans Headquarters, Los Angeles/Morphosis, Thom Mayne, 2004.
American Federation of the Arts and D.A.P./Distributed Art Publishers Inc., New York, 1995-1997. Commissioned to design Artist/Author: Contemporary Artist’s Books. Cornelia Lauf and Clive Philpot, eds.; book designed as artist’s book by Renée Green. New York: American Federation of the Arts, 1998.
Architectural League of New York. Architectures of Display, with Laura Kurgan, 1995.
Stroom. The Seventh Museum. The Hague, 1994.
Worcester Museum of Art, Worcester, MA, 1991.
FRAC Pays de Loire, Clisson, France, 1991.



Adler, Dan. “Commited to Memory,” Artforum International (New York), vol. 48, no. 9 (May 2010): 109-110.

Alberro, Alexander. “The Fragment and the Flow: Sampling the Work of Renée Green.” In: Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.

Allen, Jennifer. “Renée Green: Galerie Christian Nagel,” Artforum International (New York), vol. 45, no. 9 (May 2007): 384.

Alter, Nora. “Akustische Dimensionen: Sound in Skulptur und Film.” In: Die Bildende: die Zeitung der Akademie (Vienna), no. 1 (November 2006): 14-18.

Alter, Nora. “Beyond the Frame: Renée Green’s Video Practice.” In: Shadows and Signals/Sombras y señales. Barcelona: Fundació Antoni Tàpies, 2000.

Alter, Nora. “’View While Listening.’” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal des Beaux-Arts, 2009: 95-96;
French version: “’Regarder en écoutant.’” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal des Beaux-Arts, 2009: 95-96; French version: 97-98.

Amado, Miguel. “Transmitting California,” In: (October 17th, 2007)

Apter, Emily. Continental Drift: From National Characters to Virtual Subjects. Chicago: University of Chicago Press, 1999. [cover designed by Renée Green]

Avgikos, Jan. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), (Summer 1992).

Avgikos, Jan. “Previews: Renée Green: Endless Dreams and Time-Based Streams,” Artforum international (New York), vol. 48, no. 5 (January 2010): 92.

Baker, George. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), vol. 36, no. 6 (February 1997): 89-90.

Baker, Kenneth. “Renée Green’s Intense Show at Yerba Buena,” San Francisco Chronicle (San Francisco), (March 25 2010).

Becker, Jochen. “Renée Green: Between and Including,” Kunstforum International (Mainz), no. 145 (May-June 1999).

Bell, Kirsty. “Landschaften = Landscapes,” In: Turbulenz. Portikus Projekte 2001-2004. Frankfurt: Portikus, 2004.

Berger, Doris. “Doris Berger spricht mit Renée Green.” In: Künstlerbücher/Artist’s Books. Gabriele Koller and Martin Zeiller, ed. Vienna: Universität für angewandte Kunst, 2001:

Berger, Doris. “Renée Green in der Wiener Secession,” Kunstbulletin, (April 1999).

Bhabha, Homi. The Location of Culture. New York: Routledge, 1994.

Bishop, Kathy. “Fanfare,” Vanity Fair (New York), (June 1990).

Bock, Jürgen. “The Beauty of Discourse, or How to Stand Pyramids on Their Heads: A Fictitious Conversation Between Jürgen Bock and Joaquim Beck on the Renée Green exhibition
Relay at the Kunstraum Innsbruck.” In: The Sociological View. Innsbruck: Kunstraum Innsbruck, 2006. [English and German version]

Breitwieser, Sabine. “Taking Part in the Museum,” Afterall (London), no. 34 (Autumn/Winter 2013): 5-16.

Brenson, Michael. “Renée Green: Anatomies of Escape,” The New York Times, (New York), (May 25 1990).

Brenson, Michael. “Show at the Studio Museum of it’s Artists in Residence,” The New York Times, (New York), (December 15 1989).

Brown, Elizabeth, Social Studies: 4 + 4 Young Americans. Oberlin, Oberlin College, Allen Memorial Art Museum, 1990. (Art Museum Bulletin; vol. 44, no. 1) [catalogue]

Bruno, Giuliana. “Anatomy of an Analysis: The Authorial Noir...” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001.

Bruno, Giuliana. Atlas of Emotion. New York: Verso, 2007.

Buhr, Elke. “Träume mit System,” Frankfurter Rundschau (Frankfurt), (14 December 2002).

Butler, Cornelia. “A Lurid Presence: Smithson’s Legacy and Post-Studio Art,” In: Robert Smithson. Los Angeles: Museum of Contemporary Art, 2004.

Carr, Cynthia. “Only Connect: Renée Green Sparks the New Global Conversation,” Village Voice (New York), (January 16 2001).

Cameron, Dan. “Critical Edge,” Arts, (January 1992).

Casadio, Mariuccia. “Giovani in transito,” Casa Vogue (Paris), (September 1994).

“Changing Spaces: Artists' Projects from the Fabric Workshop, Philadelphia,” Toronto Life (Toronto), (August 1998).

Chen, Howie. “Instrumental Spaces.” In: Social Capital: Forms of Interaction. New York: Whitney Museum of American Art, Independent Study Program Exhibition, 2004.

Chen, Howie. “Renée Green.” In: Empire State: New York Art Now! Milan: Skira, 2013: 96-101. [Exhibition catalogue]

Coles, Alex. “Revisiting Robert Smithson in Ohio: Tacita Dean, Sam Durant and Renée Green,” Parachute (Montréal) (2001): 128-138.

Conrad, Martin. Zitty (Berlin), (February 1995).

Copeland, Huey. “Renée Green’s Diasporic Imagination.” In: Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America. Chicago: Chicago University Press,
2013: 153-196.

Corey, Molly. What Lies Between: The Autobiographical Impulse in Film and Video. Los Angeles: UCLA Hammer Museum, 2003.

Coxhead, Gabriel. “Renée Green: National Maritime Museum,” Time Out (London), (February 5-11, 2009): 47.

Cummings, Neil. “Curating the Contemporary Art Museum,” Art & Design (London), vol. 12, no. 1-2 (January-February 1997).

D'Arcy, David. “The Art Frontier,” Vanity Fair (New York), no. 462 (Februrary 1999): 100-102.

Dailey, Meghan. “Preview. Renée Green: Between and Including,” Artforum international (New York), vol. 37, no. 5 (January 1999): 63.

Dalton, Elizabeth and Cynthia Smith. Expense/Account: Figuring the Damage. New York: Hartnett Gallery, University of Rochester, 1990. [catalogue]

Decter, Joshua. “Renée Green: Pat Hearn Gallery,” Artforum international (New York), vol. 33, no. 1 (September 1994): 105-106.

Decter, Joshua. “Renée Green: Remapping Narratives of History and Identity,” Forum International (Antwerpen), (January-February 1993). Reprinted in Decter’s Art is A Problem.
Zurich: JRP/Ringier, 2014: 72-73.

Denson, Roger G. “A Genealogy of Desire: Renée Green Explores the Continent of Power,” Flash Art (Milan), no. 160 (October 1991): 125-127.

Diaz, Eva. “Renée Green: Participant Inc.,” Modern Painters (New York), (May 2007): 96.

Diederichsen, Diedrich. “Konversationen.” In: Yo! Hermeneutics. Diedrich Diedrichsen, ed. Berlin: ID-Archiv, 1993. [conversation with Diedrich Diedrichsen]

Diederichsen, Diedrich. "The Politics of Tourism: Renée Green, Bernward Vesper, Hubert Fichte," In: Tour-Isms: The Defeat of Dissent. Critical itineraries. Barcelona: Fundació
Antoni Tàpies, 2005.

Diederichsen, Diedrich. “Traveling Light: Artists’ Journeys.” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal des
Beaux-Arts, 2009: 101-102; French version: “Voyager léger: itinérances d’artistes”: 103-104.

Donovan, Thom. “Renée Green’s Other Planes of There,” BOMB Magazine (New York), no. 131 (Spring 2015).

Doove, Edith. “Other Planes of There: Selected Writings,” Leonardo On-line, (July 2015),

Draxler, Helmut. “The Turn from the Turns: An Avant-Garde Moving Out of the Centre (1886-1992),” in Exhibition as Social Intervention: ‘Culture in Action’ 1993. London: Afterall
Books, 2014: 44-64.

Drissen, Chris. “Sound Forest Folly.” In: Lustwarande 04: Disorientation by Beauty. Tilburg: Fundament Foundation, 2004.

Dumont, Fabienne. “Portrait: Renée Green.” In: Critique d’art (Châteugiron), no. 35 (Spring 2010): 121.

Eng, Michael. “Exhange between Michael Eng and Renée Green.” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001: 177-199.

Eng, Michael and Renée Green. “No Easy Places: At this Moment in Vienna...,” Public Culture (Chicago), vol. 13, no. 1 (Winter 2001): 139-153.

Enwezor, Okwui. “Renée Green: Partially Buried in Three Parts.” In: Defining Contemporary Art: 25 Years in 200 Pivotal Artworks. London: Phaidon, 2010: 188-189.

Farrelly, Liz. “When the Client is an Artist,” Print (New Haven), vol. 52, no. 2 (March-April 1998).

“A Fashion Gallery,” New York Times Magazine (New York), (September 18 1994).

“Fast Forward,” Canadian Art (Toronto), (Summer 1998): 16.

Föll, Heike. “Renée Green: Galerie Christian Nagel,” Artforum International (New York), vol. 45, no. 9 (May 2007): 384.

Foster, Hal. Return of the Real. Cambridge, Mass.: MIT Press, 1996.

Foster, Hal. “Convulsive Identity,” October (New York), no. 57 (Summer 1991): 18-54.

Fricke, Harold. Der Tagespigel (Berlin), (February 1995).

Gau, Sønke. “Renée Green. Ongoing Becomings, Rétrospective 1989–2009,” Springerin (Vienna), no. 1 (2010).

Das Gedächtnis der Kunst/History and Memory. Frankfurt: Historisches Museum and Schirn Kunsthalle, 2000. [book cover]

Genioli, Ana Amélia C. Identidades: a produção da diferença em Arte Contemporãnea. São Paulo: Intermelos, 2014.

Gilbert, Chris. “Renée Green’s Wavelinks.” In: Cram Sessions at the BMA: 03. Sound Politics. Baltimore: Baltimore Museum of Art, 2005: 7.

Gilbert, Chris, Renée Green, Dont Rhine & Mayo Thompson. “Roundtable Discussion.” In: Cram Sessions at the BMA: 03. Sound Politics. Baltimore: Baltimore Museum of Art, 2005:
1, 3-6.

Gill, Brendan. “Manhattan's Arena for Aesthetic Melodrama,” Architectural Digest (Los Angeles), no. 47 (November 1990).

González, Jennifer A. Subject to Display. Cambridge, MA: MIT Press, 2008: 204-277.

Gray, Ros. “Dreaming of Islands.” In: Renée Green: Endless Dreams And Time-Based Streams. San Francisco: Yerba Buena Center for the Arts, 2010: 24-32.

Graw, Isabelle. “Im Labyrinth der Alphabete,” Die Tageszeitung (Berlin), (March 24 1999).

Graw, Isabelle. “Enteignung aneignen: Renée Green.” In: Die bessere Hälfte: Künstlerinnen der 20. und 21. Jahrhunderts. Cologne: DuMont, 2003: 78-87.

Graw, Isabelle. “Renée Green Kontrollräume,” Artis (Bern), (February-March 1995).

Groos, Ulrike and Markus Müller. “Interview mit Renée Green: New York, Oktober 1997.” In: Make it Funky: Crossover zwischen Musik, Pop, Avantgarde und Kunst. Cologne: Oktagon,
1998: 235-248. (Jahresring 45)

Harkavy, Donna. “Renée Green.” In: Bequest. Worcester: Worcester Art Museum, 1991. (Insights) [catalogue]

Hegenwisch, Katherina. After the Avant-Garde. Munich: Kunsthalle Hypo-Bank, 1995. [catalogue]

Hermes, Manfried. “Renée Green: German Oustation of Funk,” Flash Art (Milan), no. 166 (October 1992): 94.

Higa, Karin. SiteSeeing: Travel and Tourism in Contemporary Art. New York: Whitney Museum of Contemporary Art, 1991. [catalogue]

Höller, Christian. “Wavelinks: Resonance Levels of ‘Globalization’.” In: Global Complex. Linz: OK Centrum für Gegenwartkunst Oberösterreich, 2002.

Horst, Christoph. “Crossover,” Profil (Vienna), no. 9 (March 1999).

Jones, Lisa. “Venus Envy,” Village Voice (New York), (July 9 1991).

Kastelan, Cornelia and Valérie Knoll. “Some Issues of History.” In: Art in the Periphery of the Center. Ed. by Chirstoph Behnke et al. Berlin: Sternberg Press, 2015: 240-242,

Kellerman, Kerstin. “Flowerpower buried,” an.schläge (Vienna), (April 1999).

Kempkes, Anke. “Der Ärger mit dem Narzißmus von Künstlerinnen. Renée Greens “She” auf Exkursion,” Texte zur Kunst (Cologne), no. 28 (November 1997): 95.

King, Elaine. New Generations: New York. Pittsburgh: Carnegie Mellon Art Galllery, 1991. [catalogue]

Kontova, Helena. “Robert Nickas: I’ve Always Preferred Artists to Works of Art,” Flash Art (Milan), vol. 24, no. 155 (January-February 1991): 165, 176.

Korody, Nicholas. “Ghosts of Schindler’s Past Haunt Renée Green’s MAK Center Exhibition,” Archinect (Los Angeles), March 24, 2015.

Krause-Wahl, Antje. “Renée Green: Forscherin, (Ver)Mittlerin und Intellektuelle,” in Konstruktionen von Identität: Renée Green, Tracey Emin, Rirkrit Tiravanija. München: Silke Schreiber, 2006: 24-76.

Krumpl, Doris. “Im Labyrinth der kollektiven Erinnerung: US-Künstlerin Renée Green in der Wiener Secession: Between and Including,” Der Standard (Vienna) (February 9 1999).

Laird, Michele. “Cult American Artist, Renée Green, Gets Major Retrospective in Lausanne,” New Switzerland. green-gets.html> Accessed January 16, 2010

Larsen, Lars Bang, “The Long Nineties,” Frieze (London), no. 144 (February 2012): 92-95.

Ledo, Agar. “Renée Green: Galeria Filomena Soares, Lisboa,” Lápiz (Madrid), no. 209 (February 2005): 89.

Lemmon, Danielle B. “Moving Sight: The Artist as Beholder in the Art of Renée Green.” In: Responses to Michael Fried’s Theories of Theatricality in the Visual Arts: From Modern
to Postmodern Criticism. Ann Arbor: UMI Dissertation Services, 1997: 163-203.

Lerichomme, Lise. “Renée Green: Commemorative Toile ou la falsification du bucolique.” In: Copie et imitation dans la production textile, entre usage et repression. Florence Charpigny et al., eds. Lyon: Musée des Tissus; Musée des Arts Décoratifs, 2010.

Leturque, Armelle. “Renée Green, Decoding Cultures,” Blocnotes (Paris), no. 12 (April-May 1996).

Leung, Simon. “Contemporary Returns to contemporary art: Renée Green, Silvia Kolbowski and Stephen Prina,” Art Journal (New York), vol. 60, no. 2 (Summer 2001): 54-71.

Levin, Kim. “Choices,” Village Voice (New York), (April 5 1994).

Levin, Kim. “Turning the Tables, and Choices,” Village Voice (New York), (June 19 1990).

Lippard, Lucy. On the Beaten Track. New York: The New Press, 1999.

McNeely, Andrew. “Renée Green: Begin Again, Begin Again,” CAA.Reviews (November 19, 2015).

Masterworks for Learning: A College Collection Catalogue. Oberlin: Oberlin College, Allen Memorial Art Museum,1998. [cd-rom]

Matos, Sara. “Negociaçoes na zona da contacto,” Pangloss (Lisbon), no. 3 (July 2003): 29.

McFadden, Sarah. “Report from Cologne: Changing of the Guard,” Art in America (New York), vol. 83, no. 2 (February 1995): 50-57.

McTighe, Monica. “The family slide show as critical history in Renée Green’s video Partially Buried Continued,” Third Text (London), vol. 21, no. 4 (2007): 441-450.

Mercer, Kobena. “Archive and Dépaysement in the Art of Renée Green.” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal
des Beaux-Arts, 2009: 21-26; French version: “Archive et dépaysement dans l’art de Renée Green”: 27-32.

Mercer, Kobena. Mirage. London: Institute of Contemporary Art; Institute of International Visual Arts, 1995. [catalogue]

Mercer, Kobena and Joshua Decter. Inheritance. Los Angeles: LACE, 1992. [catalogue]

Meyer, Christian and Mathias Poledna. Sharawadgi. Cologne: Walther König, 1999.

Meyer, James. “Preview. Renée Green: Contemporary Arts Center,” Artforum international (New York), vol. 42, no. 5 (January 2004): 60.

Meyer, James. “Nomads,” Parkett (Zurich), no. 49 (Summer 1997): 205-209. [german version in the same issue, “Nomaden”: 210-214.]

Meyer, James. “Nostalgia and Memory: Legacies of the 1960s on Recent Work.” In: Painting, Object, Film, Object: Works from the Herbig Collection. New York: Christie’s, 1998: 26-

Meyer, James. “The Return of the Sixties in Contemporary Art and Criticism,” In: Antinomies of Art and Culture. Ed. by Terry Smith, Okwui Enwezor, and Nancy Condee. Durham: Duke
Univeristy Press, 2008: 324-332.

Milliard, Coline. “Renée Green: Endless Dreams and Water Between,” Art Monthly (London), no. 325 (April 2009): 32.

Möntmann, Nina. “Kultureller Raum Topographie der Kulturen: Renée Green ‘Import/Export Funk Office,’ 1992-1994.” In: Kunst als sozialer Raum: Andrea Fraser, Martha Rosler, Rikrit
Tiravanija, Renée Green. Cologne: Walther König, 2002: 133-156.

Morgan, Margaret. “From Dada to Mama: Feminism, the Ready-made and Contemporary Practice.” In: Binocular. Ewen McDonald and Juliana Engberg, eds. Sydney: Moët & Chandon,

Morgenthaler, Daniel. “Renée Green: im Interieur der Zeitgeschichte,” Kunstbulletin (Zurich), (December 2009): 24-31.

Nathan, Jean. “Art: Renée Green,” Vibe (New York), (October 1994).

Newbury, Susanna. “Things We Think With,” X-Tra (Los Angeles), vol. 18, no. 1 (Fall 2015): 20-35.

Nickas, Robert. Natural History. Amsterdam: Barbara Farber Gallery, 1991. [catalogue]

Nieswandt, Hans. “Green ist die Hoffnung,” Spex (Cologne), (August 1992).
“Obrazy stvárnujúce vyznamy,” Slovenská Republika (9 March 1999): 6

Obrist, Hans, Ulrich. “The Installation is Coming Through the Back Door,” Meta (Stuttgart), no. 1 (1992): 62-73.

Oleksijczuk, Denise. Lost Illusions: Recent Landscape Art. Vancouver Art Gallery, 1991. [catalogue]

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Putman, CT: Spring, 2006: 274-275.

Owens, Craig. Beyond Recognition: Representation, Power, and Culture. Berkeley: University of California Press, 1992: 261. Reprinted as “’The Indignity of Speaking for Others’:
an Imaginary Interview,” The Happy Hypocrite (London), no. 6 (2013): 23-25. [Reproduction of an image from Sites of Genealogy: Loophole of Retreat, 1991]

Perucic, Nadia. “Navigating the Social Order: Alternative Currents in Relations of Power”. In: Social Capital: Forms of Interaction. New York: Whitney Museum of American Art,
Independent Study Program Exhibition, 2004.

Ploebst, Helmut. “Sechs Tage Seinfeld,” Wiener Journal (Vienna), (March 1999).

Plutot, Sébastien. “’Living archives’: l’histoire de l’art comme archive disponible,” L’art même (Bruxelles), no. 38 (2008): 8-11.

“Preview. Exhibitions: Mirage,” The Guardian: The Guide (London), (May 12 1995).

Prinzhorn, Martin. “Dauerhaftes Provisorium,” Texte zur Kunst (Cologne), no. 34 (June 1999): 193.

Projekt Fassade. Vienna: Secession, 2001 [catalog]

Puvogel, Renate. “Frauen in New York: ein Blick Uber den Eigenen Tellerrand,” Artis (Bern), (February 1993).

Quéloz, Catherine. “Some Thouhgts Regarding Renée Green’s Research Methods.” In Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée
Cantonal des Beaux-Arts, 2009: 87-88. French version: “Quelques hypothèses sur les méthodes de recherche de Renée Green”: 89-90.

Ramirez, Yasmin. “Renée Green at Pat Hearn,” Art in America (New York), vol. 79, no. 10 (October 1991): 148-149.

Rebentisch, Julianne. “From One Island To Another: Conversation between Julianne Rebentisch and Renée Green.” Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich:
JRP/Ringier; Lausanne: Musée Cantonal des Beaux-Arts, 2009: 73-78.; French version: D’une Île-à l’autre: conversation entre Juliane Rebentisch et Renée Green”: 79-90.

“Renée Green: Between and Including,” Portfolio (January 1999).

Riemschneider, Burkhard and Uta Grosenick. Art at the Turn of the Millennium. Cologne: Taschen, 1999.

Rottmann, André. “Significant Others,” Artforum international (New York), vol. 53, no. 6 (February 2015): 89-90.

Ruins in Reverse: Time & Progress in Contemporary Art. Grant H. Kester, ed. Contributors: Susan Buck-Morss, Eduardo Cadava, Peter Osborne. Web publication:

Rosenthal, Stephanie, ed. Stories. Munich: Haus der Kunst; Cologne: Dumont, 2002.

Saunders, Gill and Zoe Whitley. In Black and White: Prints from Africa and the Diaspora. London: Victoria and Albert Museum, 2013: 27, 52.

Schöllhammer, Georg. “Spiel ohne Grenzen,” Profil (Vienna), no. 8 (February 1999).

Schurmann, Wilhelm. Dirty Data. Aachen: Ludwig Forum for International Art, 1992. [catalogue]

Schwendener, Martha. “Renée Green: United Space of Conditioned Becoming, Participant Inc.,” The New York Times (New York), (March 30 2007): B29.

Shaked, Nizan. “The 1993 Whitney Biennial: Artwork, Framework, Reception,” Journal of Curatorial Studies (Bristol), vol. 2, no. 2: 142-168.

Shohat, Ella. “Post-Third Wordlist Culture,” In: Taboo Memories, Diasporic Voices. Durham: Duke University Press, 2006: 290-329. [Text also published in: Feminist Genealogies,
Colonial Legacies, Democratic Futures. ed. by M. Jacqui Alexander and Chandra Mohanty. New York: Routledge, 1996: 183-209.]

Shohat, Ella and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge, 1994: 322-323.

Simpson, Bennett. “Renée Green.” In: This Is Not To Be Looked At: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles. Los Angeles: MOCA, 2008: 124-125.

Singerman, Howard. “In Theory & Practice: A History of the Whitney Independent Study Program,” Artforum international (New York), vol. 42, no. 6 (February 2004): 112-117,

Smith, Roberta. “Other Planes of There: Renée Green,” The New York Times (New York), (March 31 2000).

Smith, Roberta. “Renée Green: Pat Hearn Gallery,” The New York Times, (New York), (May 1 1992).

Smyth, Cherry. “Renée Green. National Maritime Museum,” Modern Painters (New York), vol. 21, no. 3 (April 2009): 72.

Soares de Oliveira, Luísa. “Interferências,” Público. Mil folhas (Lisboa) (20 Novembro 2004): 15.

Soong, C.S. and Renée Green. “Renée Green,” Against the Grain (June 1st 2010), KPFA. Radio interview.

Sotriffer, Kristian. “Bild, Text, Ton und Film im Shaker,” Die Presse (Vienna), (17 February 1999).

Spiegl, Andreas. “Renée Green: Secession, Vienna,” Frieze (London), no. 47 (July-August 1999): 109.

Stroud, Marion Boulton. New Materials as New Media: The Fabric Workshop and Museum. Cambridge, Mass.: MIT Press, 2002.

Sutton, Gloria. “Renée Green: Some Formal Operations.” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal des Beaux-Arts,
2009: 91-92. French version: Renée Green: sur quelques opérations formelles”: 93-94.

Sutton, Gloria. “Renée Green.” In: How Many Billboards: Art in Stead. Ed. by Peter Noever & Kimberli Meyer. Los Angeles: MAK Center for Art and Architecture, 2010: 46-49. />

Tattenbaum, Judith. “On the Wall: Wallpaper by Contemporary Artists.” In: On the Wall: Contemporary Wallpaper. Providence: Museum of Art, Rhode Island School of Design, 2004. />

Tillmann, Lynne and Joe Wood. “Renée Green in Conversation with Lynne Tillmann and Joe Wood.” In: Between and Including. Vienna: Secession; Cologne: Dumont, 2001.

Turbulenz. Portikus Projekte 2001-2004. Frankfurt: Portikus, 2004.

Urbach, Henry. “Just Looking: Architectures of Display,” Village Voice (New York), (June 6 1995).

Verwoert, Jan. “Reseach and Display: Transformations of the Documentary Practice in Recent Art.” In: The Green Room: Reconsidering the Documentary and Contemporary Art. Ed. by
Maria Lind and Hito Steyerl. Berlin: Sternberg Press, 2008.

Viewing, Pia. “Renée Green, Rikrit Tiravanija,” Blocnotes (Paris), no. 12 (April-May 1996).

Vogel, Sabine. “Siebziger verweht,” Frankfurter Allegemeine Zeitung (Frankfurt), (1999).

Volk, Gregory. “Renée Green.” In: Strangers: The First ICP Triennial of Photography and Video. New York: International Center of Photography; Göttingen: Steidl, 2003: 188-213. />

Wailand, Markus. “Stil ist kein Schicksal,” Falter (Vienna), no. 7 (February 1999).

Wallace, Michele. “High Mass,” VLS Symposium, “Are We There Yet”? Village Voice Literary Supplement (New York), (October 1991).

Wallis, Brian. “Excavating the 1970s,” Art in America (New York), vol. 85, no. 9 (September 1997): 96-99, 122. Also published in: Renée Green: Partially Buried; Adrian Piper:
Hypothesis: Situation. Parallel Grid Proposal for Dugway Proving Grounds Headquarters. New York: Elizabeth Dee, 2009.

Wanderlust: Excursions in Contemporary Sculpture. Edited by Chris Driessen and Heidi van Mierlo. Tillburg: Fundament Foundation, 2008.

Wettengl, Kurt. “Poetische Räume,” Frankfurter Allgemeine Zeitung (Frankfurt), (15 December 2002): R:4.

Wiensowski, Ingeborg. “Renée Green,” Kulturspiegel (Vienna), (February 1999).

Williams, Gregory. “Renée Green, Marion von Osten, and Peter Spillmann,” Artforum International (New York) (February 2001): 154.

Winkel, Camiel van and Mark Kremer. “On Top of the World: Renée Green,” Archis (Amsterdam), (March 1994).

Wilmes, Ulrich. “Museum of Our Wishes.” In: Museum unserer Wünsche/Museum of our Wishes. Cologne: Museum Ludwig, 2002.

Wilmes, Ulrich, ed. “Renée Green.” In: Moderne Kunst: die Kunst des 20. Jahrhundert und der Gegenwart im Überblick. Cologne: Museum Ludwig; DuMont, 2006.

Wood, Joe. “It’s a Trick.” In: World Tour. Los Angeles: Museum of Contemporary Art, 1993: 8-14.

Zabunyan, Elvan. “Renée Green: (des)orientations,” Le journal du Centre national de la photographie (Paris), no. 14 (August 2001): 14.

Zabunyan, Elvan. “Stratum and Resonance: Displacement in the Work of Renée Green.” In: Art and the Performance of Memory. Richard Cándida Smith, ed. London: Routledge, 2002: 85-

Zabunyan, Elvan. “Archives et généalogie.” In: Black is a Color: une histoire de l’art africain-américain contemporain. Paris: Dis Voir, 2004: 224-237] [english edition: Black is
a Color: Paris: Dis Voir, 2005.]

Zabunyan, Elvan. “We Are Here.” In: Renée Green: Ongoing Becomings. Retrospective, 1989-2009. Zurich: JRP/Ringier; Lausanne: Musée Cantonal des Beaux-Arts, 2009: 7-12. French
version: “Nous sommes là”: 13-19.

Zahm, Olivier. “Nantes und die Geschichte des Sklavenhandels,” Texte zur Kunst (Cologne), no. 5 (Winter 1992): 184-186.

Zahm, Olivier. “Mise en Scene.” Huitiemes ateliers internationaux des Pays de la Loire. Clisson: F.R.A.C., 1992. [catalogue]

Zapperi, Giovanna. “Renée Green: tactiques de l’histoire.” Multitudes (Paris), no. 34 (Fall 2008): 139-143.

Zapperi, Giovanna. “ Ici, ailleurs: rêver et voyager avec Renée Green.” In: Pétunia (Marseille), (2010): 18-22.

Zapperi, Giovanna. “Women’s reappearance: Rethinking the Archive in Contemporary Art. Feminist Perspectives,” Feminist Review (London), no. 105 (November 2013): 21-47.

“Zwischen Zeiten und Orten,” Springerin (Vienna), (January 1999).

Ziegler, Philipp. “Renée Green, Secession, Wien,” noëma (Salzburg), no. 51, (May-June 1999).


„Getting Closer While Waiting: Epiphanies“, The Wire (London), (January 2015): 106.

“Other Planes of There: Selected Writings”, Duke University Press Books, 2014.
“500 Words,”, 11.18.2014.

“Loss and Transmutation” In: Newsletter CCC 10/11: Recherches en cours: pour un Doctorat PhD en arts. Geneve: Haute école d’art et de design, Programme Master de recherché CCC, 2013: 23-25.

“Loss and Transmutation,” CCC Newsletter (Geneva), (Fall 2012).
“Paradoxes Experienced by Artist-Thinkers.” In: Intellectual Birdhouse: Artistic Practice as Research. Ed. by Florian Dumbois et al. London: Koening Books, 2012.

“I Won’t Play Other To Your Same.” In: Erste Wahl: 20 Jahre Texte zur Kunst. I. Dekade.
Isabelle Graw, Helmut Draxler, Andreas Rottmann, eds. Hamburg: Filo Fine Arts, 2011.
“Reflections: Seven Years Plus,” e-flux journal (New York), no. 22 (January-February 2011)
“Serving Institutions.” In: Fred Wilson: A Critical Reader. Ed. by Doro Globus. London: Ridinghouse, 2011.

“Endless Dreams and Water Between,” Collapse (Oxford), vol. 6 (2010): 480-523.
“Hail the Invisible College: Reason’s Sense of Humor,” MaHKUzine: Journal of Artistic Research (Utrecht), no. 9 (Summer 2010): 16-24.
“L’artiste comme ethnographe?” In: Une anthologie de la revue Texte zur Kunst de 1990 à 1998. Catherine Chevalier, Andreas Fohr, eds. Zurich: JRP Ringier; Dijon: Les presses du reel, 2010.
“Everything Must Change: Imagining Beyond Survival.” In MFA Graduate Exhibition Catalogue 2010. San Francisco: San Francisco Art Institute, 2010.

“Secret (Project Unité, Firminy.” In: Situation. Ed. by Claire Doherty. London: Whitechapel Gallery; Cambridge, MA.: MIT Press, 2009.
“Archives, Documents? Forms of Creation, Activation, and Use.” In: Geschichten/n verwahren. Ed. by Julia Klärting, Katharina Lampert. Vienna: [IG Bildende Kunst], 2009. [Limited edition]
“From Dreamer To Dreamer,” Flash Art (Milan), vol. 42, no. 269 (November-December 2009): 64. [Artist’s page in homage to Marcel Broodthaers]

“Come Closer: Prélude à Endless Dreams and Water Between,” Multitudes (Paris), no. 34
(Fall 2008): 137-138, 144-163.
“Imagine This Wherever and Whover You Are.” Manifesta 7. Scenarios. Milan: Silvana;
Manifesta 7, 2008.
“Notes pour un essai: Archives, documents?: formes de création, activation, et usage.” Hors d’oeuvre (Dijon), no. 22 (June-September 2008): 3. A complete English version of the text can be found at <>.
“Now It Seems Like A Dream,” Texte zur Kunst (Berlin), no. 67 (September 2007).
“Absurdity? Allegory? Animality? Riddles of Failure? Utopia Now?” In: Shaving the Mammoth. San Francisco: San Francisco Art Institute, 2008.
“Spheres Nexus: Continued Soundings.” In: MFA Graduate Exhibition Catalogue 2008. San
Francisco: San Francisco Art Institute, 2008.
Independent Study Program: 40 years. Whitney Museum of American Art, 1968-2008. New York: Whitney Museum of American Art, 2008.

“Bonvenon! (Kurfustenstrasse 123 #13 Green, Berlin, 10787).” October (New York), no. 119
(Winter 2007): vi-vii. [Reproduction of Green’s contribution to October Portfolio #3].
“Perceiving Complexity.” In: MFA Graduate Exhibition Catalogue 2007. San Francisco: San
Francisco Art Institute, 2007.

“Place.” In: Sarai Reader 06. Turbulence. New Delhi: The Sarai Programme; CSDS, 2006,
“Relay.” In: The Sociological View. Innsbruck: Kunstraum Innsbruck, 2006.
“Beyond.” In: Institutional Critique and After. Zürich: JRP|Ringier Kunstverlag, 2006.
“States of Exception.” In: MFA Graduate Exhibition Catalogue 2006. San Francisco: San Francisco Art Institute, 2006.
“Free Agent Media Celebrates Year 12.” In: Lab Mag (New York), no. 1 (Color Lulu Version): 108-109. Adam Pendleton’s Magazine Project. It also appears in black and white in B/W Lulu Version.
“Free Agent Media Celebrates Year 12 @ Memphis.” In: Memphis (Vienna), no. 12 (December 2006): 32-33.
“States of Exception: Spheres of Interest.” In: MFA Graduate Exhibition Catalogue 2006. San Francisco: San Francisco Art Institute, 2006.

“Index (Aus dem Vergessen): Paradoxe und Klimata.” In: Einstein Spaces. Yvonne Leonard, ed. Berlin: Einstein Forum, 2005

“Other Planes of There”, Yard (LA), vol.1, no.1, (Fall 2004), 54-61.
“NO Guru, NO Method, NO Master: zur Methode und Zukunft der Lehre”, Texte zur Kunst (Cologne), no.53. (March 2004), 140-143.
„Künstlerische Praxis als Dispositive: Katharina Schlieben und Sonke Gau im Gespräch mit Renée Green“ ITH: das Magazin des Instituts für Theorie der Gestaltung und Kunst (Zürich), no.31 (June 2004): 61-69.

“Introduction: ‘Negotiations in the Contact Zone’ Symposium.” In: Negotiations in the contact Zone / Negociacôes na zona de contacto. Renée Green, editor. Lisboa: Assirio & Alvim, 2003.
“Conversation between Diana Andringa and Renée Green. Lisbon, September 1992, at RTP”, in: Negotiations in the Contact Zone/ Negociaçôes na zona de contacto”, Renée Green, editor, Lisboa: Assirio & Alvim, 2003

“Obsolescene = Mutation Unrealized?”, October, no.100, Spring 2002: 76-77.
“Slippages”, in: Radiotemporaire, Grenoble: Magasin, 2002
“Survival: Ruminations on Archival Lacunae. Adaptions, Re-Readings and New Readings. Introduction to the Following Accretive Process”, in: Interarchive: Archival Practices and Sites in the Contemporary Art Field, Beatrice von Bismarck et al., ed. Lüneburg: Kunstraum der Universität Lüneburg, Cologne: Walther König, 2002
“Introductory Notes of a Reader and A Contemporary Moment”, in: From Work to Text: Dialogues on Practise and Criticism in Contemporary Art, Jürgen Bock, ed. Lisbon: Centro Cultural de Belém, 2002.
“Returns: Tracing Lusitatia, Questions from Elvan Zabunyan which Stimulated Responses from Renée Green”, in: From Work to Test: Dialogues on Practise and Criticism in Contemporary Art.” Jürgen Bock, ed. Lisbon: Centro Cultural de Belém, 2002.
“Raum für Notizen: ein Tagebuch zur Documenta 11”, Texte zur Kunst (Cologne), no 47, 2002: 70-77.

“Nachwort/Brief: (Situationist Text)”, in: Situationistinnen und andere…Berlin: b_books, 2001.
Eng, Michael and Renée Green, “No Easy Places: At this Moment in Vienna…”, Public Culture, Chicago, vol 13, no. 1, 2001: 139-153.
“Un moment contemporain: penser les recontres artistiques”, multitudes, Paris, no 4, 2001: 65-73.
“Between and Including”, with contributions from Giuliana Bruno, Michael Eng, Renée Green, Lynne Tillman, Joe Wood, Vienna Secession, Vienna, 2001.
„Some Conditions for Independent Study: The Whitney Program as a Thought Oasis or Weathered Bastion“, in: Education, Information, Entertainment, Ute Meta Bauer, ed. Wien: Selene, Institut für Gegenwartskunst, 2001.

Notes on "Humanist and Ecological Republic" and "Lac Mantasoa": Florian Pumhösl, Vienna Secession, in: Texte zur Kunst, September, 2000.
“Shadows and Signals”, texts by Alexander Alberro, Nora Alter, Renée Green, Fundació Antoni Tàpies, Barcelona, 2000.
Scenes from a Group Show: Project Uniteé ”In: Site-Specificity. The Ethnographic Turn”, Alex Coles, ed. London: Black Dog, 2000.

“Zwischen Zeiten und Orten”, Springerin (Vienna), no 1, 1999.
„Translocations Issue“, in: Springerin, 1999.
“In is Out, Out is In, Get It?” in: Glamorama, Spex, 1999.

"Compared to What?: Blues Legacies and Black Feminism by Angela Davis," in: Spex, November 1998.
“Perplexed”, in: Artist/ Author: Contemporary Artist`s Books. Cornelia Lauf and Clive Philpot, eds., book designed as artist`s book by Renée Green, New York: American Federation of the Arts, 1998.
“Affection Afflictions: My Alien, My Self/More “Reading at Work,” Loving the Alien: Science Fiction, Diaspora and Multikultur, ed. Diedrich Diedrichsen, ID Archiv, Berlin, 1998.
“Site-Specificity Unbound: Considering “Participatory Mobility,” in: Springerin, March/April 1998.
“Artist/Author: Contemporary Artist's Books”, eds. Cornelia Lauf andClive Philpot, designed as artist's book by Renée Green, American Federation of the Arts, New York, 1998.

“Partially Buried,” in: October 80, Spring 1997, MIT Press.
"Partially Buried," CD track on Performance Anxiety CD, MCA Chicago, 1997.
“Slippages,” Vienna Secession, ("Agenda" publication), Vienna, 1997, abbreviated version "Der Künstler als Ethnograf?" was published in: Texte zur Kunst, September 1997.

"Spike Lee's Mix: Calculated Risks and Assorted Reckonings" in: Spex, 1996.
"Notes from a User: 'L'Informe'," in: Texte zur Kunst, September 1996.
“Certain Miscellanies: Some Documents”, (book), DAAD(Berlin) and De Appel Foundation (Amsterdam) 1996.
"Flow," a web site made for White Room Productions, NYC and Fri-Art Fribourg, Switzerland at beginning March 31, 1996 and continuing.
“The Fact of Blackness”, ed. Alan Read, ICA London/Bay Press, 1996.
“Stud”, ed., Joel Sanders, Princeton Architectural Press, 1996.
“Games, Fights, Collaborations”, Kunstraum, University of Lüneburg, 1996
“The Digital Import/Export Funk Office”, CD-ROM, produced with University of Lüneburg, 1996.
“Collecting Well is the Best Revenge: Commemorative Toile Fabric, 1995”, in: Stud. Joel Sanders, ed. Princeton: Princeton Architectural Press, 1996.
“Import/ Export Funk Office: Another Work in Progress”, in: Games, Fights, Collaborations: Das Spiel von Grenze und Überschreitung. Beatrice von Bismarck, Diethelm Stoller and Ulf Wuggenig, ed. Lüneburg: Kunstraum, University of Lüneburg, Ostfildern: Cantz, 1996

"Questions of Feminism: 25 Responses," in: October 71, Winter 1995.
„Page Project“, in: Blocnotes, Winter 1995, number 8.
"Dropping Science: Art and Technology Revisited ," in: Flash Art, November 1995.

Conversation with Diedrich Diedrichsen, “Yo Hermeneutics” (book), ed. Diedrichsen, D., 1994
"Eighteen Aphoristic Statements," in: Vor der Information, Vienna, 1994.
"Collectors, Creators, Shoppers," in: Frieze, Fall 1994.
„Page Project“, in: Metropolis M, Amsterdam, October 1994.
“After the Ten Thousand Things” (book), Stroom, The Hague, 1994.
“Camino Road” (book), Museo Reina Sofia, Madrid, 1994.
“On Site Specificity: A Discussion with Hal Foster, Renée Green, Mitchell Kane, Miwon, Kwon, John Lindell, Helen Molesworth”, Documents, New York, no. 4-5, 1994

“WORLD TOUR”, (catalogue) Museum of ContemporaryArt, Los Angeles, 1993.
"Inventory of Clues," (catalogue), "Taking a Normal Situation...," MUHKA, Antwerp, 1993.
"The Beat Goes On," (lecture) Museum für Angewandte Kunst, Vienna, 1993

"Der Öffentliche Blick," Artists Pages, Jahresring #38, 1992.
“Black Popular Culture?," in: Texte zur Kunst, Winter 1992 and in: Art and Text, Summer 1992.
"Open Letter #1: On Influence," in: Texte zur Kunst, Fall 1992.
"Sites of Criticism Symposium: Practices," in ACME Journal, Vol. 1 No.2,1992.

"Trading on the Margin," in: Transition: An Review #52, 1991 pp.124-32, Oxford University Press.
"Democracy in Question," in: Transition: An International Review, #53, 1991, pp.163-167.
"Sites of Genealogy" and "I Won't Play Other to Same," in: Texte zur Kunst, Summer 1991.
“Cold Sweat," ("Kalter Schweiß"), in: Texte zur Kunst, Fall 1991.

"I Won't Play Other to Your Same," in: Meaning 7, May 1990, pp. 15-16.
"What's Painting Got To Do With It?: Art in the Age of Post-Mechanical Production," in: Post-Boys and Girls: Nine Painters, Artists Space, New York, 1990.

”No Title: The Collection of Sol LeWitt”, ed., John Paoletti, Wesleyan University/ Wadsworth Atheneum, Hartford, Connecticut, 1981.