������

The bibliography prepared by Mary Lynn Kotz for Robert ������: A Retrospective (New York: Solomon R. Guggenheim Museum, 1997) has been revised and updated by Helen Hsu, with additional research by Amanda Sroka.

Most citations provide original-publication information only. Reprints or later versions are given if commonly referenced or significantly revised from the originals, or if original sources are particularly difficult to access. Please consult the exhibition history for exhibition catalogues, brochures, and reviews. The bibliography is organized in the following sections:

• ������’s Writings and Statements (chronological)
• Interviews (chronological)
• Monographic Books, Essays, and Dissertations (alphabetical by author)
• Monographic Selections from Periodicals and Newspapers (alphabetical by author)
• Additional Publications and Dissertations (alphabetical by author)
• Select Audiovisual Bibliography (chronological)

The Select Audiovisual Bibliography was originally compiled by Lisa Schiff and has been revised and updated by Jennifer Sarathy with staff at the ������.

ARTIST’S WRITINGS AND STATEMENTS

1958

Statement in “Is Today’s ������ with or Against the Past?”&�Բ�����;Artnews (New York) 57, no. 4 (Summer 1958), pp. 46, 56.

1959

“How Important Is the Surface to Design? Robert ������: An ������ Explains.”&�Բ�����;Print (New York) 13, no. 1 (Jan.–Feb. 1959), p. 31.

Statement in Contemporary American Painting and Sculpture, p. 258. Exh. cat. Urbana: University of Illinois, 1959.

Statement in Sixteen Americans, edited by Dorothy C. Miller, p. 58. Exh. cat. New York: Museum of Modern Art, 1959. Reprinted in Readings in American Art 1900–1975, edited by Barbara Rose, p. 149. New York: Praeger, 1975.

1962

Statement in 4 Amerikanare: Jasper Johns, Alfred Leslie, Robert ������, Richard Stankiewicz, p. 38. Exh. cat. Stockholm: Moderna Museet, 1962.

1963

“Random Order.”&�Բ�����;Location (New York) 1, no. 1 (Spring 1963), pp. 27–31.

“Note on Painting, Oct. 31–Nov. 2, 1963.”&�Բ�����;SAC Journal (Tokyo), no. 34 (Dec. 1963), unpaginated. Reprinted in John Russell and Suzi Gablik. Pop Art Redefined, pp. 101–02. New York: Praeger, 1969.

1964

“Öyvind Fahlström (Oct. 1961).”&�Բ�����;Art and Literature (Lausanne), no. 3 (Autumn–Winter 1964), p. 219.

1965

Statement in Rolf-Günter Dienst. Pop Art: Eine kritische Information, p. 117. Translated by Marguerite Schlüter. Wiesbaden, Germany: Limes, 1965.

1966

Statement in Leonard Lyons. “The Lyons Den.”&�Բ�����;Baltimore Sun, Jan. 5, 1966, sec. B, p. 6.

1967

Statement in Art in Process: The Visual Development of a Collage, unpaginated. Exh. brochure. New York: Finch College Museum of Art, 1967.

“Books: Inside the Endless House, ‘An Invitation to Be Lovable.’”&�Բ�����;Vogue (New York) 149, no. 5 (March 1, 1967), p. 111. Review of Frederick Kiesler, Inside the Endless House: A Journal on Art, People and Architecture (New York: Simon and Schuster, 1966).

Statement in “How Painters Paint America.”&�Բ�����;New York Times, May 21, 1967, sec. D, p. 23.

1968

Statement (Feb. 1968) in “Robert ������: Soundings.”&�Բ�����;Members Newsletter, Museum of Modern Art (New York), no. 1 (Oct. 1968), unpaginated.

Statement in “The Arts and the Critic.”&�Բ�����;Grinnell Magazine (Grinnell College, Iowa) 1, no. 3 (Summer 1968), pp. 33–34.

1969

“Autobiography.” In Andrew Forge. ������, pp. 225–29. New York: Harry N. Abrams, 1969.

Statement in Art Now: New York (University Galleries, New York) 1, no. 5 (May 1969), unpaginated portfolio.

Statement in Alain Hervé. “Eating into Art.”&�Բ�����;��é��������é�� (Paris), no. 225 (Aug. 1969), pp. 52, 54.

“Robert ������: Notes on Stoned Moon Lithographic Project (Oct. 28, 1969).”&�Բ�����;Studio International (London) 178, no. 917 (Dec. 1969), cover and pp. 246–47.

1970

“Introduction.” In ������ Currents, unpaginated. Exh. cat. Minneapolis: Dayton’s Gallery 12, 1970.

“Work Notes—1962.” In Edward A. Foster. “Introduction.” In Robert ������: Prints 1948/1970, unpaginated. Exh. cat. Minneapolis Institute of Arts, 1970.

Statement on Currents. Exhibition announcement. New York: Automation House and Castelli Graphics, 1970. Reprinted in Douglas Davis. “What Is Content? Notes Toward an Answer.”&�Բ�����;Artforum (New York) 12, no. 2 (Oct. 1973), p. 60.

Statement on Signs. Exhibition announcement. New York: Automation House and Castelli Graphics, 1970.

Statement in “Dance Magazine Awards: Recognition of a World Community.”&�Բ�����;Dance Magazine (New York) 44, no. 8 (Aug. 1970), p. 59.

1971

“Note: Cardbirds.” In ������: Cardbirds. Exh. brochure. Los Angeles: Gemini G.E.L, 1971.

1973

Statement (1970) in Douglas Davis. “Robert ������: Technology as Nature.” In Davis. Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology and Art, p. 144. New York: Praeger, 1973.

Statements in “History.” In Jack Cowart and James Elliott. Prints from the Untitled Press, Captiva, Florida, pp. 5–6. Exh. cat. Hartford, Conn.: Wadsworth Atheneum, 1973.

Statement in Marcel Duchamp, edited by Anne d’Harnoncourt and Kynaston McShine, p. 217. Exh. cat. New York: Museum of Modern Art; Philadelphia: Philadelphia Museum of Art, 1973.

1975

Statement (Oct. 4, 1974) in Merce Cunningham, edited by James Klosty, p. 83. New York: Saturday Review Press; E. P. Dutton, 1975.

1977

Statement in Twelve Americans: Masters of Collage, unpaginated. Exh. cat. New York: Andrew Crispo Gallery, 1977.

Statement (Feb. 26, 1976) in Philip Smith. “To and about Robert ������.”&�Բ�����;Arts Magazine (New York) 51, no. 7 (March 1977), p. 121.

Statement in “White in Art Is White?”&�Բ�����;Print Collector’s Newsletter (New York) 8, no. 1 (March–April 1977), p. 3.

Statement in Grace Glueck. “The 20th-Century ������s Most Admired by Other ������s.”&�Բ�����;Artnews (New York) 76, no. 9 (Nov. 1977), pp. 95–96, 97.

1978

Statement in Judith Goldman. “Touching Moonlight.”&�Բ�����;Artnews (New York) 77, no. 9 (Nov. 1978), p. 63.

1979

Statement in Gerrit Henry. “Paper in Transition.”&�Բ�����;Print Collector’s Newsletter (New York) 10, no. 3 (July–Aug. 1979), p. 84.

Statement in Grace Glueck. “Paradigms, Watersheds and Frosting on the Cake.”&�Բ�����;Artnews (New York) 78, no. 8 (Oct. 1979), p. 202.

Contribution in “What Is Your Favorite Photograph? 13 Celebs Searched Their Souls—and Files.”&�Բ�����;People (New York) 12, no. 26 (Dec. 24, 1979), p. 120.

1980

Statement in “The Painters’ Word: 39 Lofty Views on Picasso.”&�Բ�����;SoHo Weekly News (New York), May 21, 1980, p. 13.

Statement in Richard Turner. “Campaign Spending Loophole Makes ������s New Power Brokers.”&�Բ�����;Los Angeles Herald Examiner, June 2, 1980, sec. A, p. 3.

Statement in Grace Glueck. “How Picasso’s Vision Affects American ������s.”&�Բ�����;New York Times, June 22, 1980, sec. 2, p. 25.

Letter to Ellen Sharp on cliché-verre (June 27, 1980). Printable News (Detroit Institute of Arts) (Dec. 1980), p. 5.

1981

Klüver, Billy, and Robert ������. “Art en mouvement: Souvenirs conjugués/Kunst in beweging: Een gekombineerde herinnering.” In Le Moderna Museet de Stockholm à Bruxelles/Het Moderna Museet Van Stockholm te Brussel, pp. 35–40. Exh. cat. Brussels: Palais des Beaux-Arts, 1981. Reprinted as “Rörelse i konsten—en kombinerad minnesbild.” In Moderna Museet 1958–1983, pp. 143–50. Stockholm: Moderna Museet, 1983. Reprinted as “Art in Motion—A Combined Memory.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 114–18.

Statement in ������. Photos In + Out City Limits: Boston. West Islip, N.Y.: Universal Limited Art Editions, 1981. Standard and deluxe editions. Reprinted in ������. Photos In + Out City Limits: New York C. West Islip, N.Y.: Universal Limited Art Editions, 1982.

Statement (Jan. 11, 1981) in ������ Photographe, unpaginated. Translated by Didier Pemerlein. Exh. cat. Paris: Centre Georges Pompidou, Musée National d’Art Moderne and Éditions Herscher, 1981. Reprinted in Robert ������ Photographs. New York: Pantheon Books; London: Thames and Hudson, 1981. Revised and reprinted in American Photographer (New York) 7, no. 5 (Nov. 1981), pp. 86–91. Translated and reprinted in Robert ������ fotografia. Exh. cat. Forte di Belvedere, Florence. Florence: Alinari, 1982.

Statement in “Trans World: ������ at the Tate.”&�Բ�����;Horizon (Tuscaloosa, Ala.) 24, no. 5 (May 1981), p. 15.

1982

Statement in David Sears. “A Trisha Brown–Robert ������ Collage.”&�Բ�����;Ballet Review (New York) 10, no. 3 (Autumn 1982), pp. 47–51.

1984

Statement in Denise Domergue. ������s Design Furniture, p. 131. New York: Harry N. Abrams, 1984.

Statement in “If You Had Your Fondest Wishes for the Arts.”&�Բ�����;New York Times, Jan. 1, 1984, sec. 2, p. 16.

Statement (Feb. 1, 1984) in ������, unpaginated (in English). Exh. cat. Basel: Galerie Beyeler, 1984.

1985

“Manifesto.” In El soñado mundo de ������: ROCI, p. 4. Exh. brochure. Mexico City: Museo Rufino Tamayo Contemporáneo Internacional. Reprinted in exh. cats. and brochures for subsequent ROCI venues.

1986

Statement in Harvey Stein. ������s Observed, p. 158. New York: Harry N. Abrams, 1986.

Statement in Wendy Lin. “The Boy from Port Arthur.”&�Բ�����;Art and Antiques (Marion, Ohio) (Feb. 1986), p. 60.

Statement (May 1, 1986) in Beuys zu Ehren, p. 478. Translated by Claudia Schinkievicz. Exh. cat. Munich: Städtische Galerie im Lenbachhaus, 1986.

1987

Statement in The International Art Show for the End of World Hunger, p. 32. Exh. cat. Minnesota Museum of Art, St. Paul. New York: ������s to End Hunger, 1987.

Statement in A Tribute to John Cage, p. 34a. Exh. cat. Cincinnati: Carl Solway Gallery, 1987.

Statement in U.S. Senate Committee on the Judiciary. Hearings on the Nomination of Hon. Robert H. Bork to Be Associate Justice of the Supreme Court of the United States, 100th Cong., 1st sess., 1987. ������’s testimony appears pp. 213–42 passim. Reprinted in part in “Panel Hearing on Bork as Justice: Professors and ������s Voice Their Views.”&�Բ�����;New York Times, Sept. 23, 1987, sec. A, p. 28.

1988

Statements in Craig Bromberg. “That Collaborative Itch.”&�Բ�����;Artnews (New York) 87, no. 9 (Nov. 1988), p. 162.

1989

Statement in “A Collective Portrait of Andy Warhol.” In Andy Warhol: A Retrospective, edited by Kynaston McShine, p. 429. Exh. cat. New York: Museum of Modern Art, 1989.

Statement in “Willem de Kooning, on His Eighty-Fifth Birthday.” Special issue of Art Journal (College Art Association, New York) 48, no. 3 (Autumn 1989), p. 232.

Statement in Dodie Kazanjian. “Cube Roots.”&�Բ�����;Vogue (New York) 179, no. 9 (Sept. 1989), p. 729.

Statement in “What Is Pornography?”&�Բ�����;Artnews (New York) 88, no. 8 (Oct. 1989), pp. 138–43.

1991

Statement in Donald J. Saff. “Conservation of Matter: Robert ������’s Art of Acceptance.”&�Բ�����;Aperture (New York), no. 125 (Autumn 1991), p. 26.

“Tobago Statement” (Oct. 22, 1984). In ������ Overseas Culture Interchange, p. 154. Exh. cat. Washington, D.C.: National Gallery of Art, 1991.

1992

Statements in “The Art of Assemblage: A Symposium (1961).” Transcript edited by Joseph Ruzicka with introduction by Roger Shattuck. In Essays on Assemblage, edited by John Elderfield, pp. 124–58 passim. Studies in Modern Art 2. New York: Museum of Modern Art, 1992.

Statement in Terra motus alla Reggia di Caserta, p. 132. Exh. cat. Naples: Fondazione Amelio, Istituto per l’Arte Contemporanea, Electa Napoli, and Guida Editori, 1992.

Statement in Visions of America, p. 23. Los Angeles: Democratic National Convention, 1992.

“Alquiloni (Kites).”&�Բ�����;Abitare (Milan), no. 305 (March 1992), pp. 205–09 (in English and Italian).

1993

“Message from the Second Hiroshima Art Prize Winner.” In The Second Hiroshima Art Prize: Robert ������, pp. 10–11 (in English and Japanese). Exh. cat. Hiroshima City Museum of Contemporary Art, 1993.

Statement in New York on Paper, p. 1. Exh. brochure. Basel: Galerie Beyeler, 1993.

1996

Statement in Thyrza Nichols Goodeve. “Genius Envy.”&�Բ�����;Artforum (New York) 35, no. 3 (Nov. 1996), p. 10.

1997

“Haywire—Durcheinander: In Erinnerung an das Leben und die Liebe, für Bill de Kooning.”&�Բ�����;Süddeutsche Zeitung (Munich), March 21, 1997, p. 13.

“Seen of the Crime.”&�Բ�����;Grand Street (New York), no. 62 (Autumn 1997), p. 21.

1998

Statement in “Reflections on Dominique de Menil.”&�Բ�����;Houston Chronicle, Jan. 1, 1998, sec. A, p. 20.

1999

“About My Paintings.” In ������: Anagrams (A Pun), unpaginated. Exh. cat. New York: Pace Wildenstein, 1999.

“Acceptance by Robert ������.” Gold Medal for Painting. Proceedings of the American Academy of Arts and Letters (New York) 2nd series, no. 50 (1999), p. 64.

Statement in “Indelible Memories.”&�Բ�����;American Photo (New York) 10, no. 6 (Nov.–Dec. 1999), p. 82.

2001

“Short Stories—2K+1, You Are the Author.” In Robert ������: Short Stories, unpaginated. Exh. cat. Zurich: Galerie Jamileh Weber, 2001. Reprinted in Short Stories by Robert ������, p. 5. Exh. cat. New York: Pace Wildenstein, 2003.

2011

Catherine Craft. “Lost and Found.”&�Բ�����;Art in America (New York) 99, no. 10 (Nov. 2011), pp. 145–53. Includes previously unpublished ������ statement “Half in Jest / Half Unjust” (ca. 1960) and letter to Philip Pavia, May 31 (ca. 1960). 

1961

Parinaud, André. “Un ‘Misfit’ de la peinture new-yorkaise se confesse.”&�Բ�����;Arts (Paris), no. 821 (May 10, 1961), p. 18.

1963

Jouffroy, Alain, and Robert ������. “Barge: Poème sur un tableau de Robert ������.”&�Բ�����;Quadrum (Brussels), no. 15 (1963), pp. 99–106. With quotations from interviews with ������ by Jouffroy (Jan.–July 1963).

1965

Tōno, Yoshiaki. “Poppu āto to watashi: Raushenbāgu [Pop art and myself: an interview with ������].”&�Բ�����;Geijutsu shinchō (Tokyo) 16, no. 2 (Feb. 1965), pp. 58–61. In Japanese.

Seckler, Dorothy Gees. Oral history interview with Robert ������, Dec. 21, 1965, Archives of American Art, Smithsonian Institution, Washington, D.C. Accessed July 7, 2014. .

1966

Seckler, Dorothy Gees. “The ������ Speaks: Robert ������.” Photographs by Ugo Mulas. Art in America (New York) 54, no. 3 (May–June 1966), cover and pp. 72–84. Audiotape and transcript of original interview (Dec. 21, 1965) on deposit, Archives of American Art, Smithsonian Institution, Washington, D.C.

Moyano, Maricla. “Pop: Interviews with ������ Robert ������, Choreographer Yvonne Rainer and Composer John Cage in Washington Last Month for the NOW Festival.”&�Բ�����;Washington Post Potomac, June 5, 1966, pp. 26–34.

1967

Fatt, Amelia. “Designers for the Dance, Part III.”&�Բ�����;Dance Magazine (New York) 41 (April 1967), p. 57.

Amaral, Aracy. “������ por nova arte integrada.”&�Բ�����;O Estado de S. Paulo (São Paulo), Sept. 27, 1967, p. 12.

1968

Kostelanetz, Richard. “A Conversation with Robert ������.”&�Բ�����;Partisan Review (New Brunswick, N.J.) 35, no. 1 (Winter 1968), pp. 92–106. Revised and reprinted as “Robert ������.” In Kostelanetz. The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances, pp. 78–99. New York: Dial Press, 1968.

Barbu, Eugen. “Convorbire cu Robert ������.”&�Բ�����;���ܳ��𲹴�ă���ܱ� (Bucharest), Jan. 20, 1968.

Wijers, Louwrien. “Robert ������: Citaten uit interview gezegd op 2 februari 1968.”&�Բ�����;Museumjournaal (Amsterdam) 13, no. 3 (1968), pp. 146–48.

van Garrel, Betty. “De toekomst van de kunst.”&�Բ�����;Haagse Post (Amsterdam) (March 3, 1968), pp. 20–21.

Sorin, Raphaël. “Robert ������.” La Quinzaine littéraire (Paris), no. 60 (Nov. 1, 1968). Reprinted in Sorin. Pop Art 68: Produits d’entretiens. Paris: L’Échoppe, 1996.

“Non dipingo combino soltanto le cose: Conversazione con Robert ������.”&�Բ�����;La Fiera letterarria (Rome) 43, no. 49 (Dec. 5, 1968), cover and pp. 2–4.

1969

Parinaud, André. “Un’intervista con ������.”&�Բ�����;Le Arti (Milan) 19, nos. 1–2 (Jan.–Feb. 1969), pp. 25–26.

1973

Lebeer, Irmeline. “Entretien avec Robert ������.”&�Բ�����;Chroniques de l’art vivant (Paris), no. 43 (Oct. 1973), pp. 15–18.

1974

Jouffroy, Alain. “Robert ������: Où en êtes-vous avec le temps?”&�Բ�����;Zoom (Paris), no. 23 (March–April 1974), pp. 61–67.

Young, Joseph E. “Pages and Fuses: An Extended View of Robert ������.”&�Բ�����;Print Collector’s Newsletter (New York) 5, no. 2 (May–June 1974), pp. 25–30.

1976

Chieco, Giuseppe. “Dai Combine paintings ai Jammers.”&�Բ�����;Le Arti (Milan) 26, no. 3 (March 1976), pp. 47–50.

McKendry, Maxime de la Falaise. “Robert ������ Talks to Maxime de la Falaise McKendry.”&�Բ�����;Interview (New York) 6, no. 5 (May 1976), pp. 34, 36.

Ballatore, Sandy. “The Mid-Seventies ������: For the Joy of It.”&�Բ�����;Artweek (Oakland) 7, no. 30 (Sept. 11, 1976), pp. 1, 16.

Forgey, Benjamin. “He’s Pushing Equal Rights for ������s.”&�Բ�����;Washington Star (Washington, D.C.), Nov. 5, 1976, sec. A, pp. 1, 6.

1977

Scavullo, Francesco. “Robert ������.” In Scavullo with Bob Colacello and Séan Byrnes. Scavullo on Men, pp. 156–59. New York: Random House, 1977.

Gruen, John. “Robert ������: An Audience of One.”&�Բ�����;Artnews (New York) 76, no. 2 (Feb. 1977), pp. 44–48. Revised and reprinted as “Robert ������.” In Gruen. The ������ Observed: Twenty-Eight Interviews with Contemporary ������s, pp. 260–72. Chicago: Chicago Review Press, 1991.

1978

“Vancouver: A Conversation Between Robert ������ and Arthur Perry.”&�Բ�����;Artmagazine (Toronto) 10, no. 41 (Nov.–Dec. 1978), pp. 31–35.

1979

Diamonstein, Barbaralee. “Robert ������ and Leo Castelli.” In Diamonstein. Inside New York’s Art World, pp. 305–15. New York: Rizzoli, 1979.

1980

Harmel, Mark. “������.”&�Բ�����;Sanibel-Captiva Islander (Fla.), April 15, 1980, sec. B, pp. 1–4.

1981

Statement in Billy Klüver. On Record: Eleven ������s 1963, pp. 40–45. New York: Experiments in Art and Technology, 1981. Transcript of Record of Interviews with ������s Participating in The Popular Image Exhibition, Washington Gallery of Modern Art, Washington, D.C., April 18–June 2, 1963. 33 1/3-rpm phonograph record. Interviews by Henry Geldzahler, recorded and edited by Billy Klüver in collaboration with Washington Gallery of Modern Art.

Sayag, Alain. “Entretien avec R. ������ à propos de ses photographies.” (Jan. 9, 1981) Translated by Didier Pemerlein. In ������ Photographe, unpaginated. Exh. cat. Paris: Musée National d’Art Moderne, Centre Georges Pompidou and Éditions Herscher, 1981. Reprinted in Robert ������ Photographs. New York: Pantheon Books; London: Thames and Hudson, 1981. Reprinted in Robert ������ fotografia. Exh. cat. Forte di Belvedere, Florence. Florence: Alinari, 1982.

Eliopoulou-Rogan, Dora. “������: The ������ with Infinite Possibilities.”&�Բ�����;Kathimerini (Athens), Aug. 23–24, 1981, p. 13 (in Greek).

Garrels, Gary. “An Interview with Robert ������.”&�Բ�����;Art New England (Boston) 2, no. 10 (Nov. 1981), p. 3.

Weiss, Marjorie. “Lowcountry Through the Eyes of an ������.”&�Բ�����;News and Courier-Evening Post (Charleston, S.C.), Nov. 8, 1981, sec. E, p. 3.

1982

de Sercey, Arnaud. “������: photographe.”&�Բ�����;Arts (Paris), no. 62 (April 23, 1982), p. 3.

Artner, Alan G. “������: Collaborating again, then off to See the World.”&�Բ�����;Chicago Tribune, Nov. 14, 1982, sec. 6, pp. 22–23.

Millet, Catherine, and Myriam Solomon. “Robert ������ à travers le monde.”&�Բ�����;Art Press (Paris), no. 65 (Dec. 1982), pp. 4–7.

1983

de Smecchia, Muni. “Robert ������.”&�Բ�����;Vogue Italia (Milan) (Feb. 1983), pp. 402–07.

Raedeke, Paul. “Interview with ������.”&�Բ�����;Photo Metro (San Francisco) 2, no. 13 (Oct. 1983), pp. 16–17.

1984

Tōno, Yoshiaki. “Robert ������.” In Chatting with ������s, pp. 155–86 (in Japanese). Tokyo: Iwanami Shoten, 1984.

Shewey, Don. “‘We Collaborated by Postcards’: An Interview with Robert ������.”&�Բ�����;Theatre Crafts (New York) 18, no. 4 (April 1984), pp. 36–38, 72–75. Accessed Sept. 15, 2014. .

Eldridge, John. “One Big Painter.”&�Բ�����;Miami News, May 4, 1984, sec. C, pp. 1, 10.

Huser, France. “L’Homme de Captiva Island.”&�Բ�����;Le Nouvel Observateur (Paris), no. 1020 (May 25, 1984), pp. 90–91. Reprinted in Robert ������, p. 66. Exh. cat. Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990.

1985

Black, L. D. “Robert ������.”&�Բ�����;Splash (Sarasota, Fla.) (May 1985), cover and pp. 24–28.

Sommer, Waldemar. “������, el gozo creador.”&�Բ�����;La Prensa (Santiago, Chile), Aug. 23, 1985, sec. B, p. 1.

1986

������, Robert, and Yoshiaki Tōno. “(Tying work to elephants: about the ROCI project).” In ������ Overseas Culture Interchange: ROCI JAPAN, pp. 7–11 (in Japanese). Exh. cat. Tokyo: Setagaya Museum of Art, 1986.

Bonesteel, Michael. “Art Press Review [������ on Nightline with Ted Koppel, Aug. 9, 1985].”&�Բ�����;New Art Examiner (Chicago) 13, no. 9 (May 1986), pp. 15–16.

1987

“Intervista con Michele Bonuomo.” In Robert ������: Neapolitan Glut, unpaginated. Exh. cat. Naples: Lucio Amelio, 1987.

Rose, Barbara. ������. English and German editions. New York: Vintage Books; Cologne: Kiepenheuer and Witsch, 1987.

Bashaw, Maureen. “������ Spills His ‘Gluts.’”&�Բ�����;Fort Myers News-Press (Fla.), March 26, 1987, sec. D, pp. 1, 9.

1988

“������ Responds: ‘Quarter Mile Project’ Controversy at Met.”&�Բ�����;Cover (New York) 2, no. 1 (Feb. 1988), p. 7.

1989

“Art Is the Way to Mutual Understanding.”&�Բ�����;Iskusstvo (Moscow) (June 1989), p. 52.

1990

Daix, Pierre. “Gommer, c’est encore peindre.” (From television broadcast “Désir des arts,” June 3, 1984. Produced by Antenne 2, Paris.) In Robert ������, pp. 67–69. Exh. cat. Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990.

“Robert ������.” (Sept. 13, 1989) In Art Meets Science and Spirituality in a Changing Economy, pp. 38–47. The Hague: SDU Publishers, 1990.

Fishman, Ted C. “The Eyes of Texas.”&�Բ�����;Newcity (Chicago), Oct. 25, 1990.

Taylor, Paul. “Robert ������.”&�Բ�����;Interview (New York) 20, no. 12 (Dec. 1990), pp. 142–47. Revised and reprinted, Interview 38, no. 6 (Aug. 2008), p. 130.

1991

������, Robert, and Donald Saff. “A Conversation about Art and ROCI.” In ������ Overseas Culture Interchange, pp. 155–79. Exh. cat. Washington, D.C.: National Gallery of Art, 1991.

Maxwell, Douglas. “������.”&�Բ�����;Art Line (London) 5, no. 4 (March–April 1991), cover and pp. 8–14.

Visconti, Andrea. “Come sono Pop Fidel e il Dalai Lama!”&�Բ�����;����ֲ����������� (Rome) 37, nos. 47–48 (Dec. 1, 1991), pp. 154–55, 157.

1992

Byrne, David. “Eco-Art.”&�Բ�����;Self (New York) 14, no. 6 (June 1992), pp. 144–49.

Martins, Marília. “O lixeiro das artes plásticas.”&�Բ�����;Jornal do Brasil (Rio de Janeiro), June 9, 1992, sec. B, p. 1.

1993

“Robert ������.” In Mark Rosenthal. ������s at Gemini G.E.L.: Celebrating the Twenty-Fifth Year, pp. 142–58. Exh. cat. Newport Harbor Art Museum, Newport Beach, Calif. New York: Harry N. Abrams in association with Gemini G.E.L., Los Angeles, 1993.

1995

Turrell, Julia Brown. “Talking to Robert ������.” In ������ Sculpture, pp. 49–83. Exh. cat. Modern Art Museum of Fort Worth, 1995.

1996

Espanet, Luisa. “Robert ������: futuro è il villaggio globale.”&�Բ�����;Madame Class Figaro (Milan) 2, no. 9 (Sept. 1996), pp. 38–39.

Madra, Beral. “Söyleşi: Beral Madra—Robert ������.”&�Բ�����;Arredamento Dekorasyon (Istanbul), no. 84 (Sept. 1996), pp. 40, 42.

McKenna, Kristine. “Extra Sensory Expression.” Los Angeles Times, Nov. 24, 1996, Calendar, pp. 3, 81.

Turner, Elisa. “������ Speaks on ������, the Mystery of Boxes, Working with Motion.”&�Բ�����;Miami Herald, April 28, 1996, sec. I, p. 3.

1997

Müller, Dorothee. “Ich bin ein aktiver Voyeur.”&�Բ�����;Süddeutsche Zeitung (Munich), March 22–23, 1997, p. 13.

“Liebe lag einfach in der Luft.”&�Բ�����;Der Spiegel (Hamburg), no. 14/1997 (March 31, 1997), pp. 194–96.

Kaufman, Jason Edward. “Interview: Robert ������.”&�Բ�����;Art Newspaper (London), no. 73 (Sept. 1997), p. 17.

Barber, Lynn. “Robert ������.”&�Բ�����;Observer Life Magazine (London), Oct. 26, 1997, pp. 6–12. 

Hirsch, Faye. “Weatherman: Robert ������’s Ground Rules&�Բ�����;����������.”&�Բ�����;On Paper (New York) 2, no. 2 (Nov.–Dec. 1997), cover and pp. 10–15.

1998

Hüllenkremer, Marie. “Ich hasse den Begriff Pop Art.”&�Բ�����;Kölner Stadt-Anzeiger (Cologne), June 23, 1998.

Schroeder, Annette. “Kunst des Überlebens.”&�Բ�����;Kölnische Rundschau (Cologne), June 23, 1998.

Baker, Kenneth. “������’s Reality.”&�Բ�����;San Francisco Chronicle, Aug. 20, 1998, sec. E, pp. 1, 4. 

“Robert ������: Künstler zu sein ist ein Handicap.”&�Բ�����;Art (Hamburg) (Sept. 1998), pp. 16–25.

Marlow, Tim. “Robert ������.”&�Բ�����;Tate (London), no. 16 (Winter 1998), pp. 42–47.           

1999

Interview by Gary Garrels, Walter Hopps, David A. Ross, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. Transcript, ������ Research Project, San Francisco Museum of Modern Art. Accessed Feb. 16, 2018. .

Brown, Trisha, and Robert Raushenberg. “Freudentänzer.”&�Բ�����;Vogue Deutsch (Munich) (July 1999), pp. 154–60.

2000

Turner, Tracy Zollinger. “The Art World’s Most Likeable Genius: Robert ������.”&�Բ�����;Dialogue (Akron, Ohio) 23, no. 4 (July–Aug. 2000), pp. 18–21.

2001

Sylvester, David. “Robert ������ (1964).” In Sylvester. Interviews with American ������s, pp. 131–42. London: Chatto and Windus, 2001.

2003

Schmerler, Sarah. “3 Questions for Robert ������.”&�Բ�����;Time Out New York, no. 392 (April 3–10, 2003), p. 6.

Lobel, Michael. “Sign Language.”&�Բ�����;Artforum (New York) 42, no. 2 (Oct. 2003), p. 131.

2004

Costantini, Costanzo. “������: ‘Io a Roma nel ’52 povero e in cerca di gloria.’”&�Բ�����;Il Messaggero (Rome), Feb. 29, 2004, p. 25.

Codognato, Mario, and Mirta d’Argenzio. “Interview with Robert ������.” In ������, pp. 75–100 (in English and Italian). Exh. cat. Ferrara: Galleria d’Arte Moderna e Contemporanea, Palazzo dei Diamanti, 2004.

Solomon, Deborah. “Growing Old, Artfully.” New York Times Magazine, Feb. 15, 2004, p. 13.

Spagnesi, Licia. “Il Leone d’oro? Tutti erano inorriditi. L’unico felice ero io.”&�Բ�����;Arte (Milan), no. 368 (April 2004), pp. 45–46.

2005

������: In the Gap Between, Entretiens avec Robert ������. Paris: Archibooks, 2006. With interviews by Jean Daive, June 23, 2005; Emmanuelle Lequeux, June 24, 2005; and Henri-François Debailleux.

Brooks, Rosetta. “������: Round the Block Once or Twice.”&�Բ�����;Modern Painters (London) (Dec. 2005–Jan. 2006), cover and pp. 70–75.

2006

. Revised and reprinted as “������ il rigattiere,”&�Բ�����;����ֲ����������� (Rome) (Feb. 23, 2006), pp. 116–20. Translated by Elisabetta Horvat.

• “������ and Rocky, His Pet Turtle.”&�Բ�����;Blouin Artinfo, Jan. 23, 2006. Accessed July 7, 2014.

Pissarro, Joachim. Interview with Robert ������, Museum of Modern Art Oral History Program, New York, April 20, 2006. Accessed March 31, 2015. .

.

Broida, Gisèle Galante. “Paris accueille Robert ������.”&�Բ�����;Paris Match, no. 2995 (Oct. 18, 2006), pp. 40–41. 

Thon, Ute. “Ich brauche Unsicherheit.”&�Բ�����;Art (Hamburg) (Dec. 2006), pp. 42–53.

2007

Lind, Ingela. “Jag ser skönhet överallt.”&�Բ�����;Dagens Nyheter (Stockholm), Feb. 11, 2007, Kultur, cover and pp. 6–7.

Adler, Edward Jerome. “Robert ������.” In “American Painting and the Vietnam War,” pp. 293–336. PhD diss., New York University, 1986.

Auricchio, Laura. “Lifting the Veil: Robert ������’s Thirty-Four Drawings for Dante’s Inferno and the Commercial Homoerotic Imagery of 1950s America.” In The Gay ’90s: Disciplinary and Interdisciplinary Formations in Queer Studies, edited by Thomas Foster, Carol Siegel, and Ellen E. Berry, pp. 119–54. Genders 26. New York: New York University Press, 1997.

Babington, Jaklyn. Stoned Moon: Robert ������. Brochure. Canberra: National Gallery of Australia, 2010.

Becker, Anne-Grit. Cy Twombly und Robert ������: Bilder im Prozess. München: Edition Metzel, 2020.

Bijvoet, Margaretha. “Art as Inquiry (Kunst als onderzoek): Interdisciplinary Aspects in American Art after 1965.” PhD diss., Erasmus Universiteit, Rotterdam, 1994.

Bois, Yve-Alain. Robert ������: Currents. Brochure. New York: Peter Freeman, 2011.

Bolmeier, Jane. “Response and Documentation: Aesthetic Inquiry Relevant to Selected Works of Robert ������.” EdD diss., New York University, 1984.

Brendel, Maria Lydia. “Reconnecting with Rubens—Neo-Allegorists: Robert ������, Peter Dressler, Jean-Luc Godard.” In “Allegorical Truth-Telling via the Feminine Baroque: Rubens’ Material Reality, Reframing Het Pelsken,” pp. 112–40. PhD diss., McGill University, Montreal, 1999.

Brown, Sienna Elizabeth. “The Lithographs of Robert ������.” PhD diss., Emory University, Atlanta, 2010.

Buchloh, Benjamin H. D. “Richter, ������, and Photography.” In “Gerhard Richter: Painting after the Subject of History,” pp. 52–57. PhD diss., City University of New York, 1994.

Cabutti, Lucio. “Il Rinascimento di ������.”&�Բ�����;Arte (Milan), no. 133 (Sept. 1983), pp. 62–67.

Calas, Nicolas. “������s: Robert ������.” In Calas. Art in the Age of Risk and Other Essays, pp. 169–93. New York: E. P. Dutton, 1968.

Carpenter, Elizabeth. “Robert ������.” In Joan Rothfuss and Carpenter. Bits and Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, pp. 479–81. Minneapolis: Walker Art Center, 2005.

Cathala, Agnès. “������: Mimétisme et création.” PhD diss., Université de Toulouse–Le Mirail, France, 1993.

Contreras, Carmen Palomero. “Aspectos indiciales en la obra de R. ������: Reflexiones sobre la fotografía para entender su creación plástica.” PhD diss., Universidad del País Vasco, Spain, 1999.

Considine, Liam Burlee. “Painted Mythologies.” In “New Realisms: Pop Art in France, 1962–1968,” pp. 53–96. PhD diss., New York University, 2012.

Craft, Catherine. Robert ������. London: Phaidon, 2013.

Crow, Thomas. “Southern Boys Go to Europe: ������, Twombly and Johns in the 1950s.” In Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections, pp. 44–61. Exh. cat. Los Angeles County Museum of Art, 2001.

Cunningham and ������. 2wice: Visual and Performing Arts (New York) 9, no. 1 (2006).

Davidson, Susan. “Robert ������.” In Guggenheim Museum Bilbao Collection, pp. 90–97. Madrid: FMGB Guggenheim Bilbao Museoa, 2009.

Davidson, Susan, and David White, eds. Robert ������: Photographs 1949–1962. New York: D.A.P., 2011. With essay by Nicholas Cullinan.

• McCann, Matt. “Multimedia: ������’s Photos.”&�Բ�����;New York Times T Magazine (blog), Sept. 16, 2011. Accessed Sept. 15, 2014. .
• .

Davis, Douglas. “Robert ������: Technology as Nature.” In Davis. Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology and Art, pp. 141–45. New York: Praeger, 1973.

Dickerman, Leah. ������: Canyon. New York: Museum of Modern Art, 2013.

Doyle, Eileen R. “Art in the Mirror: Reflection in the Work of ������, Richter, Graham and Smithson.” PhD diss., Ohio State University, Columbus, 2004.

Farmer, John Alan. “Screens/Robert ������.” In “Art into Television, 1960–1965,” pp. 64–125. PhD diss., Columbia University, New York, 1998.

Feinstein, Roni. “Random Order: The First Fifteen Years of Robert ������’s Art, 1949–1964.” PhD diss., New York University, 1990.

———. “Robert ������.” In A Life of Collecting: Victor and Sally Ganz, edited by Michael Fitzgerald, pp. 136–57. New York: Harry N. Abrams, 1998.

———. “Robert ������’s Ace of 1962: An Interpretation.” In A Fine Regard: Essays in Honor of Kirk Varnedoe, edited by Patricia G. Berman and Gertje R. Utley, pp. 234–247. Aldershot, U.K.: Ashgate, 2008.

———. “Robert ������: Engaging the Everyday.” In San Francisco Museum of Modern Art: Seventy-Five Years of Looking Forward, pp. 145–51. San Francisco Museum of Modern Art, 2009. 

Fenton, James. “������: The Voracious Ego.” In Fenton. Leonardo’s Nephew: Essays on Art and ������s, pp. 216–26, 265. New York: Farrar, Straus and Giroux, 1998.

Fine, Ruth E. “’Round the Clock/’Round the World: Robert ������.” In Gemini G.E.L.: Art and Collaboration, pp. 105–24. Exh. cat. Washington, D.C.: National Gallery of Art; New York: Abbeville Press, 1984.

Fineberg, Jonathan. “Robert ������.” In Art Since 1940: Strategies of Being, pp. 176–86. Englewood Cliffs, N.J.: Prentice Hall, 1995.

Folland, Thomas Frederick. “Robert ������’s Queer Modernism: Decoration, Theatricality and Camp in the Combines, 1953–59.” PhD diss., University of California, Los Angeles, 2010.

Forge, Andrew. ������. New York: Harry N. Abrams, 1969. Offprint of text published by Abrams. Condensed version printed as ������. New York: Harry N. Abrams for Meridian Books, 1972.

• Hilton, Timothy. “Heroic Monograph.”&�Բ�����;Studio International (London) 180, no. 927 (Nov. 1970), pp. 207–09.
• Marvel, Bill. “Mr. ������ Tops the New Art Books.”&�Բ�����;National Observer (Washington, D.C.), March 16, 1970, p. 21.

Fugelso, Karl. “Robert ������’s Inferno Illuminations.” In Postmodern Medievalisms, edited by Richard Utz and Jesse G. Swan, pp. 47–66. Studies in Medievalism 13. Rochester, N.Y.: Boydell and Brewer, 2005.

Geiger, Melissa S. “Robert ������’s ‘Oracle,’ ‘Soundings,’ and ‘Carnal Clocks’: A Socio-Historical Critique.” PhD diss., Pennsylvania State University, State College, 2005.

Getlein, Mark. “Robert ������.” In Getlein and Annabel Howard. Art Visionaries, pp. 164–67. London: Laurence King Publishing, 2016.

Gilmour, Pat. “Tyler on the West Coast 1963–1983: Robert ������.” In Ken Tyler, Master Printer, and the American Print Renaissance, pp. 47–53. New York: Hudson Hills Press, in association with Australian National Gallery, Canberra, 1986.

Glueck, Grace. “������ at 65, with All Due Immodesty.” New York Times, Dec. 16, 1990, sec. 2, pp. 47, 49.

Goodyear, Anne Collins. “Art, Technology, and the American Space Program, 1962–1972” and “Billy Klüver and the Foundation of Experiments in Art and Technology.” In “The Relationship of Art to Science and Technology in the United States, 1957–1971: Five Case Studies,” pp. 19–79 and 164–234. PhD diss., University of Texas, Austin, 2002.

Green, Jonathan. “Robert ������: The Found Image.” In Green. American Photography: A Critical History, 1945 to the Present, pp. 130–36. New York: Harry N. Abrams, 1984.

Guagliumi, Arthur Robert. “Robert ������: Additional Dimensions.” In “Assemblage Art: Origins and Sources,” pp. 108–20, see also 150–53. EdD diss., Columbia University Teachers College, New York, 1990.

Hamilton, Jaimey. “Strategies of Excess: The Postwar Assemblages of Alberto Burri, Robert ������, and Arman.” PhD diss., Boston University, 2006.

Hapgood, Susan. Neo-Dada: Redefining Art, 1958–1962. New York: Rizzoli, 1994.

Harmon, Louise. “Photography and the Visual Arts/Four Strategies of Appropriation.” In “The Appropriation of Photographic Images in Works of Art: Legal and Aesthetic Issues Inherent in the Conflict Between Modernism and Postmodernism,” pp. 51–104. PhD diss., Columbia University, New York, 1998.

Hickey, Dave. “������’s Sanity.” In Pop Art: The John and Kimiko Powers Collection, pp. 28–33. Exh. cat. New York: Gagosian Gallery, 2001.

Hillman, Susanne Naima. “Robert ������, Robert Whitman and Billy Klüver: From ‘9 Evenings’ to ‘Experiments in Art and Technology.’” PhD diss., Rutgers, State University of New Jersey, New Brunswick, 2007.

Hindry, Ann, ed. “1950–1957: The Ninth Street Show: Meeting with ������.” In Claude Berri rencontre Leo Castelli (Claude Berri Meets Leo Castelli), pp. 25–30 (in French) and pp. 85–88 (in English). Paris: Renn, 1990.

Hopkins, David. “Duchamp’s Legacy: The ������-Johns Axis.” In After Modern Art 1945–2000, pp. 37–64. Oxford: Oxford University Press, 2000.

Huber, Hans Dieter. “Robert ������: Die Hard, 1963.” In System und Wirkung: ������—Twombly—Baruchello, Fragen der Interpretation und Bedeutung zeitgenössischer Kunst, ein systemtheoretischer Ansatz, pp. 99–126. Munich: Wilhelm Fink, 1989.

Hunter College, CUNY, Research Methods: Robert ������. ������, Fall 2018. Accessed Oct. 9, 2020. /programs/collaborations/hunter-college-cuny-research-methods-fall-2018.

• Bellantone, Evan. “Snowpool (Jammer), 1976.”&�Բ�����;/sites/default/files/Bellantone_SnowpoolJammer1976.pdf.
• Christian, Re’al. “Sugar Bags (Urban Bourbon), 1993.”&�Բ�����;/sites/default/files/Christian_SugarBagsUrbanBourbon1993.pdf.
• Clevenson, Kristen. “Untitled (Japanese Recreational Claywork), 1983.”&�Բ�����;/sites/default/files/Clevenson_UntitledJapaneseRecreationalClaywork1983.pdf.
• Colbert, Margaret. “Untitled, 1974." /sites/default/files/Colbert_Untitled1974.pdf.
• Hadba, Vitoria. “Yankee Go Home.”&�Բ�����;/sites/default/files/Hadba_YankeeGoHome.pdf.
• Howell, Kristin. “Reading the Body in Untitled (Venetian).”&�Բ�����;/sites/default/files/Howell_ReadingtheBody.pdf.
• Johnson, Beatrice. “Sand Into Stone: Untitled (Early Egyptian) and the Personal Myths of Robert ������ and Cy Twombly.”&�Բ�����;/sites/default/files/Johnson_SandintoStone.pdf.

Hunter, Sam. Robert ������. New York: Rizzoli, 1999.

—�Ĕ�Ĕ.&�Բ�����;Robert ������: Works, Writings, Interviews. Barcelona: Ediciones Polígrafa, 2006.

Ikegami, Hiroko. The Great Migrator: Robert ������ and the Global Rise of American Art. Cambridge, Mass.: MIT Press, 2010.

• McCormick, Seth. “Fête in Venice.”&�Բ�����;Art Journal (College Art Association, New York) 70, no. 4 (Winter 2011), pp. 113–16.
• Ørum, Tania. “Migrating Art History.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 81, no. 1 (2012), pp. 53–58.
• Boaden, James. “The Great Migrator: Robert ������ and the Global Rise of American Art.”&�Բ�����;Burlington Magazine (London) 154, no. 1308 (March 2012), p. 208.

———. “ROCI East: ������’s Encounters in China.” In East-West Interchanges in American Art: A Long and Tumultuous Relationship, edited by Lee Glazer, Amelia A. Goerlitz, and Cynthia Mill, pp. 176–89. Washington, D.C.: Smithsonian Institution Scholarly Press, 2012.

Jäger, Joachim. Das zivilisierte Bild: Robert ������ und seine Combine-Paintings der Jahre 1960 bis 1962. Klagenfurt, Austria: Ritter, 1999.

———. “������ on Stage: Die Performance des Bildes.” In Do It Yourself, pp. 17–21. Exh. cat. Berlin: Hamburger Bahnhof, Museum für Gegenwart, 2005. 

———. “Robert ������ ‘Pink Door.’” In Warhol, Lichtenstein, ������, Twombly, Kiefer aus der Sammlung Marx, pp. 76–77. Exh. cat. Baden-Baden, Germany: Museum Frieder Burda, 2007.  

Jeffreys, David. “Robert ������: Art, Originality and Ethics.” PhD diss., University of Essex, U.K., 2001.

Johnson, Steven, ed. The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varese, Willem de Kooning, Jasper Johns, Robert ������. New York: Routledge, 2002.

Joseph, Branden Wayne. “Experimental Art: John Cage, Robert ������ and the Neo-Avant-Garde.” PhD diss., Harvard University, Cambridge, Mass., 1999.

———. “Pedestrian Colors: Robert ������’s Collection.” In Celebrating Modern Art: The Anderson Collection, pp. 53–55.  Exh. cat. San Francisco Museum of Modern Art, 2000.

———, ed. Robert ������. October Files 4. Cambridge, Mass.: MIT Press, 2002.

—�Ĕ�Ĕ.&�Բ�����;Random Order: Robert ������ and the Neo-Avant-Garde. Cambridge, Mass.: MIT Press, 2003.

• Hall, James. “Crime Scenes.”&�Բ�����;Times Literary Supplement (London), no. 5269 (March 26, 2004), pp. 3–4.
• Jeffreys, David. Review. Papers of Surrealism (University of Manchester, U.K.), no. 2 (Summer 2004). Accessed May 12, 2014. .
• Potts, Alex. Review. Art Bulletin (College Art Association, New York) 87, no. 1 (March 2005), pp. 167–70.
• Siedell, Daniel A. “Art and Failure.”&�Բ�����;Journal of Aesthetic Education (Urbana-Champaign: University of Illinois Press) 40, no. 2 (Summer 2006), pp. 105–17.

Katz, Jonathan. “The Art of Code: Jasper Johns and Robert ������.” In Significant Others: Creativity and Intimate Partnership, edited by Whitney Chadwick and Isabelle de Courtivron, pp. 188–207. London: Thames and Hudson, 1993.

• Kimmelman, Michael. “The Peephole Approach to ������ Couples.” New York Times, Aug. 15, 1993, sec. 2, pp. 30, 33.

———. “Opposition, Inc.: The Homosexualization of Postwar American Art.” PhD diss., Northwestern University, Evanston, Ill., 1995.

Kostelanetz, Richard. “Robert ������.” In Kostelanetz. The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances, pp. 78–99. New York: Dial Press, 1968.

———. “Robert ������: Painting in Four Dimensions.” In Kostelanetz. Master Minds: Portraits of Contemporary American ������s and Intellectuals, pp. 251–69, see also pp. 357–59. Toronto: Macmillan, 1969.

Kotz, Mary Lynn. ������, Art and Life. 1990. Rev. ed. New York: Harry N.  Abrams, 2004 and 2018.

• Stretch, Bonnie Barrett. “Everything You Ever Wanted to Know about ������.”&�Բ�����;Artnews (New York) 104, no. 1 (Jan. 2005) p. 94.
• Stuckey, Charles F. “Review of Books: ������: An Untold Story?”&�Բ�����;Art in America (New York) 79, no. 7 (July 1991), pp. 29, 31, 33, 35.

Kozloff, Max. “Robert ������.” In Kozloff. Renderings: Critical Essays on a Century of Modern Art, pp. 212–16. New York: Simon and Schuster, 1968.

Krčma, Ed. Robert ������. London: Tate Publishing, 2016.

—�Ĕ�Ĕ.&�Բ�����;������/Dante: Drawing a Modern Inferno. New Haven: Yale University Press, 2017.

Lanchner, Carolyn. Robert ������. New York: Museum of Modern Art, 2009.

Leadingham, Jo Greenland. “A Redirection in Post-War American Poetry and Art: Charles Olson and Robert ������.” PhD diss., University of Kentucky, Lexington, 1992.

Leggio, James. “Robert ������’s Bed and the Symbolism of the Body.” In Essays on Assemblage, edited by John Elderfield, pp. 78–117. Studies in Modern Art 2. New York: Museum of Modern Art, 1992.

Loewen, Norma. “Experiments in Art and Technology: A Descriptive History of the Organization.” PhD diss., New York University, 1975.

Marchand, Bruno, ed. Robert ������: Crítica e Obra de 1949 a 1974. Translated by Sofia Gomes and Mariana Sousa Moreira. Porto, Portugal: Colecção De Arte Contemporânea Público Serralves, 2008.

Mattison, Robert Saltonstall. “Robert ������.” In Masterworks in the Robert and Jane Meyerhoff Collection: Jasper Johns, Roy Lichtenstein, Robert ������, Ellsworth Kelly, and Frank Stella, pp. 97–136. New York: Hudson Hills Press, 1995.

—�Ĕ�Ĕ.&�Բ�����;Robert ������: Breaking Boundaries. New Haven, Conn.: Yale University Press, 2003.

McDonagh, Don. “Robert ������.” In The Complete Guide to Modern Dance, pp. 449–51. Garden City, N.Y.: Doubleday, 1976.

Myers, David. “Robert ������.” In School of New York: Some Younger ������s, edited by B. H. Friedman, pp. 54–59. New York: Grove Press, 1959.

Mullin, Diane Alison. “Changing the Subject: Robert ������ and ‘the New American Art.’” PhD diss., Washington University, St. Louis, Mo., 1999.

O’Doherty, Brian. “Robert ������: The Sixties.” In O’Doherty. American Masters: The Voice and the Myth, pp. 188–225. New York: Random House, 1973.

Pagnutti, Alana. Reception: The Radio-Works of Robert ������ and John Cage. London: Smith and Brown, 2016.

Parkinson, Gavin. Robert ������ and Surrealism: Art, “Sensibility” and War. New York: Bloomsbury Publishing, 2023.

Pissarro, Joachim. Cézanne/Pissarro, Johns/������: Comparative Studies on Intersubjectivity in Modern Art. New York: Cambridge University Press, 2006.

• Wood, Christopher S. “Subject to Debate.”&�Բ�����;Artforum (New York) 45, no. 2 (Oct. 2006), pp. 77, 80.

Poor, Natasha. “Dirty Art: Reconsidering the Work of Robert ������, Bruce Conner, Jay DeFeo, and Edward Kienholz.” PhD diss., City University of New York, 2007.

Prather, Marla. “Robert ������.” In The Robert and Jane Meyerhoff Collection: 1945 to 1995, pp. 162–82. Exh. cat. Washington, D.C.: National Gallery of Art, 1996.

������, Robert. ������: XXXIV Drawings for Dante’s Inferno. New York: Harry N. Abrams, 1964. With commentary by Dore Ashton.

• Canaday, John. “End Papers.”&�Բ�����;New York Times, Dec. 19, 1964, sec. L, p. 27.
• “New Techniques and Images Illustrate Abrams Inferno.”&�Բ�����;Publishers’ Weekly (New York) 189, no. 14 (April 4, 1966), pp. 106–07.

������ Research Project. San Francisco Museum of Modern Art, July 2013. Accessed Sept. 15, 2014. .

• Cullinan, Nicholas. “Cy + Roman Steps (I–V).”&�Բ�����;.
• Davidson, Susan. “Mother of God.”&�Բ�����;.
• Feinstein, Roni. “Catastrophe (Arcadian Retreat).”&�Բ�����;.
• ———. “Port of Entry [Anagram (A Pun)].”&�Բ�����;.
• ———. “Scanning.”&�Բ�����;.
• Garrels, Gary. “Untitled, 1973.”&�Բ�����;.
• Haskell, Caitlin. “Untitled [glossy black painting].”&�Բ�����;.
• Joseph, Branden W. “Postcard Self-Portrait, Black Mountain (II).”&�Բ�����;.
• Mattison, Robert S. “Pyramid Series.”&�Բ�����;.
• ———. “Sleep for Yvonne Rainer.”&�Բ�����;.
• Roberts, Sarah. “Automobile Tire Print.”&�Բ�����;.
• ———. “Collection.”&�Բ�����;.
• ———. “Erased de Kooning Drawing.”&�Բ�����;.
• ———. “Untitled, ca. 1955.”&�Բ�����;.
• —�Ĕ�Ĕ.&�Բ�����;“Untitled (Elemental Sculpture) [steel flange and stone].”&�Բ�����;.
• ———. “White Painting [three panel].”&�Բ�����;.
• Saletnik, Jeffrey. “Trophy IV (for John Cage).”&�Բ�����;.
• Thomas, James Merle. “Hiccups.”&�Բ�����;.
• ———. “Untitled [black painting with portal form].”&�Բ�����;.

������ and Sweden: Essays, Documents, Comments. Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007).

Ritchie, Charles, ed. Gemini G.E.L. Online Catalogue Raisonné. Washington, D.C.: National Gallery of Art, 2004. Accessed Sept. 15, 2014. .

Robert ������: Minutiae. New York: Sotheby’s, 2003. With essay by Calvin Tomkins.

Robert ������: Mirthday Man. Copenhagen: Faurschou, 2009. With essay by Mikael Wivel.

Robert ������ Photographs. New York: Pantheon Books; London: Thames and Hudson, 1981.

• Grundberg, Andy. “Another Side of ������.”&�Բ�����;New York Times Magazine, Oct. 18, 1981, pp. 42–46, 113, 114, 117.
• Holborn, Mark. “Robert ������: Photographs.”&�Բ�����;Creative Camera (London), no. 203 (Nov. 1981), pp. 288–91.
• Muchnic, Suzanne. “������’s American Graflex.”&�Բ�����;Los Angeles Times, Nov. 8, 1981, Calendar, p. 82.
• “������ Photographs.”&�Բ�����;Book Digest Magazine (New York) 9, no. 2 (Feb. 1982), pp. 66–69.

“Robert ������ Prints at Universal Limited Art Editions.”&�Բ�����;Universal Limited Art Editions. Accessed May 12, 2014.

Robert ������: Shigaraki. Osaka: Otsuka Ohmi Ceramics Company, 1986. In English and Japanese.

• Inui, Yoshiaki. “������ and Shigaraki.” (1992) Otsuka Ohmi Ceramics Company. Accessed July 7, 2014.

Robert ������: The Tower. New York: Christie’s, 2011. With essay by Paul Schimmel and previously published interview with ������ by David Sylvester (1964).

Rose, Barbara. ������. English and German editions. New York: Vintage Books; Cologne: Kiepenheuer and Witsch, 1987.

• Plagens, Peter. “������.”&�Բ�����;Art in America (New York) 76 (Jan. 1988), p. 23.
• Solomon, Deborah. “������.”&�Բ�����;New Criterion (New York) 6 (Feb. 1988), pp. 93–94.

Rose, Bernice. “Robert ������ et la peinture.” In Robert ������, pp. 13–32. Exh. cat. Paris: Fondation Dina Vierny-Musée Maillol, 2002.

Rosenthal, Stephanie. “Robert ������: Black Fields of Experimentation.” In Rosenthal. Black Paintings, pp. 25–33. Exh. cat. Ostfildern, Germany: Hatje Cantz, 2008.

Saff, Donald J. “Robert ������: współpraca jako sztuka i sztuka jako współpraca.” In Współczesna grafika amerykańska z kolekcji Torstena Lilji, pp. 188–95. Exh. cat. Warsaw: Galeria Sztuki Współczesnej Zachęta, 1999.

Sandler, Irving. “������ and Johns.” In The New York School: The Painters and Sculptors of the Fifties, pp. 174–95. New York: Harper and Row, 1978.

Scheit, Stefanie. “Die Autonomie der choreographischen Elemente. Merce Cunningham, John Cage, Robert ������, Jasper Johns, Charles Atlas, Nam June Paik, Stan Van Der Beek” and “‘I make order out of chaos, he makes chaos out of order.’ Trisha Brown und Robert ������.” In Tanzen, Sehen, edited by Eva Schmidt and José Lebrero Stals, pp. 8–20 and 30–44. Exh. cat. Germany: Museum für Gegenwartskunst Siegen, 2007.

Scholz, Dieter. “Robert ������.” In Sammlung Marx im Hamburger Bahnhof, Museum für Gegenwart, Berlin, edited by Heiner Bastian, vol. 1, pp. 71–79. Munich: Schirmer/Mosel, 1996.

Scholz-Wanckel, Katharina. “Robert ������.” In Scholz-Wanckel. Pop Import: Eine selektive Abhandlung über Pop ������en, pp. 30–40. Hamburg: Matari, 1965.

Shannon, Joshua. “Black Market: ������.” In The Disappearance of Objects: New York Art and the Rise of the Postmodern City, pp. 93–148. New Haven, Conn.: Yale University Press, 2009.

• Hamill, Sarah. “Specific Objects.”&�Բ�����;Art History (Association of Art Historians, London) 33, no. 5 (Dec. 2010), pp. 926–31.

Sharp, Willoughby. “������.” In Art: USA: Now, edited by Lee Nordness, vol. 2, pp. 428–31. Exh. cat. Milwaukee Art Center. Lucerne: C. J. Bucher, 1962.

Silver, Kenneth E. “Modes of Disclosure: The Construction of Gay Identity and the Rise of Pop Art.” In Hand-Painted Pop: American Art in Transition, 1955–1962, pp. 179–203. Exh. cat. Los Angeles: Museum of Contemporary Art; New York: Rizzoli, 1992.

Sinclair, Sara, ed. Robert ������: An Oral History. New York: Columbia University Press, 2019.

Smith, Mark Lesly. “Image and Word in the Prints of Robert ������, 1951–1981.” PhD diss., University of Texas, Austin, 1992.

Solomon, Alan. “������.” Photographs by Ugo Mulas. In New York: The New Art Scene, pp. 230–55. New York: Holt, Rinehart, Winston, 1967.

Sparks, Esther. “Robert ������.” In Universal Limited Art Editions: A History and Catalogue, The First Twenty-Five Years, pp. 215–37, 430–67. Exh. cat. Chicago: Art Institute of Chicago; New York: Harry N. Abrams, 1989.

Steinberg, Leo. Encounters with ������ (A Lavishly Illustrated Lecture). Chicago: University of Chicago Press, 2000. 

Takehana, Elise. “Burroughs/������: Text-Image/Image-Text.” In The Future of Text and Image: Collected Essays on Literary and Visual Conjunctures, edited by Ofra Amihay and Lauren Walsh, pp. 273–307. Newcastle-upon-Tyne: Cambridge Scholars, 2012.

Taki, Teizo. Robert ������. Contemporary Great Masters 14. Tokyo: Kodansha Press, 1993. In Japanese.

Tallman, Susan. “Johns and ������.” In Tallman. The Contemporary Print from Pre-Pop to Postmodern, pp. 33–48. London: Thames and Hudson, 1996.

Taylor, Brandon. “The ������ Retrospective in 1964.” In The Whitechapel Art Gallery Centenary Review, pp. 71–75. Exh. cat. London: Whitechapel Gallery, 2001.

Tomkins, Calvin. Off the Wall: Robert ������ and the Art World of Our Time. Garden City, N.Y.: Doubleday, 1980. Revised and reprinted as Off the Wall: A Portrait of Robert ������. New York: Picador, 2005.

• Alloway, Lawrence. “Review of Books: Reportage.”&�Բ�����;Art in America (New York) 68, no. 7 (Sept. 1980), p. 21.
• Battcock, Gregory. “An Art Fan’s Notes.”&�Բ�����;New York 13, no. 23 (June 9, 1980), p. 64.
• Broyard, Anatole. “Books of the Times: A Question of Etiquette.”&�Բ�����;New York Times, May 31, 1980, p. 21.
• Deitz, Paula. “The Combine Painter.”&�Բ�����;New York Times Book Review, May 25, 1980, pp. 9, 18.
• Tighe, Mary Ann. “Pop Goes the Easel.”&�Բ�����;Washington Post Book World, Aug. 10, 1980, p. 9.
• Whelan, Richard. “Books: Art, Power and Intrigue.”&�Բ�����;Artnews (New York) 79, no. 9 (Nov. 1980), pp. 36–37.

———. “Robert ������.” In Tomkins. The Bride and the Bachelors: The Heretical Courtship in Modern Art, pp. 189–237. New York: Viking Press, 1965.

• Johnston, Jill. “Book Reviews: The Bride and the Bachelors, by Calvin Tomkins.”&�Բ�����;Arts Magazine (New York) 39, no. 9 (May–June 1965), p. 83.

Tōno, Yoshiaki. “Robert ������.” In After Pollock, pp. 276–95 (in Japanese). Tokyo: Bijutsu Shuppan-sha, 1984.

Tunniclife, Wayne. “Robert ������.” In John Kaldor Family Collection: Art Gallery of New South Wales, pp. 45–47. Sydney: Art Gallery of New South Wales, 2011.

Tyler, Kenneth E., and Rosamund Felsen. “Two ������ Paper Projects.” In Paper: Art and Technology, edited by Paulette Long, pp. 81–86. San Francisco: World Print Council, 1979.

Wainwright, Lisa Susan. “Reading Junk: Thematic Imagery in the Art of Robert ������ from 1952 to 1964.” PhD diss., University of Illinois, Champaign-Urbana, 1993.

———. "Robert ������'s Fabrics: Constructing Domestic Space." In Not at Home: The Suppression of Domesticity in Modern Art and Architecture, edited by Christopher Reed, pp. 193–205, 287–88. New York: Thames and Hudson, 1996.

Weinard, Chad Alan. “Combining Photography: Robert ������ and the Aesthetic of Memory.” In A Fine Regard: Essays in Honor of Kirk Varnedoe, edited by Patricia G. Berman and Gertje R. Utley, pp. 214–33. Aldershot, U.K.: Ashgate, 2008.

Wissmann, Jürgen. Robert ������: Black Market. Stuttgart: Philipp Reclam, 1970. In German.

Wivel, Mikael. “������ and Co.” In Pop Art from the Lilja Collection: ������, Lichtenstein, Rosenquist, Dine, pp. 14–25. Exh. cat. Høvikodden, Norway: Henie Onstad Art Center, 1991.

Ye, Zhu, ed. “Beijing Theorists’ Reactions to the Art of Robert ������.” Translated by Jiayun Zhuang. In Contemporary Chinese Art: Primary Documents, edited by Wu Hung and Joseph Newland, pp. 42-45. New York: Museum of Modern Art, 2010. Originally published as “Beijing bufen lilunjia dui Laoshengbo zuopin de fanyin.” Zhongguo meishu bao (China), no. 22 (Dec. 21, 1985), p. 2. 

Young, Joan. “Robert ������.” In Nancy Spector. Guggenheim Museum Collection A to Z. 2nd rev. ed., pp. 282–86. New York: Guggenheim Museum, 2005.

Zemter, Wolfgang. “Robert ������: Untersuchungen zur Bildstruktur.” PhD diss., Ruhr-Universität Bochum, 1974.

Abadie, Daniel. “Les Images ‘gelées’ de ������.”&�Բ�����;Art Press (Paris), no. 19 (July–Aug. 1975), pp. 16–17.

Adams, Brooks. “Salmigondis à la ������.” Translated by Marie-France de Paloméra. Artstudio (Paris), no. 23 (Winter 1991), cover and pp. 56–67.

Alliata, Vicky. “������: I fossili della civiltà atomica.”&�Բ�����;Bolaffiarte (Turin) 5, no. 42 (Summer 1974), pp. 82–89.

Alloway, Lawrence. “Assembling a World Between Art and Life.”&�Բ�����;Second Coming Magazine (New York) 1, no. 4 (June 1962), pp. 50–52.

———. “The World Is a Painting: ������.”&�Բ�����;Vogue (New York) 146, no. 7 (Oct. 15, 1965), pp. 100–103, 153–55, 157.

———. “������’s Graphics.”&�Բ�����;Art and ������s (London) 5, no. 6 (Sept. 1970), pp. 18–21.

Asbury, Edith Evans. “������s’ ‘Bank’ to Aid Health Costs.”&�Բ�����;New York Times, Oct. 2, 1977, p. 48.

Ashton, Dore. “Plus ça change . . . ”&�Բ�����;Cimaise (Paris) 8, no. 1 (March–April 1961), pp. 50–59 (in English, French, German, and Spanish).

———. “Thirty-Four Illustrations for Dante’s Inferno.”&�Բ�����;Metro (Milan), no. 2 (1961), pp. 52–61 (in English, French, and Italian).

———. “The Collaboration Wheel: A Comment on Robert ������’s Comment on Dante.”&�Բ�����;Arts and Architecture (Los Angeles) 80, no. 12 (Dec. 1963), pp. 10–11, 37.

———. “History Painter.”&�Բ�����;Artforum (New York) 36, no. 1 (Sept. 1997), pp. 99, 152.

Avgikos, Jan. “������’s Cyborgs.”&�Բ�����;Sculpture (Washington, D.C.) 15, no. 5 (May–June 1996), pp. 24–29.

Bader, Graham. “������’s Skin.”&�Բ�����;Grey Room (Cambridge, Mass.), no. 27 (Spring 2007), pp. 104–18.

Baker, R.C. “Robert ������, 1925–2008.”&�Բ�����;Village Voice (New York), May 21, 2008, p. 47.

Ball, Edward. “Robert ������’s Processed World.”&�Բ�����;View (Journal of Art, New York) 4, no. 1 (Jan. 1991), pp. 7–11.

Baranano, Kosme. “Trozos de Realidad.”&�Բ�����;El Mundo (Madrid), Nov. 21, 1998.

Barina, Antonella. “Robert ������: La mia vita con Bob e la sua ultima scelta: farsi staccare la spina.”&�Բ�����;Il Venerdì di Repubblica (Rome), Oct. 17, 2008, pp. 98–102.

Barot, Rick. “������’s Bed.”&�Բ�����;Yale Review (New Haven, Conn.) 96, no. 1 (Jan. 2008), pp. 64–75.

Barricelli, Jean-Pierre. “The Conscious and the Subconscious: ������ and Dalí Face Dante.”&�Բ�����;Comparative Literature Studies (Pennsylvania State University Press, University Park) 24, no. 4 (1987), pp. 353–69.

Battiata, Mary. “������, the Art Explorer.”&�Բ�����;Washington Post, June 1, 1985, sec. D, pp. 1, 7.

Bean, Shawn. “Florida ������ Hall of Fame.”&�Բ�����;Florida International Magazine (Oct. 2005), pp. 114–99.

Behr, Manfred. “Robert ������.”&�Բ�����;Florida Journal (Fort Myers) (July–Sept. 2000), cover and pp. 20–25 (in German).

Belcove, Julie L. “Old Master.”&�Բ�����;W (New York) 29, no. 9 (Sept. 2000), pp. 502–07, 525. 

Bendiner, Kenneth. “Robert ������’s Canyon.”&�Բ�����;Arts Magazine (New York) 56, no. 10 (June 1982), pp. 57–59.

———. “The Sins of the World.”&�Բ�����;Apollo (London) 164, no. 536 (Oct. 2006), pp. 56–61.

Bernstein, Roberta. “Robert ������’s Rebus.”&�Բ�����;Arts Magazine (New York) 52, no. 5 (Jan. 1978), pp. 138–41.

Bernstock, Judith E. “A New Interpretation of ������’s Imagery.”&�Բ�����;Pantheon (Munich) 46 (1988), pp. 149–64.

Bertrand, Valére. “‘Interview’ de Robert ������.”&�Բ�����;Connaissance des arts (Paris), no. 642 (Oct. 2006), pp. 112–15.

Black, L. D. “������’s ROCI.”&�Բ�����;Splash (New York) (Feb. 1988), unpaginated.

Boaden, James. “Black Painting (with Asheville Citizen).”&�Բ�����;Art History (Association of Art Historians, London) 34, no. 1 (Feb. 2011), pp. 166–91.

Boatto, Alberto. “������: La celebrazione del presente.” In Pop Art in U.S.A., pp. 24–27 (in Italian). Milan: Lerici, 1967.

Bois, Yve-Alain. “Early Lead.”&�Բ�����;Artforum (New York) 36, no. 1 (Sept. 1997), pp. 97, 152.

———. “Pause: Les Cardboard Pieces de Robert ������.”&�Բ�����;Cahiers du Musée national d’art moderne (Paris), no. 108 (Summer 2009), pp. 50–67. 

Bongard, Willi. “When ������ Won the Biennale.”&�Բ�����;Studio International (London) 175, no. 901 (June 1968), pp. 288–89.

Boyer, Kathryn. “Robert ������ and the American Postwar Political and Social Scene.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 92–106.

Brach, Paul. “������.”&�Բ�����;Scrap (New York), no. 2 (Dec. 23, 1960), p. 3.

Breerette, Genevieve. “Robert ������, maître du collage universel.”&�Բ�����;Le Monde (Paris), Oct. 14, 1997, p. 30.

Brooks, Bonnie. “Leaving the Door Open.” Liner notes for Merce Cunningham Dance Company: Robert ������ Collaborations, pp. 4–21. San Francisco: Artpix, 2010. DVD.

Burkhardt, Dorothy. “An ������ Defying Tradition.”&�Բ�����;Philadelphia Inquirer, Dec. 25, 1983, sec. K, p. 15.

Burstein, Patricia. “In His Art and Life, Robert ������ Is a Man Who Steers His Own Daring Course.”&�Բ�����;People (New York) 13, no. 20 (May 19, 1980), pp. 99–100, 103–04.

Byrne, David. “Bob the Builder.”&�Բ�����;New York Times, May 16, 2008, sec. A, p. 23.

C., W. C. “Art and Technology Join in Formal Experiment.”&�Բ�����;Data Systems News (New York), no. 1 (Nov. 1967), p. 3.

Cage, John. “On Robert ������, ������, and His Work.”&�Բ�����;Metro (Milan), no. 2 (1961), pp. 36–51. Reprinted in Cage. Silence: Lectures and Writings by John Cage, pp. 98–108. Middletown, Conn.: Wesleyan University Press, 1961.

Calas, Nicolas. “Robert ������.”&�Բ�����;Kulchur (New York) 4, no. 15 (Autumn 1964), cover and pp. 16–40. Reprinted as “������s: Robert ������.” In Calas. Art in the Age of Risk and Other Essays, pp. 169–93. New York: E. P. Dutton, 1968.

Carroll, Maurice. “Fire Damages ������ Art Here.”&�Բ�����;New York Times, Oct. 26, 1969, sec. 1, p. 79.

Casciani, Stefano, and Luigi Spignelli. “The ������ Blues.”&�Բ�����;Domus (Milan), no. 916 (July–Aug. 2008), pp. 85–89.

Castro, Jan Garden. “A New Sculptural Idiom: Robert ������.”&�Բ�����;Sculpture (Washington, D.C.) 25, no. 7 (Sept. 2006), pp. 48–55.

Castro, Roberto Montero. “De la ilusión a la objetividad.”&�Բ�����;El Universal (Caracas), Oct. 20, 1985, sec. 4, pp. 1–2.

Cato, Robert. “Sources of Inspiration: Robert ������.”&�Բ�����;Print (New York) 11, no. 1 (Feb.–March 1957), p. 27.

Cereceda, Miguel. “������.”&�Բ�����;Cuadernos del IVAM (Valencia), no. 3 (Spring 2005), pp. 50–61, 99–102.

Choay, Françoise. “Dada, Néo-Dada, et ������.”&�Բ�����;Art International (Zurich) 5, no. 8 (Oct. 20, 1961), cover and pp. 82–84, 88.

Citacov, Marta. “������.” Photographs by Bruce Weber. L’Uomo Vogue (Milan), no. 284, pp. 80–89.

Constable, Rosalind. “Art Pops In: Europe Explodes as American Takes Prize.”&�Բ�����;Life (New York) 57, no. 2 (July 10, 1964), pp. 65–68.

Corbino, Marcia. “Robert ������, Painter in Hiding.”&�Բ�����;Floridian (St. Petersburg Times), March 11, 1973, pp. 29–31.

———. “Zap! Robert ������ as Art World Superman.”&�Բ�����;Sarasota Journal (Fla.), Oct. 22, 1974, sec. A, p. 12.

Corlett, Mary Lee. “Places and Things: Robert ������.” In Ruth E. Fine and Corlett. Graphicstudio: Contemporary Art from the Collaborative Workshop at the University of South Florida, pp. 231–58. Exh. cat. Washington, D.C.: National Gallery of Art, 1991.

Craft, Catherine. “Lost and Found.”&�Բ�����;Art in America (New York) 99, no. 10 (Nov. 2011), pp. 144–53.

———. “In Need of Repair: The Early Exhibition History of Robert ������’s Combines.”&�Բ�����;Burlington Magazine (London) 154, no. 1308 (March 2012), pp. 191–97.

Crager, Jack. “The Environmental Portrait.”&�Բ�����;American Photo Magazine (New York) (March–April 2007), p. 59.

Cranshaw, Roger, and Adrian Lewis. “Re-Reading ������.”&�Բ�����;Artscribe (London), no. 29 (June 1981), pp. 44–51.

Crow, Thomas. “This Is Now: Becoming Robert ������.”&�Բ�����;Artforum (New York) 36, no. 1 (Sept. 1997), cover and pp. 94–96, 98, 100, 139, 142, 144, 152.

———. “Social Register.”&�Բ�����;Artforum (New York) 47, no. 1 (Sept. 2008), pp. 426–31, 484, 492.

Cullinan, Nicholas. “Double Exposure: Robert ������’s and Cy Twombly’s Roman Holiday.”&�Բ�����;Burlington Magazine (London) 150, no. 1264 (July 2008), pp. 460–70.

———. “Vaporous Fantasies.” Tate Etc. (London), no. 23 (Autumn 2011), pp. 82–83.

Danto, Arthur C. “Art: RRyman.”&�Բ�����;Nation (New York) 257, no. 17 (Nov. 22, 1993), pp. 632–35.

Davidson, Susan. “The Century’s 25 Most Influential ������s: Unending Irreverence.”&�Բ�����;Artnews (New York) 98, no. 5 (May 1999), p. 147.

———. “Remembering Robert ������ (1928–2008).”&�Բ�����;American Art (Smithsonian American Art Museum, Washington, D.C.) 23, no. 1 (Spring 2009), pp. 116–19.

Davis, Douglas M. “The Enigmatic Mr. ������: He Keeps American Art Adventurous.”&�Բ�����;National Observer (Washington, D.C.), Oct. 10, 1966, pp. 1, 17.

———. “������’s Recent Graphics.”&�Բ�����;Art in America (New York) 57, no. 4 (July–Aug. 1969), pp. 90–95.

———. “������ of Everything.”&�Բ�����;Newsweek (New York) 88, no. 17 (Oct. 25, 1976), pp. 94–99.

Dezeuze, Anna. “Unpacking Cornell: Consumption and Play in the Work of ������, Warhol and George Brecht.”&�Բ�����;Papers of Surrealism (University of Manchester, U.K.), no. 2 (Summer 2004). Accessed May 12, 2014. .

Doran, Anne, and Walter Hopps. “Robert ������: Here Comes Everybody.”&�Բ�����;Atlántica: revista de las artes (Las Palmas, Spain), no. 21 (1998), pp. 152–59.

Dorfles, Gillo. “������, o la sconfitta dell’‘obsolescence’/������, or Obsolescence Defeated.”&�Բ�����;Metro (Milan), no. 2 (1961), pp. 32–35 (in English and Italian).

Dorsey, John. “������’s ‘Bank Job’: ‘A Different Puzzle for Each Person.’”&�Բ�����;Baltimore Sun, Feb. 24, 1980, sec. D, pp. 1, 8.

Duffy, Jean. “Cultural Autobiography and Bricolage: Claude Simon and Robert ������.”&�Բ�����;Word and Image (London) 13, no. 1 (Jan.–March 1997), pp. 92–101.

Durand, Régis. “Robert ������: Des souvenirs sans nostalgie.”&�Բ�����;Art Press (Paris), no. 142 (Dec. 1989), pp. 20–25.

de la Durantaye, Leland. “Rummaging Through ������’s Trash.”&�Բ�����;Modern Painters (London) 20, no. 6 (July–Aug. 2008), pp. 72–75.

Dypréau, Jean. “������.”&�Բ�����;XXe siècle (Paris) 25, no. 21 (May 1963), p. 145.

Eigo, Jim. “Trisha Brown and Robert ������.”&�Բ�����;Dance Ink (New York) 5, no. 1 (Spring 1994), pp. 22–25.

.

Evaul, William H. “Printmaking Ensuite with ������, Rockburne, and LeWitt.”&�Բ�����;Print Review (New York), no. 14 (1981), pp. 70–73.

Everingham, Carol J. “Promoting World Peace Through Art.”&�Բ�����;Houston Post, Dec. 23, 1985, sec. C, p. 4.

Fahlström, Öyvind. “En gata full av presenter.”&�Բ�����;Konstrevy (Stockholm) 37, nos. 5–6 (1961), pp. 176–81. Reprinted as “A Street Full of Presents.” Translated by Kathryn Boyer. Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 119–26.

Feinstein, Rochelle; Sara Greenberger Rafferty; Mary Reid Kelley; Matt Saunders; Gedi Sibony; and Jessica Stockholder. “The ������’s ������: A ������ Symposium.”&�Բ�����;Art in America (New York) 105, no. 1 (Jan. 2017), pp. 44–53.

Feinstein, Roni. “The Unknown Early Robert ������: The Betty Parsons Exhibition of 1951.”&�Բ�����;Arts Magazine (New York) 59, no. 5 (Jan. 1985), pp. 126–31.

———. “The Early Work of Robert ������: The White Paintings, the Black Paintings, and the Elemental Sculptures.”&�Բ�����;Arts Magazine (New York) 61, no. 1 (Sept. 1986), cover and pp. 28–37.

———. “������: Solutions for a Small Planet.”&�Բ�����;Art in America (New York) 86, no. 2 (Feb. 1998), cover and pp. 66–79.

Finch, Charlie. “������/Warhol.”&�Բ�����;Artnet, May 14, 2008. Accessed May 12, 2014. .

Fineberg, Jonathan. “Robert ������’s Reservoir.”&�Բ�����;American Art (National Museum of American Art, Smithsonian Institution, Washington, D.C.) 12, no. 1 (Spring 1998), pp. 84–88.

Folland, Tom. “Robert ������’s Queer Modernism: The Early Combines and Decoration.”&�Բ�����;Art Bulletin (College Art Association, New York) 92, no. 4 (Dec. 2010), pp. 348–65.

Forge, Andrew. “Cross Currents.”&�Բ�����;Studio International (London) 175, no. 899 (April 1968), p. 187–91.

Freeman, Jack. “������: The Art of Changing Minds.”&�Բ�����;Earth Times (New York) 5, no. 30 (Sept. 20, 1993), p. 11.

Fujieda, Teruo; Atsushi Miyakawa; and Yoshiaki Tōno. Three feature articles on ������. Bijutsu Techo (Tokyo) (Feb. 1968), pp. 44–67 (in Japanese).

Gamarekian, Barbara. “������ Carrying His Art to Many Lands.”&�Բ�����;New York Times, Aug. 3, 1985, p. 9.

Gandini, Manuela. “Il via con ������, caposcuola della pop art.”&�Բ�����;Il Giorno (Milan), Jan. 30, 1998, sec. M, p. 41.

Genocchio, Benjamin. “������: Autumn of an Art Patriarch.”&�Բ�����;New York Times, June 27, 2004, sec. CT, p. 8.

Ginsburg, Susan. “������’s Dialogue.”&�Բ�����;Print Collector’s Newsletter (New York) 6, no. 6 (Jan.–Feb. 1976), pp. 152–55.

Gladston, Paul. “ROCI China and the Prospects of ‘Post-West’ Contemporaneity.” The Journal of Transcultural Studies (Heidelberg, Germany) 11, no. 2 (March 2021), pp. 150–77. 

Glueck, Grace. “Art Notes: Adventures Abroad.”&�Բ�����;New York Times, June 6, 1965, sec. 2, p. 15.

———. “Castelli Donates ‘Bed’ to the Modern.”&�Բ�����;New York Times, May 10, 1989, sec. C, p. 15.

Gluibizzi, Amanda. “Portrait of the ������(s) as a Portrait of Iris Clert.”&�Բ�����;Word and Image (London) 30, no. 4 (Oct.–Dec. 2014), pp. 455–63.

Goldman, Judith. “New Editions: Robert ������.”&�Բ�����;Artnews (New York) 74, no. 3 (March 1975), pp. 59–60.

Goldstein, Carl. “Teaching Modernism: What Albers Learned in the Bauhaus and Taught to ������, Noland, and Hesse.”&�Բ�����;Arts Magazine (New York) 54, no. 4 (Dec. 1979), pp. 108–16.

Grasso, Sebastiano. “Qualcosa di nuovo, per favore, maestro.”&�Բ�����;Corriere della Sera, Feb. 2, 1998, p. 23.

Gratz, Roberta B. “������’s a Study in Blue at Scull’s SRO Auction.”&�Բ�����;New York Post, Oct. 19, 1973, pp. 3, 16.

Gridley, Rebecca. “Robert ������: The Art of Collaboration and Excavation.”&�Բ�����;Yale University Art Gallery Bulletin (New Haven, Conn.) (2008), pp. 106–10.

Gruen, John. “Painter Dancing in the Dark.”&�Բ�����;Sunday Herald Tribune Magazine (New York), Jan. 2, 1966, pp. 22, 34.

———. “Robert ������: An Audience of One.”&�Բ�����;Artnews (New York) 76, no. 2 (Feb. 1977), pp. 44–48. Revised and reprinted as “Robert ������.” In The ������ Observed: Twenty-Eight Interviews with Contemporary ������s, pp. 261–72. Chicago: Chicago Review Press, 1991.

Grundberg, Andy. “Another Side of ������.”&�Բ�����;New York Times Magazine, Oct. 18, 1981, pp. 42–46, 113, 114, 117.

Gunnarsson, Annika. “Sidetrack—Robert ������.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 60–71.

Hall, James. “Crime Scenes: Robert ������’s Peculiar Interest in the Pre-Raphaelites.”&�Բ�����;Times Literary Supplement (London), no. 5269 (March 26, 2004), pp. 3–4. 

Hayden, Hans. “Transition Points: Notes on the Interplay Between Art and Art History in the Time of Visual Culture.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 78–91.

Healy, Charlotte. “A Radical Disregard for the Preservation of Art: Robert ������’s Elemental Paintings.”&�Բ�����;Interventions (Columbia University, New York) 4, no. 1 (Jan. 2015). Accessed May 27, 2015. .

Herrera, Hayden. “������’s Scroll.”&�Բ�����;Connoisseur (New York) 213, no. 851 (Jan. 1983), pp. 57–61.

Hess, Thomas B. “������: Choose a Chance.”&�Բ�����;New York 7, no. 35 (Sept. 9, 1974), pp. 60–61.

Hickey, Dave. “Open Charms.”&�Բ�����;Artforum (New York) 36, no. 1 (Sept. 1997), pp. 101, 152.

Hirsch, Faye. “Weatherman: Robert ������’s Ground Rules&�Բ�����;����������.”&�Բ�����;On Paper (New York) 2, no. 2 (Nov.–Dec. 1997), cover and pp. 10–15.

Hogan, Michael. “Bill Clinton Remembers Robert ������.”&�Բ�����;Vanity Fair Daily, Oct. 29, 2008. Accessed Sept. 15, 2014. .

Holborn, Mark. “Robert ������: Photographs.”&�Բ�����;Creative Camera (London), no. 203 (Nov. 1981), pp. 288–91.

Hopps, Walter. “Seven Works on Paper.”&�Բ�����;Grand Street (New York), no. 38 (Autumn 1991), p. 72.

———. “Robert ������: Holiday Ruse (Night Shade), 1991.”&�Բ�����;Artforum (New York) 38, no. 9 (May 2000), pp. 154–55.

Hsu, Helen. “Tripping on Stoned Moon.”&�Բ�����;Foam (Amsterdam) no. 47 (2017), pp. 176, 193.

—�Ĕ�Ĕ.&�Բ�����;“Undrinking the River Lethe or Remembering to Subvert: Two Drawings by Robert ������.”&�Բ�����;Master Drawings (New York) 57, no. 2 (Summer 2019), pp. 219–36.

Huck, Christopher C. “The Empty-Sublime: Considering Robert ������ in a Comparative Context.” Comparative and Continental Philosophy (Leeds, U.K.) 15, nos. 1–2 (June 2023), pp. 71–83. 

Hughes, Robert. “Enfant Terrible at 50.”&�Բ�����;Time (New York) 105, no. 4 (Jan. 27, 1975), pp. 60–61.

———. “The Most Living ������.”&�Բ�����;Time (New York) 108, no. 22 (Nov. 29, 1976), cover and pp. 54–62.

—�Ĕ�Ĕ.&�Բ�����;“My Friend Robert ������.”&�Բ�����;New York Review of Books Daily, Nov. 14, 2015. Accessed Jan. 16, 2020. .

Huisking, Charlie. “������’s Canvas Stretches around the World.”&�Բ�����;Sarasota Herald-Tribune (Fla.), March 17, 1985, sec. C, pp. 1, 13.

Imdahl, Georg. “Früh auf dem Gipfel seiner Möglichkeiten.” Kölner Stadt-Anzeiger (Cologne), Oct. 21, 2005, p. 24.

Ives, Colta. “Looking at Prints: Razorback Country.”&�Բ�����;Artnews (New York) 81, no. 7 (Sept. 1982), pp. 62–63.

Jobey, Liz with Michael Craig-Martin, Antony Gormley, Philippe Parreno, David Salle, and Carolee Schneemann. “In the Gap Between Art and Life.”&�Բ�����;FT Weekend Magazine (London), Nov. 19–20, 2016, pp. 52–56.

Johnson, Ellen H. “The Image Duplicators: Lichtenstein, ������ and Warhol.”&�Բ�����;Canadian Art (Toronto) 23, no. 1 (Jan. 1966), pp. 12–19.

Johnson, Janis Lyn. “The Last Free Enterpriser.”&�Բ�����;Gulfshore Life (Naples, Fla.) (Summer 1992), pp. 54–57, 62–63.

Johnson, Philip. “Young ������s at the Fair and at Lincoln Center.”&�Բ�����;Art in America (New York) 52, no. 4 (Aug. 1964), pp. 112–27.

.

Joseph, Branden W. “White on White.”&�Բ�����;Critical Inquiry (Chicago) 27, no. 1 (Autumn 2000), pp. 90–121. Revised and reprinted as “Blanc sur blanc.” Translated by Béatrice Trotignon. Cahiers du Musée national d’art moderne (Paris), no. 71 (Spring 2000), pp. 4–31.  

—�Ĕ�Ĕ.&�Բ�����;“‘A Duplication Containing Duplications’: Robert ������’s Split Screens.”&�Բ�����;October (Cambridge, Mass.), no. 95 (Winter 2001), pp. 3–27. 

———. “The Gap and the Frame.”&�Բ�����;October (Cambridge, Mass.), no. 117 (Summer 2006), pp. 44–70.

———. “BL(U)BROB TRRRCRRAATCHURBUP: Bob ������ in Swedish Bird Call.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 6–26.

———. “Media Player.”&�Բ�����;Artforum (New York) 47, no. 1 (Sept. 2008), pp. 438–41, 492.

Jouffroy, Alain. “������ ou le déclic mental.”&�Բ�����;������dzܰ���’h�ܾ�&�Բ�����;(Paris), no. 38 (Sept. 1962), pp. 22–23.

———. “R. ������.”&�Բ�����;��’O�𾱱� (Paris), no. 113 (May 1964), pp. 28–35, 68–69.

———. “������ et la liberté d’indifférence.”&�Բ�����;XXe siècle (Paris) 35, no. 40 (June 1973), pp. 125–31.

Kachurin, Pamela. “The ROCI Road to Peace: Robert ������, Perestroika, and the End of the Cold War.”&�Բ�����;Journal of Cold War Studies (Cambridge, Mass.) 4, no. 1 (Winter 2002), pp. 27–43.

Kappler, Frank. “Dante: The Divine Poet’s Totality.”&�Բ�����;Life (New York) 59, no. 25 (Dec. 17, 1965), pp. 38–64. With commissioned artwork by ������, Drawing for Dante’s 700th Birthday (1965).

Karshan, Donald H. “Graphics ’70: Robert ������.”&�Բ�����;Art in America (New York) 58, no. 6 (Nov.–Dec. 1970), pp. 48–51. With offset lithograph by ������, Wart (1970), edition of 65,000.

Katz, Jonathan. “������’s Honeymoon.”&�Բ�����;Art/Text (Los Angeles), no. 61 (May–July 1998), pp. 44–47.

———. “Reading Watchman Through the Archive.”&�Բ�����;Archives of American Art Journal (Washington, D.C.) 46, nos. 3–4 (Autumn 2007), pp. 29–35.

———. “‘Committing the Perfect Crime’: Sexuality, Assemblage, and the Postmodern Turn in American Art.”&�Բ�����;Art Journal (College Art Association, New York) 67, no. 1 (Spring 2008), pp. 38–53.

———. “Lovers and Divers: Interpictorial Dialog in the Work of Jasper Johns and Robert ������.” Accessed March 6, 2013.

Katz, Vincent. “A Genteel Iconoclasm.” Tate Etc. (London), no. 8 (Autumn 2006), pp. 38–41.

Keats, Jonathon. “Manifesto.”&�Բ�����;Artweek (Palo Alto, Calif.) 39, no. 7 (Sept. 2008), pp. 4, 24.

—�Ĕ�Ĕ.&�Բ�����;“A Reluctant Prophet.”&�Բ�����;Art and Antiques (New York) 31, no. 11 (Nov. 2008), pp. 128–34.

Key, Donald. “Leader of the ‘Pop Bottle’ School.”&�Բ�����;Milwaukee Journal, May 29, 1960.

Kimmelman, Michael. “The Irrepressible Ragman of Art.” New York Times, Aug. 27, 2000, sec. 2, pp. 1, 26. Revised and reprinted as “The Secret of My Excess.” Guardian (London), Sept. 7, 2000, G2, pp. 12–13.

———. “Robert ������, Who Redefined American Art, Dies at 82.” New York Times, May 14, 2008, sec. A, pp. 1, 20.

Klüver, Billy. “Teknologi för livet.”&�Բ�����;Konstrevy (Stockholm) 42, no. 2 (1966), pp. 56–61.

———. “Theater and Engineering: An Experiment, 2. Notes by an Engineer.”&�Բ�����;Artforum (Los Angeles) 5, no. 6 (Feb. 1967), pp. 31–33.

Klüver, Billy, with Julie Martin. “Four Difficult Pieces.”&�Բ�����;Art in America (New York) 79, no. 7 (July 1991), pp. 80–99, 138.

Kostelanetz, Richard. “The ������ as Playwright and Engineer.”&�Բ�����;New York Times Magazine, Oct. 9, 1966, cover and pp. 32–33, 109–10, 114, 119–24. Revised and reprinted as “Robert ������: Painting in Four Dimensions.” In Kostelanetz. Master Minds: Portraits of Contemporary American ������s and Intellectuals, pp. 251–69. Toronto: Macmillan, 1969.

Kotz, Mary Lynn. “Robert ������’s State of the Universe Message.”&�Բ�����;Artnews (New York) 82, no. 2 (Feb. 1983), cover and pp. 54–61.

———. “Robert ������’s Overseas Culture Interchange: A Window on Humanity Through Art.” In Japanese. Trends (United States Information Agency, Washington, D.C.) (Dec. 1986), cover and pp. 17–28.

———. “������’s Tour de Force.” New York Times, May 3, 1987, sec. 2, pp. 30, 33.

———. “Working Habits: Robert ������ Builds a Painting.”&�Բ�����;Artnews (New York) 89, no. 8 (Oct. 1990), pp. 123–28.

———. “National News: Rauschenbirthday.”&�Բ�����;Artnews (New York) 94, no. 8 (Oct. 1995), p. 52.

Krasnow, Iris. “������.”&�Բ�����;Houston Post, Dec. 16, 1984, sec. F, p. 9.

Krauss, Rosalind. “������ and the Materialized Image.”&�Բ�����;Artforum (New York) 13, no. 4 (Dec. 1974), pp. 36–43.

—�Ĕ�Ĕ.&�Բ�����;“Perpetual Inventory.”&�Բ�����;October (Cambridge, Mass.), no. 88 (Spring 1999), pp. 87–116. Originally published in Robert ������: A Retrospective, edited by Susan Davidson and Walter Hopps, pp. 206–23. Exh. cat. New York: Solomon R. Guggenheim Museum, 1997.

Krčma, Ed. “Dating the Dante Drawings: ������ and Method.”&�Բ�����;Burlington Magazine (London) 159, no. 1377 (Dec. 2017), pp. 964–75.

Kutner, Janet. “������ on the Road.”&�Բ�����;Dallas Morning News, Jan. 18, 1987, sec. C, pp. 1, 6–7.

Lacayo, Richard. “The Wild and Crazy Guy.”&�Բ�����;Time (New York) 171, no. 20 (May 2008), p. 19.

Lacombe, Anne-Marie. “Art et archives: Le cas Robert ������.”&�Բ�����;Documentation et bibliothèques (Montreal) 60, no. 4 (Oct.–Dec. 2014), pp. 198–205.

Landi, Ann. “Poet, Explorer, Innovator, Scavenger, Jester.”&�Բ�����;Artnews (New York) 107, no. 7 (Summer 2008), pp. 156–59.

Lebovici, Élisabeth. “Robert ������: Rebus.”&�Բ�����;Art Press (Paris), no. 327 (Oct. 2006), pp. 18–20 (in English and French).

Lerman, Leo. “The New Old Masters.” Photographs by Duane Michals. Mademoiselle (New York) 60, no. 4 (Feb. 1965), pp. 120–23.

Lieberman, Henry R. “Art and Science Proclaim Alliance in Avant-Garde Loft.”&�Բ�����;New York Times, Oct. 11, 1967, p. 49.

Lieberman, William S. “������’s Inferno Drawings.”&�Բ�����;MoMA (New York), no. 6 (Winter 1975–76), unpaginated.

Linstrom-Arnold, Barbara. “������s in Residence: Robert ������ and Darryl Pottorf.”&�Բ�����;Times of the Islands (Sanibel, Fla.) 10, no. 2 (March–April 2005), cover and pp. 54–59. 

Lippard, Lucy R. “The Silent Art.”&�Բ�����;Art in America (New York) 55, no. 1 (Jan.–Feb. 1967), pp. 58–63.

Lobel, Michael. “Lost and Found.”&�Բ�����;Artforum (New York) 54, no. 6 (Feb. 2016), cover and pp. 184–97.

Luc, Virginie. “Robert ������: Le dernier géant des artistes américains.”&�Բ�����;Gala (Paris) (June 1998), pp. 70–75.

Macaulay, Alastair. “������ and Dance, Partners for Life.” New York Times, May 14, 2008, sec. E, pp. 1, 5.

Macorini, Edgardo. “Le Illustrazione di ������ per l’Inferno di Dante.”&�Բ�����;Domus (Milan), no. 431 (Oct. 1965), pp. 41–47.

Mahoney, Robert. “Sculpture on the Road: ������’s ROCI.”&�Բ�����;Sculpture (Washington, D.C.) 10, no. 6 (Nov.–Dec. 1991), pp. 44–49.

Mamiya, Christin J. “We the People: The Art of Robert ������ and the Construction of American National Identity.”&�Բ�����;American Art (National Museum of American Art, Smithsonian Institution, Washington, D.C.) 7, no. 3 (Summer 1993), pp. 41–63.

Mangravite, Peppino G. “Dante Through Three ������s’ Eyes.”&�Բ�����;Columbia Library Columns (New York) 15, no. 1 (Nov. 1965), pp. 17–27.

“Material Witness.”&�Բ�����;Artforum (New York) 47, no. 1 (Sept. 2008), pp. 424–41, 484, 492. With contributions by Trisha Brown, Thomas Crow, Merce Cunningham, Branden W. Joseph, Brice Marden, Barbara Rose, James Rosenquist, and Robert Whitman.

Mattison, Robert S. “Robert ������’s Autobiography: Context and Meaning.”&�Բ�����;Wallraf-Richartz-Jahrbuch (Cologne) 59 (1998), pp. 297–305.

de la Maza Chevesich, Josefina. “Introducing the World to Himself: Robert ������ and ROCI Chile.”&�Բ�����;Art Criticism (Stony Brook University, N.Y.) 25, nos. 1–2 (2010), pp. 43–57.

.

Milroy, Sarah. “������’s Story.”&�Բ�����;Globe and Mail (Toronto), Oct. 9, 2001, sec. R, pp. 1, 11.

Molesworth, Charles. “From Collage to Combine: ������ and Visual Culture.”&�Բ�����;Salmagundi (Skidmore College, Saratoga Springs, N.Y.), nos. 118–19 (Spring–Summer 1998), pp. 29–39.

Molesworth, Helen. “Before Bed.”&�Բ�����;October (Cambridge, Mass.), no. 63 (Winter 1993), pp. 68–82.

Moore, Frazier. “Captiva’s ������, and the World’s … ������.”&�Բ�����;Fort Myers News-Press (Fla.), March 19, 1978, sec. E, pp. 1–3. Revised and reprinted as “������ of Captiva: An Impish Spirit, a Great ������.”&�Բ�����;Floridian (St. Petersburg Times), Oct. 8, 1978, cover and pp. 6–12.

Moorman, Margaret. “The ‘Vasari’ Diary: Rocky Road to Peace and Understanding.”&�Բ�����;Artnews (New York) 85, no. 2 (Feb. 1985), p. 11.

Morra, Joanne. “������’s Skin: Autobiography, Indexicality, Auto-Eroticism.”&�Բ�����;New Formations (London), no. 46 (Spring 2002), pp. 48–63.

“Most Happy Fella.”&�Բ�����;Time (New York) 84, no. 12 (Sept. 18, 1964), pp. 84–87.

Muchnic, Suzanne. “Collage Professor.”&�Բ�����;Los Angeles Times, Jan. 31, 1998, sec. F, pp. 1, 14. 

Mussman, Toby. “A Comment on Literalness: Should the Picture Plane Be Abolished?”&�Բ�����;Arts Magazine (New York) 42, no. 4 (Feb. 1968), pp. 14–17.

Naggar, Carole. “Robert ������.”&�Բ�����;Zoom (Paris), no. 23 (March–April 1974), p. 60.

Neil, Jonathan T. D. “Factum I Factum II.”&�Բ�����;Modern Painters (New York) (Dec. 2005–Jan. 2006), pp. 76–77.

Nemy, Enid. “������s’ Families Needing Aid Get It from ������’s Group.”&�Բ�����;New York Times, Sept. 25, 1974, p. 46.

Newman, Michael. “������ Re-evaluated.”&�Բ�����;Art Monthly (London), no. 47 (June 1981), pp. 7–10.

O’Connor, Colleen. “Robert ������.”&�Բ�����;Dallas Morning News, March 5, 1989, sec. E, pp. 1–2, 6.

O’Connor, John J. “Art and Technology Make It Official.”&�Բ�����;Wall Street Journal (New York), Oct. 11, 1967, p. 16.

O’Doherty, Brian. “������ and the Vernacular Glance.”&�Բ�����;Art in America (New York) 61, no. 5 (Sept.–Oct. 1973), pp. 82–87. Revised and reprinted as “Robert ������: The Sixties.” In O’Doherty. American Masters: The Voice and the Myth, pp. 188–225. New York: Random House, 1973.

Ohff, Heinz. “Broadway—zwischen Realismus und Utopie.”&�Բ�����;Der Tagesspiegel (Berlin), Aug. 26, 1965.

Öhrner, Annika. “Recalling Pelican: On P.O. Ultvedt, Robert ������ and Two ‘Ballets.’”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 27–39.

Olson, Roberta J. M. “������, the Extraordinary Ragpicker.”&�Բ�����;SoHo Weekly News (New York), March 31, 1977, pp. 17–19, 23.

O’Rorke, Robert. “Stella and . . . ������.”&�Բ�����;Art and ������s (London) 5, no. 6 (Sept. 1970), pp. 10, 12.

Pallini, Nicoletta. “Giochi di combinazioni.”&�Բ�����;L’Indipendente della domenica (Milan), Feb. 1, 1998, p. 9.

Padawer, Martha. “������ Criticism, 1950–1970: A Selected Annotated Bibliography.”&�Բ�����;Bulletin of Bibliography and Magazine Notes (Boston) 30, no. 2 (April–June 1973), pp. 61–68.

Parkinson, Gavin. “‘The Constantin Guys of the atomic era’: on the poetic reception of Robert ������ by Alain Jouffroy and Surrealism.” Word and Image (London) 39, no. 2 (July 2023), pp. 176-191. 

Perkins, Zoe Annis. “A Chilling Experience: The Treatment of a Robert ������ ‘Hoarfrost’ Painting.”&�Բ�����;Textile Specialty Group Postprints (American Institute for Conservation of Historic and ������ic Works, Washington, D.C.) 13 (2003), pp. 95–102.

Perlo, Luisa. “Il punto di Svolta fu il New Dada.”&�Բ�����;Arte (Milan), no. 294 (Feb. 1998), pp. 62–69.

Perocco, Guido. “������.”&�Բ�����;Le Arti (Milan), nos. 8–9 (Sept.–Oct. 1975), pp. 21–22.

Perreault, John. “������: The World Is His Studio.” Photographs by Robert Mapplethorpe. Geo (Los Angeles) 5, no. 11 (Nov. 1983), pp. 64–71, 98.

—�Ĕ�Ĕ.&�Բ�����;“Don’t Tread on Me: The Meanings of ������’s Glass Tires.”&�Բ�����;Glass Quarterly (UrbanGlass, Brooklyn, N.Y.), no. 70 (Spring 1998), pp. 20–25.

Perrone, Jeff. “Robert ������.”&�Բ�����;Artforum (New York) 15, no. 6 (Feb. 1977), cover and pp. 24–31.

Peters, Ben. “������: Blueprint Photographer.”&�Բ�����;Photo Arts (Stamford, Conn) 2, no. 4 (Aug. 1952), pp. 216–21.

Phillips, Siobhan. “Cunningham’s Collaboration.”&�Բ�����;Hudson Review (New York) 60, no. 3 (Autumn 2007), pp. 468–74.

Pierre, José. “Le ‘Cas’ ������.” ��’O�𾱱� (Paris), no. 172 (April 1969), cover and pp. 42–50.

Pindell, Howardena. “Robert ������’s ‘Link.’”&�Բ�����;MoMA (New York), no. 1 (Autumn 1974), unpaginated.

Plagens, Peter. “������’s American Beauties: A Life in Theatrical Collage.”&�Բ�����;New York Times, Oct. 12, 2003, sec. AR, p. 5.

“Portfolio, Dante’s Inferno: Drawings by Robert ������.”&�Բ�����;Second Coming Magazine (New York) 1, no. 2 (July 1961), pp. 17–21.

Potter, Michelle. “‘A License to Do Anything’: Robert ������ and the Merce Cunningham Dance Company.”&�Բ�����;Dance Chronicle (New York) 16, no. 1 (1993), pp. 1–43.

Ragon, Michel. “������: La vedette de l’École de New York.”&�Բ�����;Arts (Paris), no. 1011 (June 23–July 6, 1965), p. 4.

Ratcliff, Carter. “������’s Solvent-Transfer Drawings.”&�Բ�����;Print Collector’s Newsletter (New York) 18, no. 2 (May–June 1987), pp. 49–51.

������, Christopher. “Robert ������, 1925–2008.”&�Բ�����;Aperture (New York), no. 196 (Autumn 2009), pp. 86–87.

“The ������ Legacy.”&�Բ�����;Changing Lives (Edison State College, Fort Myers, Fla.) (Autumn 2008), pp. 7–10.

Reid, Katherine. “Portrait of the ������.”&�Բ�����;Gulfshore Life (Naples, Fla.) (Oct. 2004), pp. 150–55.

Richards, Elizabeth. “������’s Religion: Autobiography and Spiritual Reference in ������’s Use of Textiles.”&�Բ�����;Southeastern College Art Conference Review (Carrboro, N.C.) 16, no. 1 (2011), pp. 39–48.

Riley, Charles A., II. “On Top of the World: ������ Robert ������’s Global Palette.”&�Բ�����;WE (New York) 3, no. 3 (May–June 1999), pp. 86–91.

Ripley, Deborah. “Signs of the Times.”&�Բ�����;Art on Paper 13, no. 1 (Sept.–Oct. 2008), p. 23.

Robbins, Eugenia S. “Performing Art.”&�Բ�����;Art in America (New York) 54, no. 4 (July–Aug. 1966), pp. 107–11.

“Robert ������ Ceramics.”&�Բ�����;Ceramics Monthly (Columbus, Ohio) 31, no. 5 (May 1983), pp. 39–41.

“Robert ������: Working with Found Objects.”&�Բ�����;Scholastic Art (New York) 40, no. 1 (Sept.–Oct. 2009), cover and pp. 2–9.

“Robert ������: Kunstler zu sein ist ein Handicap.”&�Բ�����;Art (Hamburg) (Sept. 1998), pp. 16–25.

Robertson, Bryan. “The Open Destiny of Life.”&�Բ�����;Modern Painters (London) 11, no. 1 (Spring 1998), pp. 56–62.

Rockburne, Dorothea. “Moveable Feast.”&�Բ�����;Artforum (New York) 50, no. 3 (Nov. 2011), pp. 218–19.

Rockburne, Dorothea, and Nan Rosenthal. “Tribute to Robert ������ (1925–2008).”&�Բ�����;Brooklyn Rail (New York), June 2008, p. 43.

Rohter, Larry. “A Brush with the Master.”&�Բ�����;Newsweek (New York) 100, no. 5 (Aug. 2, 1982), p. 40.

Rose, Barbara. “Dada Then and Now.”&�Բ�����;Art International (Zurich) 7, no. 1 (Jan. 25, 1963), pp. 23–28.

———. “������: The ������ as Witness.”&�Բ�����;Vogue (New York) 167, no. 2 (Feb. 1977), pp. 174–75, 220, 226.

———. “Robert ������: From enfant terrible to Old Master.”&�Բ�����;Art and Antiques (Atlanta) 30, no. 6 (June 2007), pp. 111–13.

———. “������’s Revolution...”&�Բ�����;Wall Street Journal (New York), May 14, 2008, sec. D, p. 7.

———. “Seeing ������ Seeing.”&�Բ�����;Artforum (New York) 47, no. 1 (Sept. 2008), pp. 432–36, 492.

Rosenblatt, Leon. “Robert ������ in Captiva.”&�Բ�����;Printable News (Detroit Institute of Arts) (Dec. 1980), pp. 2–8.

Roth, Moira. “The Aesthetic of Indifference.”&�Բ�����;Artforum (New York) 16, no. 3 (Nov. 1977), pp. 46–53.

Rowes, Barbara. “Painter Robert ������ Takes a Trip to China and Pops Back with New Shows and New Vitality.”&�Բ�����;People (New York) 19, no. 3 (Jan. 24, 1983), pp. 82–83.

Ruhrberg, Karl. “Das Leben ist viel zu bunt für großes Pathos.”&�Բ�����;Art (Hamburg) (Oct. 1995), cover and pp. 14–29.

Saff, Donald J. “Conservation of Matter: Robert ������’s Art of Acceptance.”&�Բ�����;Aperture (New York), no. 125 (Autumn 1991), pp. 24–31.

Sajbel, Maureen. “Signs of the Times.”&�Բ�����;Vogue (New York) (Jan. 1997), pp. 126–27, 152.

Saltz, Jerry. “Notes on a Drawing: Every Picture Tells a Story.”&�Բ�����;Arts Magazine (New York) 63, no. 3 (Nov. 1988), pp. 19–22.

.

Seckler, Dorothy Gees. “The ������ Speaks: Robert ������.” Photographs by Ugo Mulas. Art in America (New York) 54, no. 3 (May–June 1966), cover and pp. 72–84.

Serafini, Giuliano. “������.”&�Բ�����;Art Dossier (Florence), no. 198 (March 2004).

“SFMOMA 75th Anniversary: David White.” Interview by Sarah Roberts, Peter Samis, Richard Cándida Smith, and Jill Sterrett, 2009, Regional Oral History Office, Bancroft Library, University of California, Berkeley. San Francisco Museum of Modern Art, 2010. Accessed Sept. 15, 2014.

Sharp, Christopher. “The ������ as Alchemist: From Garbage to Gold.”&�Բ�����;Women’s Wear Daily (New York), Sept. 30, 1974, p. 28.

Sharp, Ellen. “From Cliché-Verre Image to Printed Edition.”&�Բ�����;Printable News (Detroit Institute of Arts) (Dec. 1980), pp. 9–10.

Shaw, John. “Robert ������ and the Profit Motif.”&�Բ�����;Antique Collector (London) 52, no. 11 (Nov. 1981), p. 96.

Shepard, Richard F. “‘Venice Biennale’ Weds Local No. 1: ������ Will Assist Lithographers’ Art Plan.”&�Բ�����;New York Times, Feb. 16, 1968, p. 34.

Simmons, Todd. “������: ������’s View Isn’t Colored by Convention.”&�Բ�����;Tampa Tribune, Jan. 21, 1990, sec. H, pp. 1–2.

Simpson, Bennett. “������’s Iris.”&�Բ�����;Artbyte (New York) 1, no. 1 (April–May 1998), pp. 14–15.

Smith, Graham. “Robert ������’s ‘Odalisque.’”&�Բ�����;Wallraf-Richartz-Jahrbuch (Cologne) 44 (1983), pp. 375–82.

———. “Contemplating Photographs in ������’s Early Work.”&�Բ�����;History of Photography (London) 38, no. 2 (May 2014), pp. 113–36.

—�Ĕ�Ĕ.&�Բ�����;“‘Visibile Parlare’: ������’s Drawings for Dante’s Inferno.”&�Բ�����;Word and Image (London) 32, no. 1 (Jan.–March 2016), pp. 77–103.

—�Ĕ�Ĕ.&�Բ�����;“������’s Modern Infernos for Life Magazine.”&�Բ�����;Visual Resources (Abingdon, U.K.) 32, nos. 1–2 (March–June 2016), pp. 145–68.

—�Ĕ�Ĕ.&�Բ�����;“������, Dante, Kennedy, and Space Exploration.”&�Բ�����;Source: Notes in the History of Art (New York) 35, no. 3 (Spring 2016), pp. 258–67.

—�Ĕ�Ĕ.&�Բ�����;“Rereading ������’s Monogram.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 85, no. 4 (2016), pp. 271–98.

Smith, Mark Lesly. “Suspended Shadows: The Miniature Blueprints of ������ and Weil.”&�Բ�����;Print Collector’s Newsletter (New York) 24, no. 4 (Sept.–Oct. 1993), pp. 125–28.

———. “Image and Text in Crisis: ������’s and Robbe-Grillet’s Traces suspectes en surface.”&�Բ�����;Art in Print (Chicago) 2, no. 6 (March–April 2013), pp. 3–7.

Smith, Philip. “To and about Robert ������.”&�Բ�����;Arts Magazine (New York) 51, no. 7 (March 1977), pp. 120–21.

Smith, Roberta. “������ Got a Lot from the City and Left a Lot Behind.”&�Բ�����;New York Times, May 16, 2008, sec. E, p. 34.

Solomon, Alan [R.]. “Is There a New Theater?”&�Բ�����;New York Times, June 27, 1965, sec. 2, p. 12.

Solway, Diane. “������’s Island.”&�Բ�����;M (New York) 3, no. 7 (April 1986), pp. 74–80.

“Speaking of Pictures: Blueprint Paper, Sun Lamp, a Nude Produce Some Vaporous Fantasies.”&�Բ�����;Life (New York) 30, no. 15 (April 9, 1951), pp. 22–24.

Stenström, Emma. “Another Kind of Combine: Monogram and the Moderna Museet.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 48–59.

Stuckey, Charles F. “Reading ������.”&�Բ�����;Art in America (New York) 65, no. 2 (March–April 1977), cover and pp. 74–84.

———. “Let Us Now Praise Robert ������.”&�Բ�����;Art in America (New York) 96, no. 8 (Sept. 2008), p. 38.

Swenson, G. R. “������ Paints a Picture.”&�Բ�����;Artnews (New York) 62, no. 2 (April 1963), pp. 44–47, 65–67.

“The Talk of the Town: ������.”&�Բ�����;New Yorker 53, no. 14 (May 23, 1977), pp. 30–31.

Tellgren, Anna. “������’s Swedish Combines.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 72–77.

Trebay, Guy. “Rauschenworld.”&�Բ�����;Village Voice (New York), Sept. 30, 1997, p. 30.

Tomkins, Calvin. “Profiles: Moving Out.”&�Բ�����;New Yorker 40, no. 2 (Feb. 29, 1964), pp. 39–105. Revised and reprinted as “Robert ������.” In Tomkins. The Bride and the Bachelors: The Heretical Courtship in Modern Art, pp. 189–237. New York: Viking Press, 1965.

———. “The Man Who Created the Most Public Work of Private Art in History.” With print by ������, Cover for Tropic (1979), edition of 650,000. Tropic (Miami Herald), Dec. 30, 1979, pp. 20–22.

• Harmel, Pat. “On December 30, 1979 Robert ������ Will Welcome in the 80’s with the Largest Limited Edition Art Work in History.” Islander (Sanibel, Fla.), Dec. 25, 1979, pp. 13–15.
• Kohen, Helen L. “Stat Art.”&�Բ�����;Miami Herald, Dec. 23, 1979, sec. L, pp. 1, 3.

.

Tōno, Yoshiaki. “������.”&�Բ�����;Mizue (Tokyo), no. 683 (Feb. 1962), pp. 42–56 (in Japanese).

———. “������’s ‘Combine-Statement.’”&�Բ�����;SAC Journal (Tokyo), no. 34 (Dec. 1963), unpaginated (in Japanese).

———. Feature article on ������. Bijutsu Techo (Tokyo) 22, no. 326 (April 1970), pp. 68–96 (in Japanese).

Towle, Tony. “������: Two Collaborations—Robbe-Grillet and Voznesensky.”&�Բ�����;Print Collector’s Newsletter (New York) 10, no. 2 (May–June 1979), pp. 37–41.

Troiano, Vanessa S. “The ‘Bauhaus Idea’ in Robert ������’s Blueprints.” Wolkenkuckucksheim | Cloud-Cuckoo-Land | Воздушный замок: International Journal of Architectural Theory (Cottbus, Germany) 24, no. 39 (2019), pp. 99–113.

Tucker, Jean. “Master of Pop Art School Applying His ‘Touch’ to Dance Program Design.”&�Բ�����;Hartford Courant (Conn.), March 20, 1964, p. 27.

Turner, Fred. “Romantic Automatism: Art, Technology, and Collaborative Labor in Cold War America.”&�Բ�����;Journal of Visual Culture (London) 7, no. 1 (April 2008), pp. 5–26.

Updike, Robin. “An ������’s Symphony of Images.”&�Բ�����;Seattle Times, Sept. 15, 1998, sec. F, pp. 1–2.

Vallora, Marco. “������, dopo di me solo ragazzi ambizioni.”&�Բ�����;La Stampa (Turin), Jan. 30, 1998, p. 25.

Vinklers, Bitite. “Why Not Dante?: A Study of ������’s Drawings for the Inferno.”&�Բ�����;Art International (Lugano) 12, no. 6 (Summer 1968), pp. 99–106.

Wainwright, Lisa. “Gustave and the Goat: ������’s ‘Monogram’ and Courbet’s ‘The Painter’s Studio.’”&�Բ�����;Burlington Magazine (London) 159, no. 1377 (Dec. 2017), pp. 956–63.

Wallach, Amei. “The ‘Vasari’ Diary: More Dangerous than Generals [Andrei Voznesensky collaboration].”&�Բ�����;Artnews (New York) 77, no. 2 (Feb. 1978), pp. 22, 24.

———. “������ Goes to Moscow.”&�Բ�����;Art in America (New York) 77, no. 3 (March 1989), pp. 21, 23.

Weems, Jason. “Scanning Bob’s Body: ������’s Booster, Science, and the Techno-Visual Subject.”&�Բ�����;Bulletin of the Detroit Institute of Arts 82, nos. 1–2 (2008), pp. 4–15.

.

Whitman, Simone. “Theater and Engineering: An Experiment, 1. Notes by a Participant.”&�Բ�����;Artforum (Los Angeles) 5, no. 6 (Feb. 1967), pp. 26–30.

Widenheim, Cecilia. “A Goat’s-Eye View—Monogram at the Moderna Museet.”&�Բ�����;Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 40–47.

Wivel, Mikael. “Stol på mig.”&�Բ�����;Berlingske Aften (Copenhagen), Feb. 4–10, 1983, sec. 2, p. 13.

Wortz, Melinda. “������’s Bones and Unions.”&�Բ�����;Artweek (Oakland) 6, no. 35 (Oct. 18, 1975), p. 2.

Young, Joseph. “New Editions: Robert ������ [Horsefeathers Thirteen].”&�Բ�����;Artnews (New York) 73, no. 3 (March 1974), pp. 48–49.

———. “Pages and Fuses: An Extended View of Robert ������.”&�Բ�����;Print Collector’s Newsletter (New York) 5, no. 2 (May–June 1974), pp. 25–30.

Abeel, Erica. “Daedalus at the Rollerdome.”&�Բ�����;Saturday Review (New York) 48, no. 35 (Aug. 28, 1965), pp. 51–53.

Adato, Allison. “The Magic of Art: A Master Painter Shows How He Does It [Chuck Close feature].”&�Բ�����;Life (New York) 21, no. 2 (Feb. 1998), pp. 51, 53.

Alloway, Lawrence. “Technology and Art Schools.”&�Բ�����;Studio International (London) 175, no. 889 (April 1968), pp. 184–86.

Anger, Jenny. “Paul Klee, Anni and Josef Albers, and Robert ������: Weaving and the Grid at Black Mountain College.” In Klee and America, edited by Josef Helfenstein and Elizabeth Hutton Turner, pp. 238–53. Exh. cat. Ostfildern, Germany: Hatje Cantz, 2006.

de Antonio, Emile, and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940–1970. New York: Abbeville Press, 1984.

“Art Crashes Through the Junk Pile.”&�Բ�����;Life (New York) 51, no. 21 (Nov. 24, 1961), pp. 60–69, 72.

Ashton, Dore. “A Planned Coincidence.”&�Բ�����;Art in America (New York) 57, no. 5 (Sept.–Oct. 1969), pp. 36–47.

Baker, Richard Brown. “My Dinner with Jasper Johns (and Robert ������, Leo Castelli, Robert and Ethel Scull, Willem de Kooning, Franz Kline and Lots More).”&�Բ�����;Paris Review (New York), no. 143 (Summer 1997), pp. 212–23.

Baker, Steve. The Postmodern Animal. London: Reaktion Books, 2000.

Banes, Sally. Democracy’s Body: Judson Dance Theater, 1962–64. Edited by Stephen C. Foster. Studies in the Fine Arts: The Avant-Garde 43. Ann Arbor, Mich.: University Microforms International Research Press, 1983. Durham, N.C.: Duke University Press, 1993.

Banks, Eric, ed. ������s for ������s: Fifty Years of the Foundation for Contemporary Arts. New York: Foundation for Contemporary Arts, 2013.  

Belting, Hans. Art History after Modernism. Translated by Mitch Cohen and Caroline Saltzwedel. Chicago: University of Chicago Press, 2003. 

Bongartz, Roy. “Writers, Composers and Actors Collect Royalties—Why Not ������s?”&�Բ�����;New York Times, Feb. 2, 1975, sec. 2, pp. 1, 25.

Bourdon, David. “Sculptures in Motion.”&�Բ�����;Life (New York) 61, no. 7 (Aug. 12, 1966), pp. 40–47, 49.

Boxer, Sarah. “Animals Have Taken Over Art, and Art Wonders Why.” New York Times, June 24, 2000, sec. B, pp. 9, 11.

Boyer, Kathryn Anne. Political Promotion and Institutional Patronage: How New York Displaced Paris as the Center of Contemporary Art, ca. 1955–1968. Ann Arbor, Mich.: University of Michigan Press, 1995.

Brown, Carolyn. “Merce Cunningham and the Language of the Body.” New York Times, March 25, 2001, sec. AR, pp. 1, 18.

—�Ĕ�Ĕ.&�Բ�����;Chance and Circumstance: Twenty Years with Cage and Cunningham. New York: Alfred A. Knopf, 2007.

Buchloh, Benjamin H. D. “Andy Warhol’s One-Dimensional Art: 1956–1966.” In Andy Warhol: A Retrospective, edited by Kynaston McShine, pp. 39–61. Exh. cat. New York: Museum of Modern Art, 1989.

“Building the Collection.”&�Բ�����;National Gallery of Art Bulletin (Washington, D.C.), no. 29 (Spring 2003), pp. 2–5.

Buskirk, Martha. The Contingent Object of Contemporary Art. Cambridge, Mass.: MIT Press, 2003.

Calas, Nicolas. “ContiNuance.”&�Բ�����;Artnews (New York) 57, no. 10 (Feb. 1959), pp. 36–39.

Cohen, Ronny. “The Medium Isn’t the Message.”&�Բ�����;Artnews (New York) 84, no. 8 (Oct. 1985), pp. 74–81.

Cohen-Solal, Annie. Leo and His Circle: The Life of Leo Castelli. Translated by Cohen-Solal and Mark Polizzotti. New York: Alfred A. Knopf, Random House, 2010. 

Congdon, Kristin G. “Culture of Color and Contrasts.”&�Բ�����;Forum (Florida Humanities Council, St. Petersburg) 27, no. 3 (Autumn 2003), pp. 14–17.

Copeland, Allan. Merce Cunningham: The Modernizing of Modern Dance. London: Routledge, 2003.

Copeland, Roger. “The Politics of Perception.”&�Բ�����;Contact Quarterly (Northampton, Mass.) 6, no. 2 (Winter 1981), pp. 16–23.

Crimp, Douglas. “On the Museum’s Ruins.”&�Բ�����;October (Cambridge, Mass.), no. 13 (Summer 1980), pp. 41–57. Revised and reprinted in Crimp. The Anti-Aesthetic: Essays on Postmodern Culture. Edited by Hal Foster. Port Townsend, Wash.: Bay Press, 1983.

Crow, Thomas. The Long March of Pop: Art, Music, and Design, 1930–1995. New Haven, Conn.: Yale University Press, 2015.

Cummings, Scott T. “The Making of bobrauschenbergamerica.” In Cambridge Studies in American Theatre and Drama. New York: Cambridge University Press, 2006.

Cunningham, Merce, and Jacqueline Lesschaeve. Le Danseur et la danse. Paris: P. Belfond, 1980. Published in English as The Dancer and the Dance. New York: Marion Boyars, 1985.

Cunningham, Merce. “Story: Tale of a Dance and a Tour.” Parts 1–3. Dance Ink (New York) 6, no. 1 (Spring 1995), pp. 14–21; no. 2 (Summer 1995), pp. 18–22; no. 3 (Autumn 1995), pp. 32–36.

Delfiner, Judith. “Quelques gouttes de sauvagerie sur Manhattan: La réception de Dada à New York, 1945–1957.”&�Բ�����;Cahiers du Musée national d’art moderne (Paris), no. 93 (Autumn 2005), pp. 60–83. 

Dickerman, Leah. “Schwitters Fec.” In Kurt Schwitters: Color and Collage, pp. 87–97. Exh. cat. Houston: The Menil Collection, 2010.

Ewald, Elin Lake. “An Analysis of the Effect of Economic Recessions from 1973 to 1993 on the Auction Value of Paintings by Eight Contemporary ������s.” PhD diss., New York University, 2000.

Feldman, Morton. “Give My Regards to Eighth Street.”&�Բ�����;Art in America (New York) 59, no. 2 (March–April 1971), pp. 96–99.

Finch, Christopher. “The Role of the Spectator.”&�Բ�����;Design Quarterly (Walker Art Center, Minneapolis), no. 73 (1969), unpaginated.

Forge, Andrew. “Painting and the Struggle for the Whole Self.”&�Բ�����;Artforum (New York) 14, no. 1 (Sept. 1975), pp. 44–49.

Forsling, Stephen. “Fizzles, Savage Breeze, Kitty Hawk and a Message from Degas.”&�Բ�����;Artnews (New York) 79, no. 7 (Sept. 1980), pp. 124–28.

Gablik, Suzi. “Meta-Trompe-l’Oeil.”&�Բ�����;Artnews (New York) 64, no. 1 (March 1965), pp. 46–49.

.

Glimcher, Mildred, ed. Adventures in Art: Forty Years at Pace. Milan: Leonardo International/Talk Miramax Books, 2001.

Gluibizzi, Amanda. “‘The Entire Visual World’: Art, Design, and 1960s New York.” PhD diss., Ohio State University, Columbus, 2012.

Golding, Martin. “New York: The Painter and the City.”&�Բ�����;Modern Painters (London) 14, no. 3 (Autumn 2001), pp. 106–13.

Goldstein, Ann. “Director of Intelligence: On Pontus Hultén.”&�Բ�����;Artforum (New York) 45, no. 6 (Feb. 2007), pp. 62, 65.

Harris, Mary Emma. The Arts at Black Mountain College. Cambridge, Mass.: MIT Press, 1987.

Hayter, Carla Esposito, ed. The Monotype: The History of a Pictorial Art. Milan: Skira, 2007.

Hellstein, Valerie. “The Cage-iness of Abstract Expressionism.”&�Բ�����;American Art (Smithsonian American Art Museum, Washington, D.C.) 28, no. 1 (Spring 2014), pp. 56–77.

Hochdörfer, Achim. “Leo Steinberg (1920–2011).”&�Բ�����;Artforum (New York) 50, no. 2 (Oct. 2011), pp. 57–62.

Hoover, Elizabeth A. “‘I Have Nothing to Say and I Am Saying It’: Collaboration, Collage, and the Meeting of Indeterminacies in American Avant-Garde Performances of the 1960s.” PhD diss., University of Pittsburgh, 2012.

Hughes, Robert. “The Revival of Prints.”&�Բ�����;Time (New York) 97, no. 3 (Jan. 18, 1971), pp. 56–57.

———. “Innovation: Breaking the Mold.”&�Բ�����;Time (New York), special issue, American Visions (Spring 1997), pp. 76, 83.

———. “Myriad Visions.”&�Բ�����;Time (New York) 151, no. 22 (June 8, 1998), p. 50.

—�Ĕ�Ĕ.&�Բ�����;American Visions: The Epic History of Art in America. New York: Alfred A. Knopf, 1999.

Hulst, Titia. “The Leo Castelli Gallery.”&�Բ�����;Archives of American Art Journal (Washington, D.C.) 46, nos. 3–4 (Autumn 2007), pp. 14–27.

Hultman, Marianne. “Our Man in New York: An Interview with Billy Klüver on His Collaboration with Moderna Museet.” In The History Book: On Moderna Museet 1958–2008, pp. 234–56. Stockholm: Moderna Museet, and Göttingen, Germany: Steidl, 2008.

Jasper Johns: An Allegory of Painting. Exh. cat. Washington, D.C.: National Gallery of Fine Art, 2007.

Jhaveri, Shanay, ed. Western ������s and India: Creative Inspirations in Art and Design. Mumbai: Shoestring Publisher, 2013. 

Johns, Jasper, in conversation with Mary A. Judge. “������s for ������s,” pp. 6–7. In Foundation for Contemporary Performance Arts 2001. Brochure. New York: Foundation for Contemporary Performance Arts, 2002.

Johnston, Jill. “The Value of a Crossing and Other Mystery Stories.”&�Բ�����;Village Voice (New York), Jan. 20, 1975, pp. 30–31.

Jouffroy, Alain. “Une Révision moderne du sacré.”&�Բ�����;XXe siècle (Paris) 26, no. 24 (Dec. 1964), pp. 89–98.

Kachur, Lewis. “D’Arcy Galleries and New York Late Surrealism: Duchamp, Johns, ������.” In Networking Surrealism in the USA: Agents, ������s, and the Market, edited by Julia Drost, Fabrice Flahutez, Anne Helmreich, and Martin Schieder, pp. 448–61. Passages Online 3. Heidelberg: arthistoricum.net, 2019.

Kaprow, Allan. “Experimental Art.”&�Բ�����;Artnews (New York) 65, no. 1 (March 1966), pp. 60–63, 77–82.

Katz, Vincent. Black Mountain College: Experiments in Art. Exh. cat. Madrid: Museo Nacional Centro de Arte Reina Sofia, 2002. 

Kazanjian, Dodie. “Power of Philanthropy: Collective Spirit.”&�Բ�����;Vogue (New York) 193, no. 3 (March 2003), pp. 532–37.

de Kooning, Elaine. “Subject: What, How or Who?”&�Բ�����;Artnews (New York) 54, no. 2 (April 1955), pp. 26–29, 61–62.

Kowal, Rebekah Jane. “Modern Dance and American Culture in the Early Cold War Years.” PhD diss., New York University, 1999.

Kozloff, Max. “The Impact of de Kooning.”&�Բ�����;Arts Yearbook (New York) 7 (1964), pp. 77–88.

———. “Art and the New York Avant-Garde.”&�Բ�����;Partisan Review (New Brunswick, N.J.) 31, no. 4 (Autumn 1964), pp. 535–54.

———. “The Division and Mockery of the Self.”&�Բ�����;Studio International (London) 179, no. 918 (Jan. 1970), pp. 9–15.

———. “American Painting During the Cold War.”&�Բ�����;Artforum (New York) 11, no. 9 (May 1973), pp. 43–54.

Kushner, Marilyn Satin. Donald Saff: Art in Collaboration. Munich: DelMonico Prestel Books, 2010.

Larson, Kay. “Cage Was not only All Ears, He Was All Eyes, Too.” New York Times, Feb. 4, 2001, sec. AR, p. 40.

Larson, Philip. “Words in Print.”&�Բ�����;Print Collector’s Newsletter (New York) 5, no. 3 (July–Aug. 1974), pp. 53–56.

Latour, Bruno, and Peter Weibel, eds. Iconoclash: Beyond the Image Wars in Science, Religion, and Art. Cambridge, Mass.: MIT Press, 2003.

Levine, Les. “The Golden Years: A Portrait of Eleanor Ward.”&�Բ�����;Arts Magazine (New York) 48, no. 7 (April 1974), pp. 42–43.

Lim, Sandra Junyoung. “Expanding the Lyric Terrain: The New York School of Poets in the Context of the Visual and Performing Arts.” PhD diss., University of California, Berkeley, 2002.

Lovelace, Carey. “Oh No! Mistakes into Masterpieces.”&�Բ�����;Artnews (New York) 95, no. 1 (Jan. 1996), pp. 118–21.

Marquis, Alice Goldfarb. The Pop Revolution. Boston: Museum of Fine Arts Publications, 2010.

Martin, Judith. “Aid for ������s?”&�Բ�����;Washington Post, June 23, 1976, sec. B, p. 3.

Masheck, Joseph. “Hard-core Painting.”&�Բ�����;Artforum (New York) 16, no. 8 (April 1978), pp. 46–55.

Mason, Paul. Pop ������s. Chicago: Heinemann Library, 2003.

McCormick, Seth. “Jasper Johns, 1954–1958: Persecution and the Art of Painting.” PhD diss., Columbia University, New York, 2007.

McDarrah, Fred W. The ������’s World in Pictures: The New York School. New York: E. P. Dutton, 1961. New York: Shapolsky, 1988.

McDonagh, Don. The Rise and Fall and Rise of Modern Dance. New York: Outerbridge and Dienstfrey, 1970.

McDonagh, Donald. “Unexpected Assemblage!: Four ������s who in Unique Collaboration with Dancers, Move ‘Far Out’ from Traditional Forms.”&�Բ�����;Dance Magazine (New York) 39, no. 6 (June 1965), pp. 42–44, 78.

Miller, Paul. “The Engineer as Catalyst: Billy Klüver on Working with ������s.”&�Բ�����;IEEE Spectrum (Institute of Electrical and Electronics Engineers, New York) 35, no. 7 (July 1998), pp. 20–29.

Mitgang, Herbert. “Tatyana Grosman: ‘The Inner Light of 5 Skidmore Place.’”&�Բ�����;Artnews (New York) 73, no. 3 (March 1974), cover and pp. 28–33.

Molesworth, Helen Anne. “At Home with Duchamp: The Readymade and Domesticity.” PhD diss., Cornell University, Ithaca, N.Y., 1998.

Monk, Philip. “Trash as a Cultural System: ������, Warhol, Smith and Shifting Museum Practices.”&�Բ�����;C Magazine (Toronto), no. 58 (May–Aug. 1998), pp. 17–25.

Morris, Gay. “When ������s Use Photographs: Is It Fair Use, Legitimate Transformation, or Rip-Off?”&�Բ�����;Artnews (New York) 80, no. 1 (Jan. 1981), pp. 102–06.

Morris, Robert. “American Quartet.”&�Բ�����;Art in America (New York) 69, no. 10 (Dec. 1981), pp. 92–105.

Obrist, Hans Ulrich, in conversation with Billy Klüver. “Turning to Technology: Legendary Engineer Billy Klüver on ������-Engineer Collaborations.”&�Բ�����;Art Orbit, no. 3 (Sept. 1998). Accessed May 12, 2014. 

Oeri, Georgine. “The Object of Art.”&�Բ�����;Quadrum (Brussels), no. 16 (1964), pp. 4–26.

Owens, Craig. “The Allegorical Impulse: Toward a Theory of Postmodernism, Part 2.”&�Բ�����;October (Cambridge, Mass.), no. 13 (Summer 1980), pp. 59–80. Reprinted in Owens. Beyond Recognition: Representation, Power, and Culture, edited by Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock, pp. 70–87. Berkeley: University of California Press, 1992.

Ragon, Michel. “L’Art actuel aux États-Unis/Art Today in the United States.”&�Բ�����;Cimaise (Paris) 6, no. 3 (Jan.–March 1959), pp. 6–35.

Ratcliff, Carter. “Mostly Monochrome.”&�Բ�����;Art in America (New York) 69, no. 4 (April 1981), pp. 111–31.

Raye, Lena. Stories from Solar Winds: Recent Work by Robert Petersen. Exh. cat. New York: Jim Kempner Fine Art, 2013.

Reiss, Julie H. From Margin to Center: The Spaces of Installation Art. Cambridge, Mass.: MIT Press, 2000.

Ricco, John Paul. The Decision Between Us: Art and Ethics in the Time of Scenes. Chicago: University of Chicago Press, 2014.

Richards, Elizabeth Ann. “Fabrics in Modern and Contemporary American Art: Unraveling Threads of Discourse.” PhD diss., Cornell University, Ithaca, N.Y., 2007.

Riout, Denys. “Le parti d’en sourire: À propos d’oeuvres de ������, Spoerri, Manzoni, et de quelques autres.” In Reproductibilité et irreproductibilité de l’oeuvre d’art, pp. 107–21. Brussels: La Lettre Volée, 2001.

———. “L’or et l’art: Nouvelles affinités.”&�Բ�����;Arts sacrés (Paris), no. 9 (Jan.–Feb. 2011), pp. 60–65.

Robinson, Julia E. “From Abstraction to Model: In the Event of George Brecht and the Conceptual Turn in the Art of the 1960s.” PhD diss., Princeton University, N.J., 2008.

Rorimer, Anne. New Art in the 60s and 70s: Redefining Reality. New York: Thames and Hudson, 2002.

Saff, Donald J. “Graphicstudio, U.S.F.”&�Բ�����;Art Journal (College Art Association, New York) 34, no. 1 (Autumn 1974), cover and pp. 10–18.

Sandler, Irving. A Sweeper-Up After ������s: A Memoir. New York: Thames and Hudson, 2003.

Schipsi, Laureen, ed. Art and Activism: Projects of John and Dominique de Menil. Houston: The Menil Collection, 2010.

Solomon, Alan R. “The New American Art.”&�Բ�����;Art International (Lugano) 8, no. 2 (March 20, 1964), pp. 50–55. Originally published in Amerikansk pop-Kunst, pp. 17–23 (in Swedish). Exh. cat. Stockholm: Moderna Museet, 1964.

———. “American Art Between Two Biennales.”&�Բ�����;Metro (Milan), no. 11 (June 1966), pp. 24–36.

Steinberg, Leo. “Reflections on the State of Criticism.”&�Բ�����;Artforum (New York) 10, no. 7 (March 1972), pp. 37–49. Revised and reprinted as “Other Criteria.” In Steinberg. Other Criteria: Confrontations with Twentieth-Century Art, pp. 55–91. New York: Oxford University Press, 1972.

Steiner, Wendy. “Postmodernist Portraits.”&�Բ�����;Art Journal (College Art Association, New York) 46, no. 3 (Autumn 1987), pp. 173–77.

Stuckey, Charles. “Johns: Hidden and Revealed.”&�Բ�����;Art in America (New York) 85, no. 4 (April 1997), pp. 33–39.

Swenson, G. R. “Peinture américaine 1946–1966.”&�Բ�����;������dzܰ���’h�ܾ�&�Բ�����;(Paris), nos. 55–56 (Dec. 1966–Jan. 1967), pp. 156–57.

Tallmer, Jerry. “Marcel Duchamp at 72: A Toothbrush in a Lead Box—Would It Be a Masterpiece?”&�Բ�����;Village Voice (New York), April 8, 1959, pp. 1, 12.

Taylor, Paul. Private Domain. New York: Alfred A. Knopf, 1987.

Thomas, Kelly Devine. “The 10 Most Expensive Living ������s.”&�Բ�����;Artnews (New York) 103, no. 5 (May 2004), pp. 118–23.

———. “Say It with Flowers—or Gourds, Goats, Fur Cups, or Fried Eggs.”&�Բ�����;Artnews (New York) 105, no. 8 (Sept. 2006), pp. 116–21.

Tomkins, Calvin. "Onward and Upward with the Arts: E.A.T." New Yorker 46, no. 33 (Oct. 3, 1970), pp. 83–133.

—�Ĕ�Ĕ.&�Բ�����;The Scene: Reports on Post-Modern Art. New York: Viking Press, 1976.

———. “Profiles: A Good Eye and a Good Ear [Leo Castelli].”&�Բ�����;New Yorker 56, no. 14 (May 26, 1980), pp. 40–72.

———. “Profiles: An Eye for the New [Ileana Sonnabend].”&�Բ�����;New Yorker 75, no. 42 (Jan. 17, 2000), pp. 54–64.

———. “Profiles: The Mind’s Eye [Jasper Johns].”&�Բ�����;New Yorker 82, no. 41 (Dec. 11, 2006), pp. 77–85.

Tōno, Yoshiaki. “International Look at the USA: Japanese, From a Gulliver’s Point of View.”&�Բ�����;Art in America (New York) 48, no. 2 (Summer 1960), pp. 54–59.

Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: Harry N. Abrams, 1990.

Vaughan, David. “A Chronology.”&�Բ�����;Dance Perspectives (New York), no. 34 (Summer 1968), pp. 54–67.

———. “The Art of Working with ������s.”&�Բ�����;Sunday Times Magazine (London), April 13, 1980, pp. 52–53, 55.

—�Ĕ�Ĕ.&�Բ�����;Merce Cunningham: Fifty Years. New York: Aperture, 1997.

Wulp, John. “Happening: A Timely Exercise in the Pursuit of Happiness.”&�Բ�����;Esquire (New York) 60, no. 5 (Nov. 1963), pp. 134, 136, 138, 184–87.

Zerner, Henri. “Universal Limited Art Editions.”&�Բ�����;��’O�𾱱� (Paris), no. 120 (Dec. 1964), pp. 36–43, 82.