Selected Books and Exhibition Catalogues
Books indicated with asterisk (*).
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*Robert Hobbs, Jorg Heiser and Alessandro Rabottini. Sterling Ruby. Zürich: JRP–Ringier, 2009.
*Robert Hobbs, Franklin Sirmans and Michele Wallace. 30 Americans. Miami: Rubell Family Collection, 2008.
*Robert Hobbs and Rachel Kent, Yinka Shonibare, MBE. New York: Prestel, 2008.
John Wesley: The Bumsteads. New York: Frederick Freiser, 2007.
Robert Hobbs and David Moos, Frank Thiel: Photography. Stuttgart: Cantz Publishing, 2006.
*Alice Aycock: Sculpture and Projects. Cambridge and London: M.I.T. Press, 2005. This book is the first comprehensive view of this important postmodern artist’s work. 
Mark Lombardi: Global Networks. New York: Independent Curators International in conjunction with D.A.P., 2003. This publication served as the catalogue for the first retrospective exhibition of the artist’s work that traveled to seven venues, including the Drawing Center in New York City. It is now in its third printing.
Kara Walker: Slavery! Slavery! Washington, D. C.: FUND FOR U.S. ARTISTS AT INTERNATIONAL FESTIVALS AND EXHIBITIONS, a public/private partnership of the United States Department of State, the National Endowment for the Arts, the Rockefeller Foundation, and The Pew Charitable Trusts, with administrative support from Arts International, 2002. Catalogue for the U.S. entry for the 25th International Bienal of São Paulo, Brazil. 
*Milton Avery: The Late Paintings. New York: Harry N. Abrams, Inc., Publishers, 2001. 
James Siena. New York: Gorney, Bravin + Lee, 2001. This is the first catalogue on this artist’s work. 
*Lee Krasner. New York: Harry N. Abrams, Inc., Publishers, 1999.
*Beverly Pepper's Spazio Teatro Celle. Torino: Umberto Allemandi & C., 1998
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Hong Kong Now! Seattle: University of Washington Press, 1997.
Arnaldo Roche-Rabell: The Uncommonwealth. Seattle: University of Washington Press, 1995.
Mark Lindquist: Revolutions in Wood. Seattle: University of Washington Press, 1995.
*Beatrice Mandelman: Taos Modernist. Albuquerque: University of New Mexico Press, 1995.
“Andres Serrano: The Body Politic” in Andres Serrano: Works 1983-1993. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1994: 17-43. This is the first retrospective view of the artist’s work. Reprint in Andres Serrano: Works 1983-1993. Malmö, Sweden: Malmö Konsthall, 1996.
Maud Gatewood: Re-Visions. Greensboro: Weatherspoon Art Gallery, The University of North Carolina at Greensboro, 1994. [Distributed by University of Washington Press].
*Earl Cunningham: Painting an American Eden. New York: Harry N. Abrams, Inc., Publishers, 1994. This is the first monograph on this self-taught artist’s work, which is now housed at the Menello Museum in Orlando, Florida.
*Lee Krasner. New York: Abbeville Press, 1993.
Duane Hanson: The New Objectivity. Tallahassee: Florida State University Gallery & Museum, 1991. [Distributed by University of Washington Press.] 
*Milton Avery. New York: Hudson Hills Press, Inc., 1990
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*Robert Hobbs and Joanne Kuebler. Richard Pousette-Dart. Bloomington: Indiana University Press, 1990. This catalogue accompanies the artist’s first retrospective exhibition.
*Gaylord Torrence and Robert Hobbs. Art of the Red Earth People: The Mesquakie of Iowa. Iowa City: The University of Iowa Museum of Art, 1989. [Distributed by University of Washington Press.] This is the first catalogue devoted to this tribe’s art and the first study to look at one’s tribe’s cultural productions chronologically.
*Edward Hopper. New York: Harry N. Abrams, Inc., Publishers, in association with National Museum of American Art, Smithsonian Institution, 1987.
*The University of Iowa Museum of Art: 101 Masterworks. Iowa City: The University of Iowa Museum of Art, 1986. [Distributed by University of Washington Press.]
*Robert Hobbs and Fredrick Woodard, Eds. Human Rights/Human Wrongs: Art and Social Change. Iowa City: The University of Iowa Museum of Art, 1986. [Distributed by University of Washington Press.]
Robert Longo – Dis-Illusions. Iowa City: The University of Iowa Museum of Art, 1985. This catalogue accompanied the artist’s first museum show.
*Cynthia Jaffee McCabe, Robert C. Hobbs, and David Schapiro. Artistic Collaboration in the Twentieth Century. Washington, D.C.: Smithsonian Institution Press, 1984. This exhibition initiated the discussion of collaboration among artists.
Robert Smithson: A Retrospective View. Washington, D.C.: The United States International Communications Agency, 1982. This bilingual catalogue was used for the exhibition at the American Pavilion, Venice Biennale, and the subsequent European tour. In addition to English, the other languages for the four editions of the catalogue are Italian, French, Dutch, and Finnish.
Keith Haring. Iowa City: The University of Iowa Museum of Art, 1984. This catalogue/brochure accompanied the artist’s first museum show.
Tony Smith. New York: The Pace Gallery, 1983.
*Robert Smithson: Sculpture. Ithaca: Cornell University Press, 1981. This book served as the catalogue for the first museum retrospective of this artist’s work. It is now accepted as the standard publication on the artist’s sculpture and will be republished in a revised edition.
*Robert Hobbs and Gail Levin. Abstract Expressionism: The Formative Years. New York: Whitney Museum of American Art, 1978. [Republished by Cornell University Press, 1981.] Selections from Hobbs' text on the beginnings of Abstract Expressionism have been reprinted as "Il primo espressionismo astratto: verso i margini della visione" in Il Velo Squarciato, Quaderni di The Foundation for Improving Understanding of the Arts 3 (March 1990): 21-43. The section "Mark Rothko" is included in David Schapiro and Cecile Schapiro, eds., Abstract Expressionism: A Critical Record. Cambridge: Cambridge University Press, 1990.
Robert Motherwell Retrospective. Düsseldorf: Städische Kunsthalle Düsseldorf, 1976. This is the catalogue for the first retrospective exhibition of the artist’s work since his 1965 show at MoMA that Frank O’Harra curated.
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