Selected Essays
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•  “Ali Banisadr: Assaying the In-Between” and “Ali Banisadr: The Art of
   Sensation,” in Negar Azimi, Robert Hobbs, et al. Ali Banisadr. New York:
   Rizzoli Electa, 2021.
  
  
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•  “Jim Hodges: From Naturalizing Art to Acculturating Nature” in Jim
   Hodges. London: Phaidon, 2020.
  
  
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•  “Robert Indiana’s Herms,” in Joe Lin-Hill and Aaron Ott, Robert Indiana:
   A Sculpture Retorspective. Bielefeld and Berlin: Kerber Verlag, 2019.
  
  
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•  “Daniel Zeller’s Art: A Deeper Ecology” in Daniel Zeller.
    New York: Pierogi, 2018.
  
  
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•  “Eleanore Mikus and the Japanese Zen Aesthetic Wabi-Sabi” in Eleanore
   Mikus: Tablets and Related Works, 1960-69. New York: Craig F. Starr
   Gallery, 2017.
  
  
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• “Anthony McCall's Cybernetic Systems.” In Anthony McCall: Solid Light, Performance, and Public Works. Fundació Gaspar, Barcelona, 2016.
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• “Krasner, Mitchell, and Frankenthaler: Nature as Metonym.” In Women of Abstract Expressionism, ed. Joan Marter. New Haven and London: Yale University Press, 2016. The book will serve as the catalogue for the exhibition, with the same title, organized by the Denver Museum of Art.
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   "Renaud Regnery's Post-Future/Past-Exotic Viet Cong Series,"
    in "Renaud Regnery: Viet Cong." September 14-October 28,2013,
    Klemm's Galerie, Berlin, 2013.
  
  
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• “Interview with Ahmed Alsoudani.” In The World Belongs to You. Venice, Italy: Palazzo Grassi Centre of Contemporary Art/Foundation François Pinault, 2011
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• “Brendan Fowler: Re-forming the Parergon.” In Brendan Fowler with Joel Mesler and Carol Cohen (Spring 2011). New York: Untitled, 2011.
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• “Motherwell's Opens: Heidegger, Mallarmé, and Zen.” In Matthew Collings, Mel Gooding Robert Hobbs, Donald Kuspit, Robert Mattison, Saul Ostrow, and John Yau, Robert Motherwell: Open. London: 21 Publishing Ltd., 2009.
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• "Meredyth Sparks' Differendialism: The Art of Sublime Micrologies." In Robert Hobbs and Nicolas Baurriaud, Meredyth Sparks. Blau, France: Monograph Editions, 2009.
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• “Keith Haring and Fernand Léger: Democratic Art, Popular Culture, and Semiotics.” In Mark Coetzee, ed., Against All Odds: Keith Haring in the Rubell Family Collection. Miami: The Rubell Family Collection, 2008.
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• "Joseph Kosuth's Early Work." In Neither Appearance, Nor Illusion. New York: Sean Kelly, 2008.
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• “Kehinde Wiley: Détourning Representation.” In Samir S. Patel, ed., Kehinde Wiley –The World Stage: Africa, Lagos-Dakar. Harlem: The Studio Museum, 2008.
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• "Form is a Verb: Pousette-Dart and Vorticism." In Pousette-Dart Drawing: Form is a Verb. New York: Knoedler & Company, 2008.
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•  "Arnaldo Roche: Baroque Moments and Screen Memories." In Arnaldo
   Roche: Brotherhood. Chicago Cultural Center and Museum of
   Latin American Art, Long Beach, VA, 2008.
  
  
• "Hernan Bas' 'Fag Limbo' and the Tactics of Reframing Societal Texts." In Mark Coetzee. Hernan Bas: Works from the Rubell Family Collection. Miami: Rubell Family Collection, 2007.
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• "Conversing About Contemporary Sculpture." In Glenn Harper and Twylene Moyer, eds. Conversations on Sculpture. Hamilton, NJ: International Sculpture Center, 2007.
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• "Lee Krasner's Skepticism and Her Emergent Postmodernism." Woman's Art Journal 28, No. 2 (Fall/Winter 2007).
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• "Tom McGrath: Landscape Redux." In Tom McGrath: Paintings 2002-2007. New York: Zach Feuer Gallery, 2007.
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• “Kelley Walker’s Continuum: Consuming and Recycling as Aesthetic Tactics.” In Suzanne Cotter, ed., Seth Price/Kelley Walker: Continuous Project. Oxford, UK: Modern Art Oxford, 2007.
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• “Robert Beck’s Dust.” In Bill Horrigan, Helen Molesworth, and Robert Hobbs, Robert Beck: Dust. Columbus: Wexner Center for the Arts, 2007.
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• “Tavares Strachan’s Infinite Games.” In Tavares Strachan: The Distance Between What We Have and What We Want. New York: Ronald Feldman and Pierogi, 2006.
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• “George Rickey and Kenneth Snelson at the Palais Royale.” In Deux Américains à Paris: Sculptures de George Rickey et Kenneth Snelson. Paris: Louvre Palais Royale, 2006.
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• “Dan Fischer: Xerox Realism.” In Dan Fischer. New York: Derek Eller Gallery, 2006.
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• “Robert Motherwell’s Elegies to the Spanish Republic,” 1976 (revised 2004).
  In Ellen G. Landau, ed., Reading Abstract Expressionism: Context and
  Critique. New Haven and London: Yale University Press, 2005. This essay
  is one of six articles chosen to represent scholarly and critical writings on
  Abstract Expressionism in the 1970s.
  
  
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• “Neo Rauch’s Purposive Ambiguities.” In Neo Rauch. Málaga, Spain: CAC Málaga, 2005.
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• “Surrealism and Abstract Expressionism: From Psychic to Plastic Automatism.” In Isabelle Dervaux, Surrealism USA. New York: National Academy Museum in conjunction with Hatje Cantz Publishers, 2005.
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• “Malcolm Morley: The Art of Painting.” In Malcolm Morley. New York: Sperone, Westwater, 2005.
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• “The Term ‘Colour Field.” In The Shape of Colour. Toronto: Art Gallery of Ontario, 2005. This essay is the first to determine the origins of the term “color field,” which has mistakenly been attributed to Clement Greenberg.
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• “Affluence, Taste, and the Brokering of Knowledge: Notes on the Social Context of Early Conceptual Art.” In Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice. Cambridge: Cambridge University Press, 2004.
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• “Jonathan Lasker’s Dramatis Personae.” In Jonathan Lasker: Paintings, Drawings, Studies. Madrid: Museo Nacional Centro de Arte Reina Sofía in co-production with K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2003.
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• "Reading Black Through White: Kara Walker and the Question of Racial Stereotyping: A Discussion between Michael Corris and Robert Hobbs," Art History 26, no. 3 (June 2003); rpt. in Gill Perry, ed., Differences and Excess in Contemporary Art: The Visibility of Women's Practices. (Oxford: Blackwell, 2004).
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• “Pierre Huyghe’s Ellipses,” Parkett 66 (Fall, 2003).
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• “Kara Walker’s White Shadows in Blackface.” In For the Benefit of All the Races of Mankind (Mos' Specially the Master One, Boss), An Exhibition of Artifacts, Remnants and Effluvia EXCAVATED from the Black Heart of a Negress. Hannover, Germany: Hannover Kunstverein, 2002.
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• “Frank Stella, Then and Now.” In Frank Stella: Recent Work. Singapore: Singapore Tyler Print Institute, 2002.
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• “‘I Got Freedom over My Head': Julie Moos' Hat Ladies of New Pilgrim
  Baptist Church.” In Julie Moos: Hat Ladies. Birmingham, AL: Birmingham
  Museum of Art, 2002. This is the first catalogue of this
  photographer’s work.
  
  
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• “Merleau-Ponty’s Phenomenology and Installation Art.” In Claudia Giannini, ed., Installations Mattress Factory 1990-1999. Pittsburgh: University of Pittsburgh Press, 2001. This essay connects the development of installation art in the late 1950s with Merleau-Ponty’s phenomenology.
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• “Frank Stella: Matrixed and Real Space.” In Frank Stella. Philadelphia:
  Locks Gallery, 2000.
  
  
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• “Running Interference.” In Suzanne Feldman, 20 Years/ 20 Artists. Seattle and London: University of Washington Press, 1999. This essay was included in a catalogue for the Aspen Museum of Art.
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• “Wired: Matthew McCaslin’s Reconsiderations of Electricity.” In Konrad Bitterli, Matthew McCaslin. Stuttgart: Cantz Publishing, 1998. This essay is the first in-depth view of this artist’s work.
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• “Youth's Purgatory: Presumptions of Innocence and Other Childhood Roles.” In Jean Crutchfield, Presumed Innocence. Seattle: University of Washington Press, 1998.
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• “Thornton Dial.” In Elsa Longhauser and Harald Szeemann, Self-Taught Artists of the 20th Century. New York: Museum of American Folk Art, 1998.
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• "Rachel Lachowicz: Approaching Appropriation." In Rachel Lachowicz. New York: Cristinerose Gallery, 1998. This is the first catalogue on this artist’s work.
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• “Site-Specificity at the Fattoria di Celle” and “Art in the Fattoria” in Art in Arcadia: The Gori Collection, Celle. Torino: Umberto Allemandi & C., 1994.
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• “Eleanore Mikus: Shadows of the Real” in Eleanore MikusL Shadows of the Real, Ithaca, New York: Groton House, 1991.
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• “Sally Michel: The Other Avery.” Woman's Art Journal 8 (Fall 1987/Winter 1988).
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