Selected Catalogues and Publications:



Belcove, Julie, Sue Williams: New Paintings, published by Skarstedt Gallery, New York, NY, 2019

Harten, John, et al. TRANCE: Albert Oehlen, published by Skira editore S.p.A., Milan, Italy, 2019, p. 153 [ill.]

Goetz, Ingvild, Leo Lencsés, and Karsten Löckemann, eds., Generations, published by Hatje Cantz, Berlin, and Sammlung Goetz, Munich, Germany, 2019, pp. 189 [ill.]



Eklund, Douglas, and Ian Alteveer, eds., Everything Is Connected: Art and Conspiracy, published by The Metropolitan Museum of Art, New York, NY, and Yale University Press, New Haven, CT, 2018, pp. 3, 142, 152 – 155 [ill.]

Scala, Mark W., ed., Chaos and Awe: Painting for the 21st Century, published by The MIT Press, Cambridge, MA, and Frist Art Museum, Nashville, TN, 2018


Sue Williams: Details, published by 303inPrint, New York, NY, 2017

Rupert, Sarah Michelle, and Michelle Weinberg, Women Painting, published by Girls’ Club, Ft. Lauderdale, FL, 2017, pp. 118 – 119 [ill.]



Fink, Arthur, and Beatrix Ruf, eds., Collecting Lines – Drawings from the Ringier Collection, published by JRP|Ringier, Zurich, Switzerland, 2016
White, Wendy, Man Alive, published by Maruani Mercier Gallery, Brussels, Belgium, 2016, p. 40

Painting 2.0 Expression in the information age, published by Museum Brandhorst, Munich, Germany, 2016, pp. 96 – 97, 151
Salame’, Tony, Good Dreams, Bad Dreams: American Mythologies, published by Skira, Milan, Italy, 2016, pp. 54 – 63



Bovier, Lionel, Johanna Burton, and Ruth Erickson, Sue Williams, published by JRP|Ringier, Zürich, Switzerland, 2015
Ammer, Manuela, Achim Hochdörfer, and David Joselit, eds., Painting 2.0: Expression in the Information Age, published by Prestel Publishing, London, UK, 2015
Dünser, Severin, Agnes Husslein-Arco, and Luisa Ziaja, eds., Flirting with Strangers: Encounters with Works from the Collection, published by 21er Haus, Vienna, Austria, 2015
Baker, George, Ann Goldstein, Michael Maltzan, and Shaun Caley Regen, Regen Projects 25, published by Prestel Publishing, New York, NY, 2015
Siegel, Katy, ed., ‘The heroine Paint:’ After Frankenthaler, published by Rizzoli International Publications, Inc. in association with Gagosian Gallery, 2015, p. 218
Baur, Andreas and Marcus Weber, eds., Better Than de Kooning, published by Snoeck, Cologne, Germany, 2015
No Man’s Land, Women Artists from the Rubell Family Collection, published by Rubell Family Collection, Miami, FL, 2015
Goergen, Stacey and Amanda Benchley, Artists Living with Art, published by Abrams Books, New York, NY, 2015, p. 154 [cover]



Burton, Johanna, and Anne Ellegood, Take It or Leave It: Institution, Image, Ideology, published by Hammer Museum, Los Angeles, CA, and Prestel, New York, NY, pp. 122 – 124, 169 [ill.]


Gioni, Massimiliano, ed., NYC 1993: Experimental Jet Set Trash and No Star, published by New Museum, New York, NY, 2013
From death to death and other small tales, published by National Galleries of Scotland, Edinburgh, Scotland, 2013, p. 43


Oppenheimer Collection, published by Nerman Museum of Contemporary Art, Overland Park, KS, 2007, p. 156 [ill.]
Fast Forward: Contemporary Collections for the Dallas Museum of Art, published by the Dallas Museum of Art, Dallas, Texas, 2007, p. 318 [ill.]


Comic Abstraction: Image-Breaking, Image-Making, published by the Museum of Modern Art, New York, NY, 2006, pp. 120 – 125 [ill.]
Ellipse Foundation: Contemporary Art Collection, published by Ellipse Foundation Contemporary Art Collection, Cascais, Portugal, 2006 [ill.]
Sue Williams: Art for the Institution and the Home, published by Verlag der Buchhandlung Walther König, Cologne, Germany, 2006


CAP Collection, published by Arlène Bonnant et al., Dublin, Ireland, pp. 302 – 307 [ill.]
Artists’ Books Revisted, curated by Matthias Herrmann, published by Secession, Vienna, Austria, 2005
No. 1: First Works by 362 Artists, edited by Grancesca Richer and Matthew Rosenzweig, published by Distributed Art Publishers, Inc., New York, NY, 2005, p. 407 [ill.]


Schwabsky, Barry, Sue Williams: Second Chances and More, published by Kukje Gallery, Seoul, South Korea, 2004
North Fork/South Fork: East End Art Now, published by The Parrish Art Museum, Southampton, NY, p. 78 [ill.]


Social Strategies: Redefining Social Realism, published by Pamela Auchincloss/Arts Management, New York, NY, 2003, pp. 64 – 65 [ill.]



Schwabsky, Barry, Sue Williams: A Fine Line, published by Palm Beach Institute of Contemporary Art, Lake Worth, FL, 2002

Cameron, Dan and Jaun Carlos Román, Sue Williams: Art for the Institution and the Home, published by Secession, Vienna, Austria and IVAM, Valencia, Spain, 2002


Reckitt, Helena, ed., Art and Feminism, text by Peggy Phelan, published by Phaidon Press, London, UK, 2001, pp. 24, 160


Sue Williams, published by 303inPrint, New York, NY, 2000
Sue Williams, published by Galeria Joan Pratts, Barcelona, Spain, 2000

Cottingham, Laura, Combien de “sales” féministes faut-il pour changen une ampoule? antiféminisme et art contemporain, published by Éditions Tahin Purty, Lyon, France, 2000, p. 49
There Is Something You Should Know: EVN Sammlung, essay by Paul Katzberger, published by Österreichische Galerie Belvedere, Vienna, Austria, 2000, p. 39
Catalago de la Coleccion de Arte Contemporaneo, published by Fundacion ‘la Caixa,’ Madrid, Spain, 2000, p. 160


Negotiating Small Truths, published by Blanton Museum of Art, Austin, TX, 1999
Works by Women Artists from the Logan Collection, published by San Francisco Museum of Modern Art, San Francisco, CA, 1999


Pop Surrealism, published by The Aldrich Museum of Contemporary Art, Ridgefield, CT, 1998
Sozzani, Franca, A Noir: The Black Book, published on the occasion of the Milan Triennial by Editions Assouline, New York, NY, 1998


Sussler, Betsy, ed., Speak art: the Best of Bomb Magazine’s Interviews with Artists, published by G + B Arts International, 1997
Birth of the Cool, published by Kunsthaus Zürich, Zurich, Switzerland, 1997
1997 Biennial Exhibition, published by Whitney Museum of American Art, New York, NY, 1997
Impressionist, Modern and Contemporary Art, published by Sotheby’s, New York, NY, 1997
Art on Paper, published by Weatherspoon Art Museum, Greensboro, North Carolina, 1997
A House Is Not a Home, published by Rooseum Center for Contemporary Art, Malmo, Sweden, 1997
a/drift, published by Center for Curatorial Studies, Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY, 1997


Sex and Crime,” published by Sprengel Museum, Hanover, Germany, 1996


1995 Biennial Exhibition, published by Whitney Museum of American Art, New York, NY, 1995
Imperfect, published by New York Professional Outreach Program, University of Massachusetts, Amherst, Amherst, MA and Stella Elkins Tyler Galleries, Temple University, Philadelphia, PA, 1995
Romano, Gianni, Oltre La Normalita Concentrica, published by Comune di Padova, Padua, Italy, 1995
25 Americans: Painting in the 90’s, published by Milwaukee Art Museum, Milwaukee, WI, 1995
Pittura Immedia, published by Neue Galerie am Landesmuseum Joanneum, Graz, Austria, 1995
Auf Den Lieb Geschrieben, published by Kunsthalle Wien Museumsquartier, Vienna, Austria, 1995
Coicido y Crucido, published by Museo Nacional Centro De Arte Reina Sofia, Madrid, Spain, 1995


Wilhem, Daniel and Sabine Kaufmann, eds., Furor: Sue Williams, Renée Green, Tony Oursler, published by Editions Furor, Geneva, Switzerland, 1994
Smyth, Cherry and Laura Cottingham, Bad Girls, published by Institute of Contemporary Arts, London, U.K., 1994


1993 Biennial Exhibition, published by Whitney Museum of American Art, New York, NY, 1993    
Out of Town, published by Kraanert Art Museum, Champaign, Illinois, 1993
Karg, Nathalie, Playing House, published by Nathalie Karg Ltd., New York, NY, 1993
Williams, Sue, They Eat Shit, published by San Francisco Art Institute, San Francisco, CA, 1993


Presenting Rearwards, published by Rosamund Felsen Gallery, Los Angeles, CA, 1991

Selected Articles and Reviews:


Fateman, Johanna. “Sue Williams.” The New Yorker (December 14, 2020) [online]

“Where Are All the Womxn at Frieze LA?” Elephant (February 15, 2020) [ill.] [online]



Valasco, David. “Repair or Revolt?” Artforum (November 2018) pp. 206 – 211 [ill.]

Sykes, Morgan. “The Secret Language of an Abstract Expressionist Master.” (February 23, 2018) [ill.] [online]
Cascone, Sarah. “Editors’ Picks: 14 Things to See in New York This Week.” (February 20, 2018) [online]


Corbett, Rachel. “Here Are the Absolute Best Artworks We Saw Around the World in 2017.” (December 26, 2017) [online]

“6 Female Artists to Discover at Art Basel in Miami Beach.” (November 28, 2017) [online]
Cooper, Ashton. “Sue Williams, 303 Gallery.” ArtReview (May 2017) p. 125 [ill.]
Smith, Roberta. “From Afar, It’s Calligraphy. Up Close...” The New York Times (April 7, 2017) p. C22 [ill.]
“Art and Museums in NYC This Week.” (April 6, 2017) [online]
Holmes, Jessica. “Sue Williams.” The Brooklyn Rail (April 1, 2017) [ill.] [online]
“Galleries – Chelsea: Sue Williams.” The New Yorker (March 20, 2017) pp. 10, 12
“Sue Williams,” (March 16, 2017) [online]
“Must See New York.” (March 2, 2017) [online]
Herbert, Martin. “Ten shows to see.” Art Review Magazine (March 2017) p. 40

Hegert, Natalie. “Trauma Turned Abstract: The Painterly Evolution of Sue Williams.” (December 14, 2016) [ill.] [online]
Saltz, Jerry and Rachel Wolff. “The 1993 Whitney Biennial.” New York Magazine (April 18, 2016) pp. 46 – 47

“Sue Williams: Business and the Power of Humor.” (January 26, 2016) [ill.] [online]


Yanagihara, Hanya. “They Made New York.” The New York Times (September 1, 2015) pp. 188 – 189

The White Review No. 14 (2015) [cover]


Spike Magazine (October 2014) pp. 64 – 65
Harren, Natilee. “Take It or Leave It: Institution, Image, Ideology.” Artforum (Summer 2014) pp. 373 – 374
Johnson, Grant. “Comic Future.” (July 2014) [online]
Johnson, Grant. “Take It Or Leave It.” (April 2014) [online]
Schwabsky, Barry. “Sue Williams, 303 Gallery.” (April 2014) [online]
Akel, Joseph. “Sue Williams: WTC, WWIII, Couch Size.” ArtReview (April 2014) p. 121 [ill.]
Schwabsky, Barry. “Sue Williams: 303 Gallery.” Artforum (April 2014) p. 258 [ill.]
Harmon, Heather. “Sue Williams.” CR Fashion Book (March 13, 2014) [ill.] [online]
Morse, Trent. “Sue Williams, 303.” ARTnews Vol. 113, No. 3 (March 2014) p. 96 [ill.]
Cembalest, Robin. “14 Artworks That Prove Pink Is Tough.” (February 27, 2014) [online]
Knight, Christopher. “'80s Flashback Worth the Trip.” The Los Angeles Times (February 26, 2014) p. D13 [ill.]

Johnson, Ken. “Sue Williams.” The New York Times (January 31, 2014) p. C24 [ill.]

“Sue Williams.” (January 30, 2014) [online]
Gaebe, Carly. “The Sum of Its Parts: An Interview with Sue Williams.” (January 15, 2014) [online]
Indrisek, Scott. “Sue Williams, Kinetic and Colorful at 303 Gallery.” (January 17, 2014) [online]

Wilton, Kris. “Reviews.” Art New England (May/June 2012) p. 58

“Sue Williams: Regen Projects.” American Contemporary Art (December 2011) p. 34 [ill., cover]
Kurczynski, Karen. “Drawing Is the New Painting." Art Journal Spring 2011, pp. 92 - 110

Princenthal, Nancy, “Sue Williams," Art in America, December 1, 2010,
Burton, Joanna, “Sue Williams: 303 Gallery," Artforum, December 2010, p. 251

Komis, Dmitry. “Reviews.” Flash Art (December 2010)
Smith, Roberta. “Sue Williams: ‘Al-Qaeda Is the CIA.’” The New York Times (October 22, 2010) p. C23

Latimer, Quinn. “Sue Williams.” frieze (October 2010) pp. 244 – 245 [ill.]
Lowman, Nate. “Nate Lowman Interviews Sue Williams.” (September 17, 2010) [online]
Wolff, Rachel. “Fear and Fancy.” (September 5, 2010) [online]
“Sue Williams.” The New Yorker (October 2010)
Barone, Mary. “Sue Williams Curated by Nate Lowman.” Interview Magazine (September 19, 2010)
BOMB Magazine (Summer 2010) p. 18


Schwabsky, Barry. “Painting in the Interrogative Vein: The Recent Work of Sue Williams.” Border Crossings Issue 111 (August 2009) [ill.]
French, Christopher. “Sue Williams.” Art Papers (May/June 2009) p. 64 [ill.]


Boucher, Brian. “Sue Williams.” Art in America No. 10 (November 2008) p. 180 [ill.]
Withrow, Joel. “Sue Williams: Project for the New American Century.” (October 22, 2008) [online]
Smith, Roberta. “Project for the New American Century.” The New York Times (October 10, 2008) [ill.] p. C32
“Sue Williams.” The New Yorker (October 6, 2008) p. 18
Kley, Elisabeth. “Gotham Art & Theater.” (September 25, 2010) [online]
Spies, Michael. “Pretty Colors, Unpretty World.” The Village Voice (September 10 – 16, 2008) p. 45
Jones, Amelia. “1970/2007 The Return of Feminist Art.” X-TRA Vol. 10, No. 4 (Summer 2008) pp. 4 – 18
Saltz, Jerry. “Two Coats of Painting.” New York Magazine (June 23, 2008) pp. 64 – 65
“Seven Great Artists Paint F.R.E.E.D.O.M. One Letter at a Time.” Interview Magazine (April 2008) p. 14


Smith, Roberta. “Visions That Flaunt Cartoon Pedigrees.” The New York Times (March 2, 2007) p. B25
Barden, Lane. “Make Oil Paintings, Not Oil Wars.” Artillery (March 2007) p. 28 [ill.]
Williams, Sue. NY Arts Magazine (January/February 2007)


Thomas, Kelly Devine. “Say it with Flowers – or Gourds, Goats, Fur Cups, or Fried Eggs.” ARTnews (September 2006) p. 116 [ill.]
Brockington, Horace. “Quiet Nights of Quiet Stars.” NY Arts Magazine (July/August 2006)
Cohen, David. “Art as a Four-Letter Word Gallery-Going.” The New York Sun (July 20, 2006)
Larson, Kay. “Top 10 Trends: Beautiful Mutants.” ARTnews (February 2006) pp. 106 – 109 [ill.]

Cotter, Holland. “Artists’ Books, Revisited.” The New York Times (December 23, 2005)
Hudson, Suzanne. “Sue Williams.” Artforum (December 2005)
“PRIZETIME.” Art Monthly No. 291 (November 2005) p. 16
Hong, Catherine. “Attack of the Uptowners.” W Magazine (October 2005) p. 226
Smith, Roberta. “Interstate.” The New York Times (September 16, 2005)
Gaasch, Cynnie. “Juicy Cool.” Art Voice (July 21 – 27, 2005) pp. 18 – 19        
Vitorelli, Rita. “A Letter from Sue Williams.” Spike Art Quarterly Vol. 04 (Summer 2005) pp. 62 – 73


Johnson, Ken. “The Hamptons, a Playground for Creativity.” The New York Times (August 6, 2004)
“The Transformers.” Interview Magazine (December/January 2004) p. 158
Taylor, Brandon. Art Today Laurence King Publishing Ltd., London, UK (2004) pp. 158 – 159 [ill.]
Burnett, Craig. “The Family Reunion.” ArtReview Vol. 2, No. 6 (2004) pp. 34 – 35 [ill.]


Bono, Ferran. “Sue Williams exhibe en 70 obras su evolucion del comic satirico a la abstraccion.” El Pais (May 16, 2003) p. 38
Pagel, David. “Questions, Few Answers.” The Los Angeles Times (April 23, 2003)
Myers, Holly. “Sexually explicit, in that very abstract way.” The Los Angeles Times (March 28, 2003) p. E26 [ill.]
Woodard, Josef. “New Social Art Order.” Santa Barbara News-Press (March 22, 2003) pp. 5, 8 [ill.]
McQuaid, Cate. “On canvas, a bawdy dance.” The Boston Globe (March 21, 2003)
Valdez, Sarah. “Naked Truths.” The New York Times (March 2003)
Worman, Alex. “L.A. Confidential.” (2003) [ill.] [online]


Platzek, Carola. “Three exhibitions.” (November 20 – 22, 2002) [online]
Kim, Shiela. “Keenen/Riley QNS.” Interior Design (November 2002) pp. 75 – 76
Burton, Johanna. “Review.” Time Out New York No. 346 (May 16 – 23, 2002) p. 73
Smith, Roberta. “Review; A Profusion of Painting, Very Much Alive.” The New York Times (May 10, 2002) p. E31
“Sue Williams.” The New Yorker (May 6, 2002) p. 18
Glueck, Grace. “Review.” The New York Times (May 3, 2002) p. E39
Viveros-Faune, Christian. “Review.” New York Press (May 1 – 7, 2002) p. 26
“Sue Williams.” New York Magazine (April 29, 2002) p. 84
Sjostrom, Jan. “Sue Williams.” Palm Beach Daily News (April 17, 2002) p. 1
Schwan, Gary. “Concept of ‘Art’ Put to Test Again.” The Palm Beach Post (April 7, 2002) p. 6J
Schwan, Gary. “Works by Williams Express ‘A Fine Line.’” The Palm Beach Post (March 15, 2002) p. 42
Smith, Roberta. “The Armory Show, Grown Up and in Love With Color.” The New York Times (February 22, 2002)
Rimanelli, David. “Review: Sue Williams.” Artforum Vol. 40, No. 5 (January 2002) p. 46
Schwabsky, Barry. “Abjection by Other Means.” Art in America No. 1 (January 2000) p. 92


Kimmelman, Michael. “In a Cheerful Groove, With a Plan and Serendipity.” The New York Times (December 28, 2001) p. E41
“New York Chelsea.” Esquire Japan (November 2001) pp. 62 – 68
Cotter, Holland. “The New Season/The Annotated List: Traces of Sichuan in New York, Brooklyn in Palm Beach.” The New York Times (September 9, 2001)
Pollack, Barbara. “Feminism’s New Look.” ARTnews (September 2001)
V Magazine No. 11 (May/June 2001) p. 40 [ill.]
Criqui, Jean-Pierre. “Voici.” Artforum (April 2001)


“Art Guide: Sue Williams.” The New York Times (December 8, 2000)
“Line Dance.” New York Magazine (December 4, 2000) p. 134
Kimmelman, Michael. “ART IN REVIEW; Sue Williams.” The New York Times (December 1, 2000) [online]
“Review.” The New Yorker (December 2000)
Worth, Alexi. “Goings on About Town.” The New Yorker (December 2000)
Schwendener, Martha. “Review.” Time Out New York Issue 271 (November 30 – December 7, 2000) p. 91
Comis, Guido. “Sue Williams.” Tema Celeste No. 82 (October – December 2000) pp. 97
Shimada, Junko. “Review.” Studio Voice Japan Vol. 297 (September 2000) p. 36
Russell, John. “Making Pen and Ink Seem Passé: The Proliferation of New Ways to Draw.” The New York Times (August 18, 2000)
“Reconfiguration.” The New Yorker (July 24, 2000) p.14
James, Merlin. “New Abstraction. New York.” The Burlington Magazine Vol. 142, No. 1165 (April 2000) pp. 257 – 259
Solomon, Deborah. “Art Girls Just Wanna Have Fun.” The New York Times Magazine (January 30, 2000) p. 39


Falkenstein, Michelle. “What’s So Good about Being Bad.” ARTnews (November 1999) pp. 158 – 163
Pollack, Barbara. ARTnews (November 1999) p. 46
Turner, Grady T. “Spinning Figures.” Flash Art No. 208 (October 1999)
Schade, Christopher. “Negotiating Small Truths.” Austin American – Statesman (September 18, 1999)
Reilly, Maura. “Review.” Art in America (February 1999) p. 115
Turner, Grady T. “Reviews.” ARTnews Vol. 98, No. 2 (February 1999) p. 113
Zimmer, William. “How 20 Artists Treat the Human Body 20 Different Ways.” The New York Times (January 3, 1999)


“Art Guide.” The New York Times (November 20, 1998) p. E44
Schwendener, Martha. “Sue Williams.” Time Out New York (November 12 – 19, 1998) p. 81
Smith, Roberta. “Art in Review.” The New York Times (November 6, 1998)
“Triumph Over Misfortune.” The New York Times (November 13, 1998) p. E1
“Under the Influence.” New York Magazine (November 2, 1998) p. 154
“Sue Williams.” The New Yorker (November 2, 1998)
“Under the Influence.” New York Magazine (November 2, 1998)
Kimmelman, Michael. “A New Chelsea and the Evanescence of Chic.” The New York Times (November 1, 1998) pp. 2, 47
Lloyd, Ann Wilson. “Brushwork with a Certain Fine Madness.” The New York Times (November 1, 1998) p. 2, 48
McCormack, Carlo. “Surrealism Goes Pop.” Juxtapoz Magazine (Winter 1998)
Smith, Roberta. “Sue Williams.” The New York Times (October 30, 1998)
“Sue Williams.” The New Yorker (October 2, 1998)
Godfrey, T. “Sue Williams.” The Burlington Magazine No. 140 (September 1998) pp. 633 – 635
Schjeldahl, Peter. “No Big Deal.” The Village Voice (August 4, 1998) p. 117
Solomon, Deborah. “As Art Museums Thrive, Their Directors Decamp.” The New York Times (August 2, 1998) p. 21
Kimmelman, Michael. “In Connecticut, Where Caravaggio First Landed.” The New York Times (July 17, 1998)
Lombardi, D. Dominick. “An Art Lover’s Candy Store at the Aldrich Museum.” The Record Review (June 26, 1998)
Fusselman, Amy. “Collector’s Choice: Alex Lasarenko.” ARTnewsletter Vol. 23, No. 19 (May 19, 1998) p. 7


Gant-Hill, Cathy. “The Venerable ‘Art on Paper’ Exhibition Gets a New Curator’s Fresh Touch.” News & Record (November 14, 1997) pp. D1, D3
“Art Guide.” The New York Times (October 31, 1997) p. E36
Schjeldahl, Peter. “Painting Rules.” Village Voice (September 30, 1997)
Smith, Roberta. “Art in Review: Project Painting.” The New York Times (September 26, 1997)
Smith, Roberta. “On the History of Cool, A Show Is Hip to America.” The New York Times (August 17, 1997) pp. 2, 35
Vogel, Carol. “Inside Art.” The New York Times (June 6, 1997)
Liemann, Lisa. “Art Not to Miss.” Interview Magazine (June 1997) p. 68
Goodman, Jonathan. “Sue Williams at 303.” Art in America (May 1997)
Saltz, Jerry. “Review: Showtime at the Whitney.” Time Out New York (April 3 – 10, 1997) p. 39
Muster, Michael. “Sue Williams.” New Art Examiner (April 1997)
Moody, Tom. “On View: Chelsea, New York.” New Art Examiner (April 1997) pp. 38 – 39
Schwendener, Martha. “Review.” Flash Art No. 193 (March/April 1997)
Stevens, Marc. “The Ends of Art.” New York Magazine (March 31, 1997)
“Mom’s Foot Blue and Orange.” Museum of Modern Art (February 1997) p. 40 [ill.]
Saltz, Jerry. “Review.” Time Out New York (January 1997)
Smith, Roberta. “Review.” The New York Times (January 1997)
Nesbit, Molly. “Touched.” Parkett No. 50/51 (1997) pp. 177 – 185
Dannatt, Adrian. “Sweet Williams.” Parkett No. 50/51 (1997) pp. 186 – 199
Camhi, Leslie. “Domestic Horrors.” Parkett No. 50/51 (1997) pp. 200 – 203
“Edition for Parkett.” Parkett No. 50/51 (1997) pp. 209 – 211, 214


Schjeldahl, Peter. “Shock of the Good.” Village Voice No. 53 (December 31, 1996)
Smith, Roberta. “Chelsea’s Works in Progress.” The New York Times (November 29, 1996)
Weissman, Benjamin. “Sue Williams.” Artforum Vol. 35, No. 3 (November 1996) p. 104
Krauss, Rosalind. “‘Informe’ without Conclusion.” October No. 78 (Fall 1996) p. 105
Gonzales-Day, Ken. “Sue Williams.” Art Issues (May 1996)
Cooper, Jacqueline. “Review: Sue Williams.” New Art Examiner No. 23 (May 1996) p. 50
Hofleitner, Johanna. “Auf Den Leib Geschrieben (Written on the Body).” Flash Art (March/April 1996) p. 49
McKenna, Kristine. “After Darkness, Sue Williams Discovers Softer Hues of Life.” The Los Angeles Times (March 30, 1996)
Schjeldahl, Peter. “Screenery.” The Village Voice (February 13, 1996) p. 77
McQuaid, Cate. “A Wealth of Art From Women.” The Boston Globe (February 1, 1996)
“Review: Sue Williams.” The New Yorker (January 1996)


Reiter, Artemesia. “Dark, Dank Doodles at Jack Hanley Gallery.” The San Francisco Bay Times (November 16, 1995)
Guequierre, Nathan. “Slavishly Hip, Strangely Satisfying.” Shepherd Express (October 12, 1995)
Auer, James. “Art Museum Exhibit Embraces Pluralism.” Milwaukee Journal Sentinel (September 10, 1995) pp. 1, 12
Knight, Christopher. “Toning it Down at the Whitney.” The Los Angeles Times (April 16, 1995) pp. 5, 54
Kimmelman, Michael. “A Quirky Whitney Biennial.” The New York Times (March 24, 1995)
Cotter, Holland. “A Critic’s Dozen to Catch at the Biennial.” The New York Times (March 12, 1995) pp. 2, 37
Goldberger, Paul. “The Art of His Choosing.” The New York Times Magazine (February 26, 1995) pp. 30 – 39, 52, 55, 61 – 62
Schwabsky, Barry. “Sue Williams.” Artforum (January 1995)
Hapgood, Susan. “Sue Williams.” Art in America (January 1995)


Perrée, Rob. “Postcards From America 4: Sue Williams.” Kunstbeeld (December 1994/January 1995) pp. 37 – 39
Stallabrass, Julian. “The Flesh is Weak.” Art Monthly No. 172 (December 1994/January 1995) pp. 27 – 29
Levin, Kim. “Choices.” The Village Voice (November 15, 1994)
Rimaneli, David. “Beyond Victimology.” The New Yorker (November 14, 1994)
Bonami, Francesco. “Group Shows.” Flash Art (Summer 1994) p. 65
Cutajar, Mario. “Lines of Thought: Pen and Ink at the Santa Barbara Contemporary Arts Forum.” ArtWeek No. 25 (May 19, 1994) p. 16
Funkhouser, Laura. “Post-Human.” The Independent (April 28, 1994) p. 40
Crowder, Joan. “From the Pros to Emerging Artists.” Santa Barbara News Press (April 22, 1994) pp. 25 – 26
Baker, Kenneth. “‘Bad Girls’ in N.Y.,‘ (Dis)Order’ in S.F.: Visceral Approach in Women’s Shows on Both Coasts.” The San Francisco Chronicle (February 27, 1994) p. 35
Baker, Kenneth. “Bad Girls Do Cry: Women Artists Score in L.A. Show.” The San Francisco Chronicle (February 13, 1994) p. 42
MacDonald, Murdo. “Bad Girls Turn Out To Be Good.” The Scotsman (February 7, 1994)
White, Nicola. “Bad Girls.” Harpies & Quines (February 1994) p. 38
Colin, Beatrice. “Girrrl Trouble.” The List (January 28 – February 10, 1994) pp. 18 – 20
Brennan, Mary. “The Bad Girls are Coming to Town, So Beware.” The Herald (January 28, 1994)
Wilson, Sue. “Bad Girls Must Have Attitude.” The Scotsman (January 27, 1994)
Smith, Roberta. “A Raucous Caucus of Feminists Being Bad.” The New York Times (January 21, 1994)
Chin, Daryl. “Theories of Cultural Relativity.” Performing Arts Journal Vol. 16, No. 1 (January 1994) pp. 87 – 101


“Artful.” Casablanca (November/December 1993) [ill.]
Craddock, Sacha. “Boils on the Bottom: What Makes Bad Girls Bad.” Women’s Art (November/December 1993) p. 18
Spero, Nancy. “Sue Williams.” BOMB Magazine (Winter 1993) pp. 22 – 27
Fontana, DI. “When She Was Good, She Was Very, Very Good.” London X (November 1993)
Kent, Sarah. “Fairer Sects.” Time Out London (October 13, 1993)
Hall, James. “Obscure Objects.” The Guardian (October 11, 1993)
Perretta, Gabriele. “Review.” Flash Art Italy Vol. 26, No. 178 (October 1993) p. 115
Wirth, Patrice. “Different Strokes.” Panther (September 13, 1993)
Moore, Catriona. “Cunts with Attitude, Acting Out in the Gallery.” Art & Text (September 1993) pp. 34 – 37
Edelman, Robert G. “Sue Williams.” Artpress (September 1993) p. 87
Cotter, Holland. “At the Whitney, Provocation and Theory Meet Head-On.” The New York Times (August 13, 1993)
Hershenson, Karen. “Painter Spills Personal Pain onto the Canvas.” Contra Costa Times (August 6 – 12, 1993)
Roche, Harry. “Critic’s Choice: Sue Williams Recent Work.” San Francisco Bay Guardian (August 4, 1993)
Baker, Kenneth. “Sue Williams’ In-Your-Face Art.” San Francisco Chronicle (July 25, 1993) pp. 45 – 46 [ill.]
Hess, Elizabeth. “Abject Lessons.” The Village Voice (July 13, 1993)
Fujimori, Manami. “Current Report from New York.” Bijutsu Techno Vol. 45, No. 672 (July 1993) pp. 67 – 74
Cunningham, Scott. “From Pop Back to Popular.” Poliester Vol. 2, No. 6 (Summer 1993) pp. 46 – 53
Heartney, Eleanor. “Identity Politics at the Whitney.” Art in America Vol. 81, No. 5 (May 1993) pp. 42 – 47
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Danto, Arthur. “The 1993 Whitney Biennial.” The Nation (April 19, 1993) pp. 533 – 536
Cotter, Holland. “Art in Review: 1920.” The New York Times (April 16, 1993)
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Princenthal, Nancy. “Going to Extremes: Violence in Contemporary Sculpture.” Sculpture (March/April 1993) pp. 58 – 61
Morgan, Anne Barclay. “Interview: Dan Cameron.” Art Papers (March/April 1993) pp. 34 – 37
Larson, Kay. “What a Long, Strange Trip.” New York Magazine (March 22, 1993) pp. 71 – 72
Hess, Elizabeth. “Up Against the Wall.” The Village Voice (March 16, 1993)
Shaw, Dan. “The Night: The Message? Good Question.” The New York Times (March 7, 1993) pp. 9, 6
Smith, Roberta. “At the Whitney, a Biennial With a Social Conscience.” The New York Times (March 5, 1993) p. C1
Gimelson, Deborah. “Painting By Numbers.” Mirabella (February 1993) pp. 40 – 43
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Bonami, Francesco. “Spotlight.” Flash Art (Italian edition) XXVI #177 (1993)    
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Fleck, Robert. “Spielhölle – Ästhetik und Gewalt.” Rogue No. 17 (December 1992/January 1993) pp. 17 – 32
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Smith, Roberta. “Women Artists Engage the Enemy.” The New York Times (August 16, 1992) pp. 1 Sec. 2, 23
New Observations Issue #96 (July/August 1992) p. 3    
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Smith, Roberta. “An Angry Young Woman Draws A Bean On Men.” The New York Times (May 24, 1992) p. 25
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Hess, Elizabeth. “Spiritual America.” The Village Voice (May 19, 1992) p. 101
Smith, Roberta. The New York Times (May 15, 1992) p. C24
Lebovici, Elizabeth. “Le Whitney de New York a l’heure Clinton.” Liberation (April 24, 1992) p. 31
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Barden, Lane. “Body Language.” ArtWeek (January 7, 1992) p. 23 [ill.]
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Kimmelman, Michael. “Review.” The New York Times (November 1, 1991) p. C16
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Smith, Roberta. The Village Voice (September 4, 1984)