Selected Monographs:



Kost, Lynn, ed., Walead Beshty: Works in Exhibition 2011–2020, published by Koenig Books, Ltd., London, UK, 2020



Obrist, Hans Ulrich, Industrial Portraits: Volume One, 2008–2012, published by JRP|Ringier, Zurich, Switzerland, 2017

Procedurals: Petzel 2014–2017, published by Distanz, Berlin, Germany, 2017



Lionel Bovier, ed., Walead Beshty: 33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015), published by Les presses du reel, Dijon, France, and JRP|Ringier, Zurich, Switzerland, 2016



Beshty, Walead, Ethics, published by MIT Press, Cambridge, MA, 2015



Barenblit, Ferran, Nicolas Bourriaud, Jacob Fabricius, Suzanne Hudson, and Bob Nickas, Walead Beshty: Natural Histories, 2nd edition, published by JRP|Ringier, Zurich, Switzerland, 2014



Barenblit, Ferran, Nicolas Bourriaud, Jacob Fabricius, Suzanne Hudson, and Bob Nickas, Walead Beshty: Natural Histories, published by JRP|Ringier, Zurich, Switzerland, 2011



Eleey, Peter, Jason E. Smith, and Eric Schwab, Walead Beshty: Selected Correspondences 2001–2009, published by Damiani Editore, Bologna, Italy, 2010
Later Layer: Johnston Marklee and Walead Beshty, published by Depart Foundation, Grottaferrata, Italy, 2010 



Walead Beshty: Pulleys, Cogwhells, Mirrors, and Windows, published by University of Michigan Museum of Art, Ann Arbor, MI, 2009


Selected Catalogues and Publications:    



Daisuke, Tsuda, ed., Aichi Triennale 2019: Taming Y/Our Passion, published by The Aichi Triennale Organizing Committee, Aichi, Japan, 2020



Beshty, Walead, ed., Picture Industry: A Provisional History of the Technical Image, 1844–2018, published by JRP|Ringier, Zurich, Switzerland; LUMA Foundation, Zurich, Switzerland; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; 2018

Always Different, Always the Same: An Essay on Art and Systems, essay “Improvisation and the Agency of Commons: Notes on Counterfeiting as a Form of Radical Speech” by Walead Beshty; published by Bündner Kunstmuseum Chur, Chur, Switzerland, and Snoeck Verlagsgesellschaft mbH, Cologne, Germany, 2018, pp. 24 – 59 [ill.]



Between the Lines: An RxArt Coloring Book by Contemporary Artists, published by RxArt, New York, New York, Volume 6, 2017

Butler, Emily, and Candy Stobbs, eds., Creating Ourselves: Works from the ISelf Collection, published on the occasion of the exhibition “ISelf Collection: The Upset Bucket,” Whitechapel Gallery, London, UK, 2017, pp. 101, 111 [ill.]

Aggarwal, Vidhu, Ginger Gregg Duggan, Judith Hoos Fox, and Brian Ulrich, Baggage Claims, published by Orlando Museum of Art, Orlando, FL, 2017, pp. 9, 36 – 37 [ill.] 

Lewis, Emma, Isms: Understanding Photography, published by Bloomsbury Publishing, London, United Kingdom, 2017

Manné, Jamie G., ed., and Christine Robinson, Unpacking: The Marciano Collection, published by The Maurice and Paul Marciano Art Foundation, Los Angeles, CA, and Prestel, New York, NY, 2017, pp. 24 – 29 [ill.]

Goldsmith, Kenneth, Jens Hoffmann, Caroline A. Jones, and Vito Manolo Roma, The Arcades: Contemporary Art and Walter Benjamin, published by The Jewish Museum, New York, NY, 2017, pp. 38 – 39 [ill.]

Rozell, Mary and Dieter Buchhart, UBS Art Collection: To Art its Freedom, published by Hatje Cantz, Berlin, Germany, 2017

Snow, Philippa, “Walead Beshty,” Modern Matter Volume 12, 2017

Verhagen, Marcus, Flows and Counterflows: Globalisation in Contemporary Art, published by Sternberg Press, Berlin, Germany, 2017

Zuckerman, Heidi, ed., “Walead Beshty and William O’Brien: Almost Like Gambling,” Conversations with Artists, published by the Aspen Art Museum, Aspen, Colorado, 2017



Statzer, Mary, ed., The Photographic Object 1970, published by University of California Press, Oakland, CA, 2016

New Glass Review 37, published by The Corning Museum of Glass, Corning, NY, 2016

Batchen, Geoffrey, Emanations: The Art of the Cameraless Photograph, published by Govett-Brewster Art Gallery, New Plymouth, New Zealand, and Prestel, New York, NY, 2016, p. 43 [ill.]

Geiser, Reto, ed., House Is a House Is a House Is a House: Architectures and Collaborations of Johnston Marklee, photography “Insert” by Walead Beshty, published by Birkhäuser Verlag, Basel, Switzerland, 2016, pp. 161 – 174, 195 [ill.]

Lutz, Tom, ed., Los Angeles Review of Books, Spring 2016

Kashiwagi, Tomoh, Akiko Miki, and David Walsh, Takashi Murakami’s Superflat Collection—From Shōhaku and Rosanjin to Anselm Kiefer, published by Kaikai Kiki Co., Ltd., Tokyo, Japan, 2016

Ghorashi, Hannah, “‘This Person is Multiple, This Practice is Multiple, and This Might Be Confusing’: A Roundtable Discussion on Frank Stella at the Whitney,” Artnews (January 12, 2016) [ill.] [online]

Eliel, Carol, Karole Vail, and Matthew Witkovsky, Laszlo Moholy-Nagy: Future Present, published by Art Institute of Chicago, Chicago, IL, 2016



Bajac, Quentin, Photography at MoMA: 1960 to Now, published by Museum of Modern Art, New York, NY, 2015 

Adjaye, David, Jeffrey Deitch, and Massimiliano Gioni, New Skin: Selections from the Tony Salame Collection, published by Skira Rizzoli, Milan, Italy, 2015

Shapira, Sarit, ed., Babel: Works from the Igal Ahouvi Art Collection, published by The Igal Ahouvi Art Collection, Tel Aviv, Israel, 2015, pp. 190 – 191 [ill.]

Biset, Sébastien, and Raphaël Pirenne, eds., Atopolis, published by Wiels, Brussels, Belgium, 2015

Enwezor, Okwui, All the World's Futures: 56 International Art Exhibition. La Biennale di Venezia, published by Marsilio Editori, Venice, Italy, 2015

Luckow, Dirk, ed., Picasso in Contemporary Art, published by Snoeck Verlag, Cologne, Germany, 2015

Braunstein, Susan L., and Jens Hoffmann, Repetition and Difference, published by The Jewish Museum, New York, NY, 2015

Morgan Fisher: Conversations, essay “Morgan Fisher in conversation with Walead Beshty” by Morgan Fisher, published by Aspen Art Press, Aspen, CO, 2015

Why Art Photography?, essay “Beyond Photography” by Lucy Soutter, published by Routledge, London, UK, and New York, NY, 2013; reprinted as “Más allá de la fotografía,” ¿Por qué forografía artística?, published by Ediciones Universidad de Salamanca, Salamanca, Spain, 2015, Spanish

Mark, Lisa Gabrielle, ed., Akademie X: Lessons in Art + Life, published by Phaidon Press, New York, NY, 2015

Proctor, Jacob, ed., Morgan Fisher: Conversations, published by Aspen Art Press, Aspen, CO, 2015

Baker, George, Ann Goldstein, Michael Maltzan, and Shaun Caley Regen, Regen Projects 25, published by Prestel, New York, NY, 2015



Marien, Mary Warner, ed., Photography: A Cultural History, 4th ed., published by Laurence King, London, UK, 2014
Giuliana Bruno, Surface: Matters of Aesthetics, Materiality, and Media, published by University of Chicago Press, Chicago, IL, 2014
Alex Klein, ed., Excursus I–IV, published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA, 2014



Codognato, Mario, Fragile?, published by Skira Editore, Milan, Italy, 2013
Brougher, Kerry, Russell Ferguson and Dario Gamboni, Damage Control: Art and Destruction Since 1950, published by the Hirshorn Museum and Sculpture Garden and DelMonico Books/Prestel, New York, NY, 2013
Beshty, Walead, ed., Blind Spot, Issue 46, April 2013
Hoffmann, Jens, ed., Lens Drawings, published by Marian Goodman Gallery and Valerio 
Valerio Publishers, Paris, France, 2013
Amirsadeghi, Hossein, ed., Art Studio America: Contemporary Artist Spaces, TransGlobe, London, UK, 2013

Janssen, Hans and Bert Kreuk, Transforming the Known: Works from The Bert Kreuk Collection, published by Bert Kreuk and Gemeentemuseum Den Haag, Den Haag, Netherlands, 2013


Chaillou, Timothée, ed., Only Parts of Us Will Ever Touch Parts of Others, published by Galerie Thaddaeus Ropac, Paris, France, 2012
Qiu, Zhijie, ed., 9th Shanghai Biennale 2012, exhibition catalogue, published by Committee of the Shanghai Biennale, Shanghai Contemporary Art Museum, Shanghai, China, 2012


Collection Vanmoerkerke, published by Rispoli Books, Brussels, Belgium, 2011, pp. 20 – 21 [ill.]
Meade, Fionn, ed., After Images, published by Musée Juif de Belgique, Brussels, Belgium, 2011
Antidote 7, published by the Galerie des Galeries, Paris, France, 2011
Catalogue of the Exhibtion 1984 – 2011, essay by Nickas, Bob, "The Phenomenology of Shopping and Dead Malls," published by 2nd Cannons Publications, Los Angeles, CA 2011


Thanks for Being With Us: Contemporary Art from the Douglas Nielsen Collection, published by the Tucson Museum of Art, 2010, p. 12 [ill.]
Dessau, Ory, Pleated Blinds, Petach Tikva Museum, Tel Aviv, Israel, 2010
Luckow, Dirk, ed., I want to see how you see: Julia Stoschek Collection: Film, Installation, Fotografie, published by Snoeck Verlag, Cologne, Germany, 2010 
Guattari, Felix, The Mechanic Unconscious: Essyas in Schizoanalysis, published by Semiotext(e)/Foreign Agents, Los Angeles, CA, 2010 [cover]
Wehr, Anne, ed., At Home/Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Hessel Museum, Bard College, Annandale-on-Hudson, NY, 2010
David, Julie, ed., Let's Dance, Musée d'Art Contemporain de Val-de-Marne, Vitry-sur-Seine, France, 2010
Blessing, Jennifer and Nat Trotman, Haunted: Contemporary Photography, Video, Performance, Guggenheim Museum, New York, NY, 2010
Sinister, Dexter, Portable Document Format, published by Lukas & Sternberg Press, New York, NY, 2010 
Krijnen, Marloes, Foam Album 09, published by Foam_Fotografiemuseum, Amsterdam, The Netherlands, 2010
Iversen, Margaret, ed., Chance (Documents of Contemporary Art), Whitechapel Gallery, London, UK, and The MIT Press, Cambridge, MA, 2010
Lavalette, Shane and Michael Bühler-Rose, eds., Lay Flat 02: Meta, published by Lay Flat/Shane Lavalette, February 2010
Creamier, essay by Fogle, Douglas, "Brute Materiality," published by Phaidon Press, New York, NY, 2010


Bourriaud, Nicolas, ed., Altermodern: The 2009 Tate Triennial, Tate Publishing, London, United Kingdom, 2009
Hammer Projects 1999-2009, Hammer Museum, Los Angeles, CA, 2009
Bright, Susan, The Self-Portrait in Contemporary Art, Thames & Hudson, London, UK, 2009
Colin, Davies and Monika Parrinder, eds., Limited language – Rewriting Design, Birkhause, Basel, Switzerland, 2009
Creamier, text "Brute Materiality" by Douglas Fogle, Phaidon, New York, NY, 2009
Rexler, Lyle, The Edge of Vision: The Rise of Abstraction in Photography, Aperture Books, New York, NY, pp. 140 – 145 [ill.]
Grabner, Michelle, ed., Studio Reader, University of Chicago Press, Chicago, IL, 2009
Stoschek, Julia, ed., Julia Stoschek Collection, Number Two: Fragile, Hatje Cantz, Düsseldorf, Germany, 2009
Crist, Steve, ed. Contact Sheet, AMMO Books, Los Angeles, CA, 2009
Cotton, Charlotte, The Photograph as Contemporary Art, Thames & Hudson, London, UK, 2009


Now You See It, text "Pay Attention Mother Fuckers" by Heidi Zuckerman Jacobson, Aspen Art Museum, Aspen, CO, 2008
Jeffrey Kastner and Sina Najafi, eds., The Book of Stamps, Cabinet Books, New York, NY, 2008 
California Biennial 2008, Orange County Museum of Art, Newport Beach, CA, 2008
2008 Whitney Biennial, text "Time Change" by Shamim M. Momin, Yale University Press, New Haven, CT, 2008


Momin, Shamim M., ed., Six Impossible Things Before Breakfast, Montehermoso, Vitoria-Gasteiz, Spain, 2007
Blumenstein, Ellen and Feliz Ensslin, eds., between two deaths, Hatje Cantz, Ostfildern, Germany, 2007

Vitamin PH, essay "Walead Beshty" by Molon, Dominic, Phaidon, New York, NY, 2006
The California Biennial, essay "Walead Beshty" by Aimee Chang, Orange County Museum of Art, Newport Beach, CA, 2006
Chang, Aimee, Hammer Project: Walead Beshty, EMBASSY! (a dismal science waiting room), Hammer Museum, Los Angeles, CA, March 2006


Lafo, Rachel Rosenfield, Self Evidence: Identity in Contemporary Art, DeCordova Sculpture and Museum Park, Lincoln, MA, 2004


Selected Articles and Reviews: 



Steinhauer, Jillian. "Show Your Work.” The New York Times (November 4, 2022) p.C12 [ill.]



Bellinetti, Caterina. “Dress for the Job: Photographing Uniforms.” Art & Object (March 16, 2020) [ill.] [online]

Bowie, Summer. “Walead Beshty: Living Through Objects.” Autre Magazine (Winter 2019/2020) pp. 126 – 131 [ill.]



Parton, John. “Cracked Mirror.” Art Monthly (June 2019) [ill.]

Andrews, Max. “Picture Industry: A Provisional History of the Technical Image, 1844 – 2018.” Frieze (March 2019) p. 163

Aton, Francesca. “The Brief.’” Art in America (February 2019) p. 19



Andrews, Max. “Picture Industry: A Provisional History of the Technical Image.” Frieze (December 20, 2018) [ill.] [online]

“Walead Beshty Presents Equivalents @ Regen Projects.” Autre Magazine (March 2, 2018) [ill.] [online]



Elcott, Noam M. “’Picture Industry’.” Artforum (December 2017) pp. 188 – 189 [ill.]

Goldberg, Ariel. “’Picture Industry’.” Art in America (November 2017) p. 111 [ill.]

Kastner, Jeffrey. “Walead Beshty at Petzel.” Artforum (Summer 2017) p. 356 [ill.]

Ontiveros, Amy. “Walead Beshty with Amy Ontiveros.” The Brooklyn Rail (June 1, 2017) [ill.] [online]

Wilson, Michael. “Walead Beshty, ‘Open Source’.” Time Out New York (May 22, 2017) [ill.] [online]
“Galleries – Chelsea: Walead Beshty.” The New Yorker (May 15, 2017) p. 12 [ill.]

“Goings On About Town: Walead Beshty.” The New Yorker (May 10, 2017)

Maxwell, Eloise. “Walead Beshty at Petzel Gallery.” Art in America (April 27, 2017) [ill.] [online]



Hanfling, Edward. “Auckland Art Gallery’s Space to Dream and Govett-Brewster Art Gallery’s Emanations.” New Zealand Listener (June 14, 2016) [online]
Ghorashi, Hannah, “‘This Person is Multiple, This Practice is Multiple, and This Might Be Confusing’: A Roundtable Discussion on Frank Stella at the Whitney,” Artnews (January 12, 2016) [ill.] [online]



Belcove, Julie. “The Agitator.” Du Jour (Fall 2015) p. 116 [ill.]

“The Artists, 40 Under 40 USA.” Apollo: The International Art Magazine (September 1, 2015) [ill.] [online]

Taylor, Phil. “Critics’ Picks: Old News (Again).” Artforum (September 2015) [ill.] [online]

Solano, Arllete. “Walead Beshty reutiliza desechos como posibilidades de obras de arte.” Jalisco (August 28, 2015) [ill.] [online]

O’Dea, Rory. “Walead Beshty: Work Ethics and Object Aesthetics.” Art Handler Magazine Issue no. 1 (July 3, 2015) [ill.] [online]

Michalska, Julia, Jane Morris, Ermanno Rivetti, Pac Pobric. “In the Giardini: Five to see in Okwui Enwezor’s All the World’s Futures.” The Art Newspaper (May 5, 2015) [ill.] [online]

Perlson, Hili. “Walead Beshty, Capitain Petzel, Berlin.” Frieze d/e (March – April 2015) [ill.] [online]

Diehl, Travis. “Critics’ Picks: Walead Beshty.” Artforum (March 2015) [online] [ill.]

Magauer, Hanna. “The Magic Touch.” Texte zur Kunst (March 2015) pp. 199 - 202 [ill.]

Williams, Maxwell, “House of Games: A Look into the World of Walead Beshty,” Art + Auction (January 2015) [online]

Sumpter, Helen, “Walead Beshty,” ArtReview (January/February 2015) pp. 98 – 103 [ill.]

Amirkhani, Jordan. “Walead Beshty: A Partial Disassembling of an Invention Without a Future at Barbican Center.” Daily Serving: An International Publication for Contemporary Art (January 26, 2015) [ill.] [online]



Liu, Zhangbolong. “From Thing to Image: Photogram in Contemporary Photography.” Chinese Photography (October 2014) pp. 58 - 63
Schwendener, Martha. "A Machinery for Living." The New York Times (July 17, 2014) [online]
Westin, Monica. "Walead Beshty." Artforum (March 15, 2014) [ill.] [online]
"Where to Buy, A Select Exhibition in a Private Gallery." The Week (March 7, 2014) p. 24 [ill.]
Finkel, Jori. "Chance Encounters." Architectural Digest (March 2014) p. 56 [ill.]
Gefter, Philip. "The Next Big Picture." The New York Times (January 26, 2014), p. AR1, AR23



Holmes, Pernilla. “Thinking Outside the Box.” Financial Times, How to Spend It (May 2, 2013)
Tschida, Anne. “At the Bass on Miami Beach, the Renaissance Lives On.” The Miami Herald (February 25, 2013)
Buganim, Eitan. “Interview with Walead Beshty.” Ha’aretz (November 2013)
Tylevich, Katya. “Invisible Transformations.” Elephant (no. 17, Winter 2013)
Císař, Karel. “Photography After Recession.” Fotograf Magazine (vol. 12, no. 21, 2013)
Volmer, Suzanne. “Walead Beshty: Untitled…” Artscope Magazine (February 2013)



Indrisek, Scott. “Miami’s Bass Museum Blows the Lid Off Tradition With “Endless Renaissance” Show,” Artinfo.com (December 7, 2012)
“Bass Museum of Art presents The Endless Renaissance – Six Solo Artist Projects,” Miami Art Guide (December 2012)
“The Endless Renaissance – Six Solo Artist Projects,” Soul of Miami (November 27, 2012)
Sans, Jerome. “Transformations Invisibles,” L’Officiel Art (December-February 2012-13) p. 129 – 135
Lebowitz, Cathy. “Sensibility of the Times Revisited.” Art in America (November 2012)
Wender, Jessie. “Photographing the Great Recession, Looking Back to the Great Depression.” The New Yorker (October 13, 2012) [online]
Walleston, Aimee. “Matthew Higg’s Economics of Art.” Art in America (July 2012)
Bradner, Lisa. “’More American Photographs offers a glimpse of America’s recession.’” The Los Angeles Times (March 10, 2012)
Ayers, Robert. “Western Bridge Exhibit Looks at the Fleetingness of Time.” Seattle Times (March 16, 2012)



Nisbet, James. “Walead Beshty: PROCESSCOLORFIELD.” X-TRA Vol. 14, No. 2 (Winter 2011) pp. 45 – 53
Asthoff, Jens. “Sensitive Material: How Walead Beshty Pushes the Boundaries of the Image.” Camera Austria Issue 115 (September 2011)
Tumlir, Jan. “Walead Beshty at Regen Projects.” Artforum (September 2011) pp. 353 – 354
Espejo, Bea. “Simples Incidents de Walead Beshty.” El Mundo: El Cultural (July 22, 2011)
Coburn, Tyler. “Walead Beshty’s ‘PROCESSCOLORFIELD’ at Regen Projects II, Los Angeles.” art agenda (May 16, 2011)
Lieb, R. “Don’t Miss–Los Angeles: Walead Beshty at Regen Projects, Through May 14 2011.” Art Observed (May 10, 2011)
Wagley, Catherine. “Turning a Negative Into a Positive.” LA Weekly (April 28, 2011)
Moore, Caitlin. “Walead Beshty at Regen Projects.” Dailyserving (April 27, 2011)
“Abstraction in Image, Art and Civilization.” Chinese Photography (April 2011)
Primo, Carlos. “Una Poética de lo Transitorio.” El Mundo (July 15, 2011)
Lafont, Isabel. “El Arte de los Lugares de Paso.” El País (June 22, 2011)
Celeste Magazine (January 2011) (portfolio)



Buckley, Richard. “L.A. a l’Art Libre.” Vogue Paris (December 2010)
Herbert, Martin. “Sunless.” Frieze (November 2010)
McGarry, Kevin. “Picture Industry (Goodbye to All That).” Artforum.com (August 10, 2010)
Hudson, Suzanne. “A Very Very Long Cat: Wallspace Gallery.” Artforum (April 2010)
Witkovsky, Matt. “Another History: On Photography and Abstraction.” Artforum (March 2010) 
Simblist, Noah. “Concreteness and Circumstance: Noah Simblist in Conversation with Walead Beshty.” Art Papers (March/April 2010)
Gartenfeld, Alex. “Walead Beshty’s Revolution Will Be Colorful.” Art in America (January 2010)
Gleason, Montserrat Albores. “Critic’s Pick: The Traveling Show.” Artforum.com (2010)
Smith Roberta. “Art? Life? Must We Choose?.” The New York Times (July 1, 2010)



Ciezadio, Janina. “Light Revisited.” Afterimage (November 2009)
Wolf, Alexander. “Walead Beshty at the Hirshhorn Museum and Sculpture Garden Washington, D.C.” Modern Painters (November 2009)
Rosenberg, Karen, “Into the Darkroom, With Pulleys, Jam and Snakes,” The New York Times (November 6, 2009)
Aletti, Vince. “Big Picture.” The New Yorker (November 2, 2009)
Herbertb, Martin. “Walead Beshty.” Time Out London (October 23, 2009)
Gartenfeld, Alex. “Frieze Day One: Pre-Frozen.” Art in America (October 13, 2009)
Schwendener, Martha. “Contemporary Art Photographers Mess with the Medium.” The Village Voice (October 13, 2009)
Kotz, Liz. “The Medium and the Messages.” Artforum (October 2009)
Hutchinson, Jack. “Walead Beshty.” Dazed & Confused Vol. 2, Issue 79 (September 2009)
“Walead Beshty and Eileen Quinlan in Conversation.” Bomb Magazine (September 2009)
“Roundtable Discussion on Abstraction and Photography with Christopher Bedford, Walead Beshty, Liz Deschenes, and Eileen Quinlan.” Frieze (September 2009) [ill., cover]
“The Pier Conversation: Walead Beshty and Oliver Mosset.” Mousse Issue 19 (Summer 2009)
Schmitz, Edgar. “Tate Triennial 2009.” Artforum (May 2009)
Trigg, David. “Altermodern: Tate Triennial 2009.” Art Papers (May/June 2009)
Klimek, Chris. “Walead Beshty’s Chroma Keys at Hirshhorn.” Washington Examiner (April 26, 2009)
Pulimood, Steve. “Popular Mechanics: Walead Beshty.” Art in America (April 2009)
Goode, Chris. “This Post Is Invisible Until You Read It (part 1 of 2).” Thompson's Bank of Communicable Desire (April 11, 2009)
Lambrianou, Nickolas. “Altermodern: Movement or Marketing?.” Mute Magazine (April 23, 2009)
Heiser, Jörg. “Tate Triennial 2009.” Frieze Issue 122 (April 2009)
Smith, Sarah-Neel. “Walead Beshty.” Frieze Issue 122 (April 2009)
Myers, Holly. “Ever Changeable, Ever Surprising: Walead Beshty at LAXART.” The Los Angeles Times (April 3, 2009)
“After Materiality and Style (roundtable discussion).” Art in America. (April 2009)
“Walead Beshty Puts Four Questions to Karl Haendel.” Modern Painters (April 2009)
“Material World (interview with Clare Grafik),” IANN, Volume 3, 2009 [ill., cover]
“Goings on About Town: Walead Beshty.” The New Yorker (March 30, 2009)
Kerr, Merrily. “Walead Beshty: Popular Mechanics.” Time Out New York (March 26, 2009)
Grabner, Michelle. “Meanwhile, in Baghdad…and Black Is, Black Ain’t.” X-TRA Contemporary Art Quarterly Vol. 11, No. 2 (Winter 2009)
Bernard, Etienne. “Walead Beshty.” Zero Deux Issue 48 (Winter 2009)
Howe, David, Everitt. “The Space of the Work and the Place of the Object.” Art Review (April 2009)    



Beshty, Walead. “Beshty’s Possible Triangle, 2008,” and Dexter Sinister, “Beshty’s Possible Triangle, 2008.” Dot Dot Dot Issue 17 (April 1, 2008) [ill., cover, inside cover]
“Scenes from Tschaicowskistrasse 17….” Art Lies No. 60 (Winter 2008) pp. 54 – 60 [ill.]
Menzies, Michelle. “James Welling/Walead Beshty.” Flash Art International Issue No. 263 (November 2008)
Tumlir, Jan. “Walead Beshty: Piece by Piece.” Aperture no. 192 (Fall 2008)
Bedford, Christopher. “Walead Beshty at China Art Objects.” Art in America (May 2008)    
Mansoor, Jaleh. “Matters that Matter: On the Whitney Biennial.” Texte zur Kunst Issue 70 (June 2008)
Baker, Kenneth. “Review: Highlights from 2008 Whitney Biennial.” San Francisco Chronicle (March 22, 2008)
Gopnik, Blake. “10 Others to Seek Out at the Whitney Biennial.” The Washington Post (March 7, 2008)
Bryant, Eric. “The Indecisive Image.” ARTnews (March 2008) [cover].
Berardini, Andrew. “Walead Beshty: Science Concrete.” ArtReview Issue 20 (March 2008)
Machida, Nico. “A Look at Walead Beshty.” Artslant (January – February 2008)
Miles, Christopher. “Gallery Roundup.” (January 23, 2008)
Buckley, Annie. “Critics’ Picks: Walead Beshty.” Artforum.com (January – February 2008)



Grabner, Michelle. “Critics’ Picks: I Am Eyebeam.” Artforum.com (November 2007)
Morton, Julia. “Eye Candy v. Hard Candy.” Artnet Magazine (November 15, 2007)
“Artists Projects: CMYK—curated by Walead Beshty.” Cabinet Issue 27 (2007)
“Special Focus Photography.” ArtReview Issue 15 (November 2007) [ill.]
“Walead Beshty: Tschaikowskistrasse 17.” Blindspot Issue 36 (2007) [ill.]
Ross, Sandra. “Anything You Want: Walead Beshty, Anne Collier, Annette Kelm.” (exhibition brochure) Pump House Gallery (2007)
Coomer, Martin. “Anything You Want.” Time Out London (August 31, 2007)
Barnes, Freire. “Changing Faces.” BBC.com (August 31, 2007)
“Concrete Works.” The New Yorker (July 9, 2007) p. 16, 23
Schwendener, Martha. “Concrete Works.” The New York Times (July 6, 2007)
Cotter, Holland. “Art in Review: Spectral Evidence.” The New York Times (February 23, 2007)
Cole, Lori. "Critics' Pick: Spectral Evidence." Artforum.com (February 2007)
Hart, Hugh. “Hammer Struts its Recent Stuff.” The Los Angeles Times (January 14, 2007)
Kleiman, Molly. “People Sticking Their Heads in Things.” NY Arts Magazine (January/February, 2007)



Smith, Roberta. “Menace, Glitter and Rock in Visions of Dystopia.” The New York Times (December 29, 2006)
Cotter, Holland. “Looking Back: White Columns Annual.” The New York Times (December 1, 2006)
Velasco, David. “Walead Beshty.” Artforum (December 2006)
Wulffsen Goodell, and Jennifer Wulffson. “Place, Process and Passage.” X-TRA Contemporary Art Quarterly Vol. 9, Issue 2 (Winter 2006)
“Dice Thrown (Will Never Annul Chance).” The New Yorker (November 6, 2006)
Doran, Anne. “Dice Thrown (Will Never Annul Chance).” Time Out New York (November 2, 2006)
Smith, Roberta. “Art in Review: Dice Thrown (Will Never Annul Chance).” The New York Times (November 3, 2006)
Mummolo, Jonathan. “Exhibitions: A Museum Gold Rush.” Newsweek (October 30, 2006)
Schmidt, Kirsten. “Poetic Vision and Abundant Culture.” NY Arts Magazine (September/October 2006)
“Walead Beshty.” The New Yorker (October 16, 2006)
Masters, H.G. “Walead Beshty: The Maker and the Model.” Artkrush (September 19 – 25, 2006)
Knight, Christopher. “The Faces of this Place.” The Los Angeles Times (October 7, 2006)
Amoreen, Armetta. “Out of the Box: North Drive Press.” Art on Paper (October 2006)
Bedford, Christopher. “Museum Previews: The California Biennial.” Artforum (October 2006)
Kushner, Rachel. “California’s Rising Art Stars.” C Magazine (October 2006)
Ribas, Joao. “Photography’s Digital Divide.” Art Info (October 17, 2006)
O’Reilly, Sally. “Studio City.” Frieze Issue 100 (June-July 2006)
Nunez-Fernandez, Lupe. “Object of the Week NDP3.” Saatchi-gallery.co.uk (July 26, 2006)
Bedford, Christopher. “Critics’ Picks: Walead Beshty.” Artforum.com (May 2006)
Chang, Aimee. “Interview with Walead Beshty.” Brochure for the Hammer Project EMBASSY!: a dismal science waiting room (March, 2006)
Ackley, Brian. “Exhibition Review: Whitney Museum of American Art.” Bidoun (Winter 2006)
Sumpter, Helen. “Exhibition Review: Studio City at Pescali & Sprovieri.” Time Out London (March 29 – April 5, 2006)
Glueck, Grace. “Art in Review: The New City: Sub/Urbia in Recent Photography.” The New York Times (January 6, 2006)
Balaschak, Christopher. “Exhibition Review: Walead Beshty at China Art Objects.” Frieze (January-February 2006)
Firstenberg, Lauri. “Exhibition Review: The Backroom.” Frieze (January/February 2006)



Klara, Robert. “Domestic Anxiety.” Architecture Magazine (November 2005)
“The New City: Sub/Urbia in Recent Photography.” The New Yorker (October 3, 2005)
Wilson, Michael. “Post No Bills.” Artforum XLV Vol. 2 (October 2005)
Arriola, Magali. “A Victim and a Viewer: Some Thought on Anticipated Ruins.” Afterall Issue 12 (Fall 2005)
Snow, Jennifer. “The Very Best of the Fall Arts Season: The New City: Sub/Urbia in Recent Photography.” The Village Voice (September 12 – 18, 2005)
Davis, Ben. “August Company.” Artnet Magazine (August 26, 2005)
Cotter, Holland. “Art Listings: Precious Moments.” The New York Times (August 19, 2005)
Cotter, Holland. “Fanciful to Figurative to Wryly Inscrutable.” The New York Times (July 8, 2005)
Kunitz, Daniel and Joao Ribas. “The Art Review 25: Emerging US Artists.” ArtReview (April 2005)
Scanlan, Joe. “First Take: Walead Beshty.” Artforum (January 2005)
Ekardt, Philipp. “The Phenomenology of Fondling: Shopping.” NY Arts Vol. 10, No. 1/2 (January/February 2005)



Kastner, Jeffrey. “Exhibition Review of ‘The Body-Body Problem’.” Artforum (December 2004)
Ribas, Jaoa. “The Faces of the Future.” ArtReview International Edition (V2N7) p. 87
Aletti, Vince. “Voices Choices: Walead Beshty.” The Village Voice (October 6 – 12, 2004)
“P.S.1 Contemporary Art Center: Walead Beshty.” The New Yorker (September 6, 2004) 
Smith, Roberta. “Art Listings: P.S.1 Contemporary Art Center.” The New York Times (July 23, 2004) p. E32
Smith, Roberta. “Art Review: Summertime at P.S.1: Where Opposites Like Hands On/Hands Off Attract.” The New York Times (July 16, 2004) p. E28
Smith, Joel. “Curators Choice: Walead Beshty, Absent Self-Portrait #3 (Age Progressions).” Art at Vassar (Spring 2004)
Selbach, Gérard. “Buy American.” Paris-Art.com (April 24, 2004)
Meyers, Holly. “Review: Cool Intentions.” The Los Angeles Times (February 27, 2004)
Silver, JoAnne. “Visual Arts; Contemporary Self-Portraits Echo Life Views at DeCordova.” The Boston Herald (February 13, 2004)
Hopkins, Randi. “Showing I.D.—‘Self-Evidence’ at the DeCordova, ‘Spiritual Geometry’ in Newton, and ‘Traveling Scholars’ at the MFA.” The Boston Phoenix (January 30 – February 5, 2004)



Aletti, Vince. “Listings: Antisocial.” The Village Voice (February 2003)
Lombardi, D. Dominic. “Armed With Cameras, Seeking Different Types of Truth.” The New York Times (March 30, 2003)
Bembnister, Theresa. “Photo Realism: Seven Photographers Capture the Moments of our Lives.” The Pitch (April 10, 2003)
Robinson, Walter. “Weekend Update.” Artnet.com (February 3, 2003)

Essays and Artist's Writings: 



“Topographies of Exchange: Lewis Baltz’s Capitalist Aesthetics,” Lewis Baltz, published by Steidl Verlag, Göttingen, Germany, 2017

“Skin Flicks,” Torbjørn Rødland: The Touch That Made You, published by Serpentine Galleries and Koenig Books, London, United Kingdom, 2017

"Under the Big Black Sun: California Art 1974–1981,” The Exhibitionist: Journal on Exhibition Making: The First Six Years, ed. Jens Hoffmann, published by The Exhibitionist, New York, New York, 2017

“How Important is Art as a Form of Protest?” (Response to the Prompt) Frieze, Contemporary Art and Protest, no. 186, April 2017



“Against Distinction: Photography and Legendary Psychasthenia,” October, published by MIT Press, Cambridge, MA, Fall 2016, vol. 158, pp. 67 – 88 [ill.]
“Toward an Aesthetics of Ethics,” translated by Omori Toshikatsu, Bijutsu Techo, published by Bijutsu Shuppan-sha Co., vol. 68, no. 1037, June 2016



"The Looking-Glass Worlds of an Invention Without a Future: Some Notes on the Possibilities of Photographic Anachronism,” Camera of Wonders, ex. Catatalogue, published by Kadist Art Foundation, San Francisco, CA, 2015
    “Toward an Aesthetics of Ethics,” Ethics, Documents of Contemporary Art, published by MIT Press, Cambridge, MA, and Whitechapel Gallery, London, UK, 2015

“Lesson: Notes for an Introductory Lecture,” Akademie X: Lessons + Tutors in Art, published by Phaidon, London, UK, 2015
“The Story of O: Gesture in the Work of Laura Owens,” Laura Owens, published by Rizzoli, London, United Kingdom, 2015



“The Ritual of Everyday Life: On the Migrating Objects of Jay DeFeo,” Jay DeFeo, published by Mitchell-Innes & Nash, New York, NY, 2014
“Against Distinction: Photography and Legendary Psychaesthenia,” Photography as Model, Chicago University Press, Chicago, IL, 2014



“In Medias Res,” Sharon Lockhart/Noa Eshkol, exhibition catalogue, published by Sternberg Press/TBA21, Berlin, Germany/Vienna, Austria, 2012
“Under the Big Black Sun: California Art 1974 – 1981,” The Exhibitionist, No. 5, January, 2012
“Conversations, Conditions, and Practices or Photography Conceives as a System of Relations,” “Notes on Photography and Loss,” “The Question of a Medium’s Identity,” “Aesthetics and Distribution Case (1): Preliminary Notes on Art’s Ability to Radicalize Academia,” and “Toward a Museum of Convention,” Still Searching: An Online Discourse on Photography, published by Fotomuseum Winterthur, Winterthur, Switzerland, 2012
“The Whiteness of the Whale,” The Painting Factory: Abstraction After Warhol, Museum of Contemporary Art, Los Angeles, Los Angeles, CA, 2012



“The Whiteness of the Whale: Kelley Walker, Untitled, 2012,” Exhibition poster text produced on the occasion of the exhibition, Kelley Walker, Untitled, 2012, Redling Fine Art, Los Angeles, CA, 2011
“Stumped, 2005,” with Eric Schwab, Ruins (Documents of Contemporary Art), ed., Brian Dillon, published by Whitechapel Gallery/ MIT Press, London, United Kingdom/Cambridge, MA, 2011 – Extracted from, “Stumped: What Remains of the Thousand Year Reich?” Cabinet, No. 20, Winter 2005/2006, pg. 75 – 77
“In Camera: On Luisa Lambri’s Haptic Eye,” Luisa Lambri: Interiors, exhibition catalogue, published by Ivory Press, Madrid, Spain, 2011



“Statement, 2009,” Chance: Documents on Contemporary Art, ed., Margaret Iverson, published by White Chapel/MIT Press, London, United Kingdom/Cambridge, MA, 2010
“Toward a Minor Photography: Annette Kelm’s Discrete Cosmologies,” Parkett, No. 87, 2010
“Studio Narratives,” Studio Reader, Michelle Grabner and Mary Jane Jacob, eds., published by Chicago University Press, Chicago, IL, 2010


“Preliminary Remarks on the Persistence of Allegorical Critique,” Texte zur Kunst, Issue 74, June 2009
“Statements on Contemporary Art,” Texte zur Kunst, Issue 74, June 2009
“Abstracting Photography,” Words Without Pictures, Charlotte Cotton, Alex Klein, eds., published by the Los Angeles County Museum of Art, Los Angeles, CA, 2009


“Air Made Solid,” Dot Dot Dot, Issue 15, April 1, 2008
Books, Los Angeles CA, 2009. Originally published online October 16, 2008
“On the Ground: Los Angeles,” Artforum, December 2008
“On American Ingenuity,” Afterall, No. 17, Spring 2008, pp. 21 – 34
“Parallax View: on Michael Asher at the Santa Monica Museum of Art,” Text zur Kunst, Issue 70, May 2008
“Absolu Avec Vache (and the Spectre of the Gun),” Material Presence, Zabludowicz Collection, London, UK, September 2008



“Tell it Like it Was (A Brief Note on the Appropriation of Radicality),” Art on Paper, January/February 2007



“Wolfgang Tillmans,” Texte zur Kunst, November 2006
“In Their Own Words: Walead Beshty,” New York Foundation for the Arts, July 2006
“L.A. Material: James Welling and Walead Beshty in Conversation,” North Drive Press, Issue 3, 2006
“Annette Kelm’s Discrete Cosmologies,” Stipendium, Hamburger Kunstverein, Hamburg, Germany, 2006



“How to Take In Sculpture; Jan Timme at Marc Foxx,” Texte zur Kunst, May 2005
“The Colossus: The Remains of the Triumph Arch in Berlin (with Eric J. Schwab),” Cabinet, Fall 2005
“Toward an Empathic Resistance: Boris Mikhailov’s Embodied Documents,” Afterall, Issue 12, Fall 2005 
“The Neo Avantgarde and the Service Industry: The Brave New World of Relational Aesthetics,” Texte zur Kunst, September 2005
“Piracy at the Docks,” Invisible Hands and the Common Good, Champion Fine Art, Los Angeles, CA, 2005
“Preview of Stephen Shore’s American Surfaces,” Artforum, September 2005 
“Reflecting the Canon: Some notes on Tim Davis’ Materialist Contingencies,” Tim Davis: Permanent Collection, Nazarelli Press, New York NY, Fall 2005
“The Discrete Tastes of the Bourgeoisie: Erlea Maneros’ Temporal Painting,” Meanwhile, in Another Place, Sala Rekalde, Bilbao, Spain, 2005
“Rachel Harrison at SFMoMA,” ArtReview, March 2005



“Wilkommen in Irak: Images from the Former Iraqi Embassy in the Former DDR (with Eric J. Schwab),” Cabinet, Fall 2004. (originally published in Bidoun, Issue 00, Spring 2004
“Guilt by Association: Mike Kelley’s ‘Street Credibility’ at MoCA,” Aperture, Issue 176, August 2004
“Reprint: Site Magazine,” Trouble Journal, Spring 2004



“Subject Without Qualities: From the Cowboy Flanéur to Mr. Smith,” Afterall, Issue 8, November 2003
“Das Reale an der Rückholfeder: Die Fotografieausstellung ‘Cruel & Tender’ in der Tate Modern, London,” Texte zur Kunst, Issue 51, September 2003
“City Without Qualities: Photography, Cinema, and the Post-Apocalyptic Ruin,” Influence Magazine, Issue 1, October 2003
“Tim Davis: Permanent Collection,” The Bardian, Fall 2003
“Uncommon Places Revisited: the Unpublished Work of Stephen Shore,” Artforum, May 2003
“Three Models of Collaboration: Ethics and Context in the work of Sarah Martin, Pierre Huyghe, and Trent Harris,”delivered as a visiting lecturer at Hampshire College, January, 2003



“Beauty and The Market: Questioning the Rhetoric of Art School,” paper delivered as panel member at Yale University, Graduate Student Symposium, 2002