Selected Works

B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, This Has No Name, installation view, Institute of Contemporary Art, 2018
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Selected Works 1970-2015, BALTIC Centre for Contemporary Arts, 2015-2016
B. Wurtz, Untitled, 1981, wood, vinyl records, dimensions variable
B. Wurtz, Untitled, 1981, wood, vinyl records, dimensions variable
B. Wurtz, Handbag, 1970, plastic, wire, 30.5 x 20.3 x 5.1 cm
B. Wurtz, Untitled(March 2), 1998, acrylic on canvas, buttons, 85.1 x 91.4 x 1.3 cm
B. Wurtz, Garment (Large Green), 1988, acrylic on canvas, 67 x 49 cm
B. Wurtz, Untitled (autobiographical sculpture), 1988, wood, acrylic paint, 113 x 66.7 x 38.1 cm
B. Wurtz, Untitled (Green Sock and Shoelace), 1997, wood, wire, shoelace, string, sock, 95.3 x 40.6 x 10.2 cm
B. Wurtz, Garment (Large Gray), 1988, acrylic on canvas, 66.7 x 49 cm
B. Wurtz, installation view, Kate MacGarry, 2013
B. Wurtz, Untitled, 2013, wood, plastic bags, wire, plastic mesh bag, 117 x 51 x 30.5 cm
B. Wurtz, Untitled, 2009, plastic bags, acrylic paint, string, canvas, 190.5 x 228.6 x 3.8 cm
B. Wurtz, Untitled, 1997, plywood, plastic bag, wooden doll, rope, 61 x 97.8 cm
B. Wurtz, Untitled (Know Thyself), 2012, canvas, thread, string, socks, 44.5 x 45.7 x 1.3 cm
B. Wurtz, Four Collections, installation view, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, 2015
B. Wurtz, Four Collections, installation view, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, 2015
B. Wurtz, Daily Life, Continued, installation view, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, Continued, installation view, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, Continued, installation view, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, Continued, installation view, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, Continued, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, Continued, installation view, Kunstverein Freiburg, 2015
B. Wurtz, Daily Life, continued, installation view, Kunstverein Freiburg, 2015

Press

Born 1948 in Pasadena, lives and works in New York City
SOLO EXHIBITIONS
2018 The First Twenty Years, Galerija Gregor Podnar, Berlin, Germany
Domestic Space, Metro Pictures, New York, U.S.A
Kitchen Trees, City Hall Park, New York, U.S.A
This Has No Name, Institute of Contemporary Art, Los Angeles, U.S.A
The thin gate clanged (with Paul P.), Cooper Cole Gallery, Toronto, Canada
B. Wurtz, Richard Telles, Los Angeles, U.S.A
2017 Lulu, Mexico City, Mexico
2016 B. Wurtz, Metro Pictures at 83 Pitt Street, New York, U.S.A
B Wurtz: Obras escogidas, 1970-2016, La Casa Endendida, Madrid, Spain
B. Wurtz, Office Baroque, Belgium
2015 B. Wurtz, Baltic Centre for Contemporary Art, Gateshead, UK
FOUR A.M., New York, U.S.A
Daily Life, Continued, Kunstverein Freiburg, Germany
Four Collections, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, U.S.A
Works in Handmade Paper 2013 – 2015, Dieu Donné, New York, U.S.A
World Food Books, Melbourne, Australia
2014 Maisterravalbuena, Madrid, Spain
B. Wurtz, Richard Telles Fine Art, Los Angeles, U.S.A
B. Wurtz, The Apartment, Vancouver, Canada
2013 B. Wurtz, Galerija Gregor Podnar, Berlin, Germany
B. Wurtz, Kate MacGarry, London, UK
Reccent Works, Metro Pictures, New York, U.S.A
B. Wurtz, White Flag Projects, Saint Louis, Missouri, U.S.A
2011 B. Wurtz: Works 1970-2011, Metro Pictures, New York, U.S.A
2010 B. Wurtz, The Apartment, Vancouver, Canada
2007 B. Wurtz, Richard Telles Fine Art, Los Angeles, U.S.A
B. Wurtz: Photo/Objects, 871 Fine Arts, San Francisco, U.S.A
2006 B. Wurtz, The Suburban, Oak Park, IL, U.S.A
B. Wurtz, Feature Inc., New York, U.S.A
2003 B. Wurtz, Feature Inc., New York, U.S.A
2001 B. Wurtz, Feature Inc., New York, U.S.A
2000 B. Wurtz: 70+30=2000, Gallery 400, University of Illinois at Chicago, Chicago, U.S.A
B. Wurtz, Richard Telles Fine Art, Los Angeles, U.S.A
buttons. part 1, Feature Inc., New Yotk, U.S.A
buttons. part 2, Feature Inc., New York, U.S.A
1999 B. Wurtz, Salle de Bains, Rotterdam, The Netherlands
B. Wurtz, Spak, Umeå, Sweden
1998 B. Wurtz, Feature Inc., New York, U.S.A
1997 B. Wurtz, Feature Inc., New York, U.S.A
B. Wurtz, Richard Telles Fine Art, Los Angeles, U.S.A
1996 B. Wurtz, Ynglingagatan 1, Stockholm, Sweden
1995 Mandalas, Feature Inc., New York, U.S.A
1993 Daily Life, 1970–1993, Feature, New York, U.S.A
1992 B. Wurtz, Feature, New York, U.S.A
1991 B. Wurtz, Feature, New York, U.S.A
1990 Life, Feature, New York, U.S.A
1989 Survival, Feature, New York, U.S.A
1988 B. Wurtz, Bess Cutler Gallery, New York, U.S.A
1987 B. Wurtz, Feature, Chicago, U.S.A
B. Wurtz, Bess Cutler Gallery, New York, U.S.A
GROUP EXHIBITIONS
2018 Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington D.C., U.S.A
When Geometry Smiles, Ortega y Gasset Projects, Brooklyn, U.S.A
Archival Exhibition, Dieu Donne, Brooklyn, U.S.A
2017 If I Had Possession Over Judgement Day, Tang Museum at Skidmore College, Saratoga Springs, New York, U.S.A
2016 Pure Pulp, Wellin Museum of Art, Hamilton College, Clinton, New York, U.S.A
Fredericks and Freider Gallery, New York, U.S.A
Exquisite Corpse, Planthouse, New York, U.S.A
Redeux (Sort of), Kai Matsumiya, New York, U.S.A
The Trick in the Smile: Artium Collection, ARTIUM Basque Centre Museum of Contemporary Art, Araba, Spain
2014 Stay in Love, Laurel Gitlen and Lisa Cooley Gallery, New York, U.S.A
Table Setting, Jancar Jones, Los Angeles, U.S.A
Two – person show with Jim Isermann, Mary Boone Gallery, New York, U.S.A
 2013 Activate NY, Abrons Art Centre, New York, U.S.A
Café Horizon (You slowly look around now – hold it), Arthur Boskamp-Stiftung, Hohenlockstedt, Germany
GOODS, MoBY – Museums of Bat Yam, Israel
Work  (organized Sara Greenberger Rafferty), Klaus Von Nichsstagend, New York, U.S.A
LAT. 41° 7′ N., LONG. 72° 19′ W, Martos Gallery, East Marion, New York, U.S.A
Ten Years, Wallspace, New York, U.S.A
The Cat Show, White Columns, New York, U.S.A
Prague Biennial, Czech Republic
 2012 Bulletin Boards, Venus Over Manhattan, New York, U.S.A
B. Wurtz & Co., Richard Telles Gallery, curated by Matthew Higgs, Los Angeles, U.S.A
Cheat Chains and Telephone, Kansas, U.S.A
Creature from the Blue Lagoon, Martos Gallery, Bridgehampton, New York, U.S.A
Xylor Jane and B. Wurtz, Pacific Northwest College of Art, Portland, U.S.A
Anagram City, Golden Gallery, Chicago, U.S.A
Invitational Exhibition of Visual Arts, National Academy of Arts and Letters, New York, U.S.A
Moment – Ynglingagatan 1, Moderna Museet, Stockholm
2011 Antique Measures, Gregor Podnar Gallery, Berlin, Germany
Underemployed, Zurcher Studio, curated by Josh Blackwell, New York, USA
The 2011 Bridgehampton Biennial, Martos Gallery, organized by Bob Nickas, Bridgehampton, New York, U.S.A
Pandora’s Box: Joseph Cornell Unlocks the MCA Collection, Museum of Contemporary Art, Chicago, U.S.A
Building Blocks: Contemporary Works from the Collection, Museum of Art, Rhode Island School of Design, Providence, U.S.A
Two Fold, Michelle Grabner & Brad Killam home, Oak Park, Illinois, USA
Salon Zürcher, Zürcher Studio, New York, U.S.A
2010 Salad Days, The Journal Gallery, New York, U.S.A
Stuff Art, U-turn Art Space, Cincinnati, U.S.A
S(l)umm(er)ing on Madison Avenue, Notary Public, curated by Jo-ey Tang, New York, U.S.A
The Same Sight Slighter, Renwick Gallery, New York, U.S.A
“Mean and Sneaking,” FiveMyles, curated by Vicki Sher, New York, U.S.A
2009 Skulture, Feature Inc., New York, U.S.A
Hello Goodbye Thank You, Again, Castillo/Corrales, curated by Anthony Huberman, Paris, France
Exposed Terrain, Martin Art Gallery, curated by Amra Brooks Allentown, Pennsylvania, U.S.A
Another ’80s, Adam Baumgold Gallery, New York, U.S.A
N’importe Quoi (Anything), Musée d’Art Contemporain de Lyon, curated by Vincent Pécoil and Olivier Vadrot, Lyon, France
Phot(o)bjects, Presentation House Gallery, curated by Bob Nickas, Seattle, U.S.A
2008 Peanut Gallery, The Journal Gallery, curated by Joe Bradley, New York, U.S.A
Shit, Feature Inc., New York, U.S.A
The Box, Norma Desmond Productions, Los Angeles, U.S.A
Living Flowers: Ikebana and Contemporary Art, Japanese American National Museum, Los Angeles, U.S.A
Stephen Prina, James Welling, B. Wurtz, Richard Telles Fine Art, Los Angeles, U.S.A
Field Work, The Apartment, Vancouver, Canada
Object Salon, Honey Space, curated by Bob Nickas, Kathy Grayson, Pascal Spengemann, Brooke, U.S.A
Styrofoam, Museum of Art, Rhode Island School of Design, Providence, U.S.A
2007 Chistopher Knowles and B. Wurtz, Allston Skirt Gallery, curated by Matthew Higgs, Boston, U.S.A
Open End, Kinkead Contemporary, curated by David McDonald, Culver City, California, U.S.A
You Always Move in Reverse, Leo Koenig Inc., curated by Bjarne Melgaard, New York, U.S.A
2006 B. Wurtz, Christopher Knowles, Herald Street Gallery, London, UK
The Chair, Reconsidered, Sun Valley Center for the Arts, Sun Valley, Idaho, U.S.A
Eldorado, Mudam, Luxembourg
Dereconstruction, curated by Matthew Higgs, Barbara Gladstone Gallery, New York, U.S.A
Kresge Foundation Gallery, Ramapo College, Mahwah, New Jersey, U.S.A
2005 Looking at Words, Andrea Rosen Gallery, New York, U.S.A
The O Show, Shore Institute of the Contemporary Arts, Long Branch, New Jersey, U.S.A
Kresge Foundation Gallery, Ramapo College, Mahwah, New Jersey, U.S.A
Studio: Seven Months of My Aesthetic Education (Plus Some) NYC Version and Climaxed, Metropolitan Museum of Art, New York; Musée d’Orsay, Paris, France
The sun rises in the evening, Feature Inc., New York, U.S.A
2004 Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, U.S.A
Curious Crystals of Unusual Purity, P.S.1 Contemporary Art Center, Long Island City, U.S.A
2002 All That Glitters, Islip Art Museum, curated by Karen Shaw, East Islip, New York, U.S.A
GTt2, Yerba Buena Center for the Arts, curated by ANP, San Francisco, U.S.A
2001 Sharon Kaitz/B. Wurtz, Allston Skirt Gallery, Allston, Massachusetts, U.S.A
Double Visions, Adam Baumgold Gallery, New York, U.S.A
Texty, M du B, F, H & g, Montreal, Musée des Beaux-Arts, curated by Robert Nickas, Dole, France
Not a. Lear, Gracie Mansion Gallery, New York, U.S.A
Allston Skirt Gallery, curated by ANP, Boston, U.S.A
Een Goed In De Weg Staande Tafel, Galerie van Gelder, curated by Jack Jaeger, Amsterdam, The Netherlands
2000 Bubbles, Center for Contemporary Non-Objective Art, curated by Edith Doove, Brussels, Belgium
3ness, Museum Dhondt-Dhaenens, Deurle, Belgium
Not a Lear, Torch, Amsterdam; Art Process, Paris (2001); Galerie S. & H. De Buck, Ghent, Belgium (2001)
1999 Would have had., Cabinet, London, UK
Cookie Snow Feature, Cokkie Snoei, Rotterdam, The Netherlands
Pretty Happy Painting (with Michael Lazarus and David Moreno), M du B, F, H & g, Montreal, Canada
Sticker Shock: Artists’ Stickers, Institute of Contemporary Art, Philadelphia, U.S.A
Surface As Structure, Claremont Graduate University, curated by Sue Spaid, Claremont, CA, U.S.A
1998 Word Perfect, Gallery 400, University of Illinois at Chicago, U.S.A
f.i.s.t., ANP, Antwerp, Belgium
Science, Feature Inc., New York, U.S.A
Opens, M du B, F, H & g, Montreal, Canada
1997 Fake Ecstasy With Me, Museum of Contemporary Art, Chicago, U.S.A
Normotic, One Great Jones, curated by David Humphrey, New York, U.S.A
At the Threshold of the Visible: Minuscule and Small-Scale Art, 1964–1996, Herbert F. Johnson, 1997; Museum of Art, Cornell University, Ithaca; Maryland Institute College of Art, Decker Galleries
Baltimore; Art Gallery of Ontario, Toronto; Art Gallery of Windsor, Windsor, Ontario; Virginia, U.S.A
Beach Center for the Arts, Virginia Beach; Center on Contemporary Art, Seattle; Edmonton Art,
Gallery, Edmonton, Alberta; Laguna Art Museum, Laguna Beach (catalogue)
Bring Your Own Walkman, W139, curated by Jack Jaeger, Amsterdam
Hello, Feature Inc., with Dike Blair, Vincent Fecteau and Richard Hawkins, New York, U.S.A
Flying Buttress Please, Torch, Amsterdam
Twist, Galerie Ghislaine Hussenot, with Jean-Philippe Antoine and Stephan Melzl, Paris
1996 Acts of Obsession, Carla Stellweg Gallery, New York, U.S.A
Invitational +, Adam Baumgold Fine Art, New York, U.S.A
1995 It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, Contemporary Arts Center, Cincinnati
Representational Drawings, Feature Inc., New York, U.S.A
Strung Into the Apollonian Dream…, Feature Inc., New York, U.S.A
Smells Like Vinyl, Roger Merians Gallery, organized by Sarah Seager and Thaddeus Strode, New York, U.S.A
Stretch Out and Wait, Richard Telles Fine Art, Los Angeles, U.S.A
1994 Lessons in Life: Photographic Works from the Boardroom Collection, Art Institute of Chicago, Chicago, U.S.A
Sex, Adam Baumgold Fine Art, New York, U.S.A
Paintings, Feature Inc., New York, U.S.A
Projets et Dessins, Galerie Claire Burrus, Paris, France
Wood Works, Adam Baumgold Fine Art, New York, U.S.A
1993 Influx, Gallery 400, University of Illinois at Chicago, Chicago, U.S.A
Les Petits Riens de la Vie, La Galerie Volée à Une Muse, Lyon, France
The Return of the Cadavre Exquis, The Drawing Center, New York; Corcoran Gallery of Art,
Washington; Forum for Contemporary Art, St. Louis; Fundación para el Arte Contemporáneo,
Mexico City; Santa Monica Art Museum, Santa Monica, U.S.A
 1992 Another Subjectivity, Galerie Martina Detterer, Frankfurt, Germany
Jori Felice, Richard Hawkins, B. Wurtz, Roy Boyd Gallery, Santa Monica, U.S.A
Tattoo Collection, Galerie Jennifer Flay and Urbi et Orbi, Paris; Daniel Buchholz, Cologne; Andrea Rosen Gallery, New York; Centre Regional d’Art Contemporain, Nantes, France; Air de Paris, Nice, France; organized by Air de Paris and Urbi et Orbi
1991 Objectionable Beauty, Jan Kesner Gallery, Los Angeles
Rocking Horses for Children in Crisis, Lorence-Monk Gallery, New York, U.S.A
Directly On and Off the Wall, Palm Beach Community College, Museum of Art, Lake Worth, Florida, U.S.A
1990 Work on Paper, Paula Allen Gallery, New York, U.S.A
The Thing Itself, Feature, New York, U.S.A
Perspectives on Place: Attitudes Towards the Built Environment, State University Art Gallery, San Diego
The New School Collects: Recent Acquisitions, Parsons School of Design, curated by Kathleen Goncharov, New York, U.S.A
1989 Marta Cervera Gallery, New York, U.S.A
Buttinsky, Feature, New York, U.S.A
Cinderella Rockefeller, Feature, New York, U.S.A
Poetic Objectives, Curt Marcus Gallery, curated by Gordon VeneKlasen, New York, U.S.A
Romancing the Stone, Feature, New York, U.S.A
Dorothy, Center for Contemporary Art, curated by Hudson, Chicago, U.S.A
Double Take, Contemporary Arts Center, Cincinnati
1988 Photo Poetics, Jack Shainman Gallery, Washington, U.S.A
The Logic of Display, P.S.1, The Institute for Art and Urban Resources, Long Island City, U.S.A
Re:Placement, Los Angeles Contemporary Exhibitions, Los Angeles, U.S.A
A Visible Order, Otis/Parsons Exhibition Center, Los Angeles, U.S.A
Near Miss, Feature, Chicago, U.S.A
Photography on the Edge, Haggerty Museum of Art, Marquette University, Milwaukee
Information as Ornament, Feature and Rezac Gallery, Chicago, U.S.A
New Strategies, Jan Kesner Gallery, Los Angeles, curated by Clayton Press and Gregory Linn
1987 (of Ever-Ever Land i speak), Stux Gallery, curated by Christian Leigh, New York, U.S.A
Small Scale Sculpture, Atlanta College of Art Gallery, Atlanta, U.S.A
Actualities, Ledis Flam Gallery, New York, U.S.A
Signs of Intelligent Life, Greathouse Gallery, New York, U.S.A
Jan Baum Gallery, Los Angeles, U.S.A
Sculpture, Bess Cutler Gallery, New York, U.S.A
Post-Abstract Abstraction, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, U.S.A
Gallery Artists, Bess Cutler Gallery, New York, U.S.A
Nature, Feature, Chicago, U.S.A
INTAR Latin American Gallery, curated by Hudson, New York, U.S.A
CalArts: Skeptical Belief(s), Renaissance Society at the University of Chicago; Newport Harbor Art Museum, Newport Beach, California (catalogue), U.S.A
1986 Promises, Promises, Feature, Chicago, U.S.A
Six Sculptors, Artists Space, New York, U.S.A
Religion: Painting and Sculpture, Tibor de Nagy Gallery, New York, U.S.A
1995 Post Olympic Art, Galerie Beau Lezard, Paris, France
1984 Post Olympic Art, Los Angeles Contemporary Exhibitions, Los Angeles, U.S.A
1981 Lynne Henkel, B. Wurtz, Los Angeles Contemporary Exhibitions, Los Angeles, U.S.A
EDUCATION, AWARDS, AND HONOURS
2013 The Lab Grant Program Artist, Dieu Donné, New York
2012 The Pollock-Krasner Foundation, Inc.
2008 Peter S. Reed Foundation
1991 Artist and Homeless Collaborative, Park Avenue Women’s Shelter, New York
1984 National Endowment for the Arts, Honorarium (Post-Olympic Art)
1980 California Institute of the Arts, Valencia, CA; MFA.
1970 University of California at Berkeley, Berkeley, CA; BA
SELECTED PROJECTS, PUBLICATIONS, AND REPRODUCTIONS
2010 Sam Gordon & B. Wurtz, North Drive Press (#5)
2008 Salon XXIV The Journal, curated by Joe Bradley (#24)
Begin Again Right Back Here, White Columns, curated by B. Wurtz, New York, U.S.A
2007 Untitled publication, Feature Inc., New York (#1 Spring) U.S.A
2006 Blocks, onestar press, Paris, France
Some Blocks, Dinter Fine Art Project Room (March-April)
2003 Waters, John, and Bruce Hainley. Art: A Sex Book, Thames and Hudson, New York: 115, 121, 124, 135, 180, U.S.A
2000 Chelsea, Connaissance des Arts (November): 14-15, France
1995 Hudson. Stroboscopes, Documents sur L’Art, (#7 Spring): 9, France
1993 Troncy, Eric, L’Endroit Idéal (Ideal Place), L’Ile du Roy, Centre d’Art et Jardin, Val de Reuil, France: 170–171, France
1992 Farm 5, with Raymond Pettibon and Dodie Bellamy, Feature and Instituting Contemporary Idea, New York, U.S.A
1989 LACE: 10 Years Documented, with Joy Silverman, Los Angeles Contemporary Exhibitions, Los Angeles: 36, 55, 82, U.S.A
1987 Farm 2 (Head Sex), Feature and Instituting Contemporary Idea, Chicago, U.S.A
 1986 Farm, Feature and Instituting Contemporary Idea, Chicago, U.S.A
SELECTED BIBLIOGRAPHY
2013 Scheldahl, Peter. “B. Wurtz,” The New Yorker (April 15): 14.
2012 Baran, Jessica. “B. Wurtz at White Flag Projects,” Art in America (December): 192.
“John Newman and B. Wurtz,” BOMB (Summer): 24-33.
Wurtz, B. and Steel Stillman. B. Wurtz: Food and Watercolors, Publication Studio, Portland, Oregon.
2011 Reber, Simone. “Antic Measures,” Artnet.com (December 22).
Levin, Kim. “Review,” Artnews (November).
Reisman, David. “Review,” Frieze (October).
Wilson, Siona. “Review,” ArtReview (October).
Neustein, Andrea. “Review,” Flash Art (October).
Turvey, Lisa. Artforum (October).
MacQueen, Kathleen. “Shifting Connections: Summer Shorts,” BOMBlog (September 2).
Rosenberg, Karen. “All Nooks, Crannies, Bedrooms and Trees Are Backdrops for Art,” New York Times (August 7).
Indrisek, Scott. “The Pleasures of the Prosaic at the Bridgehampton Biennial,” Modern Painters (15 August).
Sharp, Chris. “The Big Picture,” Ian Pedigo: 11-18.
“Goings On About Town,” New Yorker (August 8).
Salsbury, Britany. “B. Wurtz,” artforum.com (July 26).
Esplund, Lance. “Review,” Wall Street Journal (July 23).
Smith, Roberta. “An Artist Who Makes Much Out of Very Little,” New York Times (July 1): C23.
Kimball, Whitney. “B. Wurtz: Works at Metro Pictures,” artfagcity.com (June 29).
Sterns, Jamie. “B. Wurtz, 1970 – 2011—Metro Pictures,” Ya Ya Ya (June 27).
Baker, R.C. “Best in Show: B. Wurtz at Metro Pictures,” Village Voice (July 6).
Wilson, Michael. “B. Wurtz and Peter Nadin Prove It’s Easy Being Green,” New York Observer (July 5).
Barliant, Claire. “Review: B. Wurtz, Works 1970–2011,” Time Out New York (July 5).
Indrisek, Scott. “Simple Quirks: B. Wurtz Gets Appreciated,” Modern Painters (Summer): 21.
McClemont, Dough. “Dough McClemont’s Top Ten New York Shows in July,” Saatchi Online Magazine (July 13)
Miranda, Carolina. “This Week: Must-See Arts in the City,” WNYC Culture (June 23).
Rosenberg, Karen. “Review of Salon Zürcher,” New York Times (March 4): C25.
2010 Killam, Brad and Michelle Grabner. “Can I Come Over to Your House? The First Ten Years of The Suburban, 1999-2009,” Poor Farm Press, Manawa, Wisconsin.
Peck, Aaron. “Review,” Artforum.com (Summer).
Smith, Roberta. “Same Sight Slighter,” New York Times (May 13).
2009 Adler, Dan. “Phot(o)bjects,” Frieze (September).
Griffin, Kevin. “Breaking through Dimensions: Photo Show Challenges Convention,” Vancouver Sun (May 22).
Vogel, Sabine. “Correspondences,” Artforum.com (May 18).
Horny, Henriette. “Fremde Herren in den eigenen Geschäften,” Kurier (May 4).
Fessler, Anne Katrin. “Alternativkommandos und geladene,” Störköche Der Standard (May 8).
“Slideshow: Viennafair 2009,” Art – Das Kunstmagazin (May 11).
Cotter, Holland. “Review of Peanut Gallery,” New York Times (January 30).
2008 Hodge, Brook. “Seeing Things: Flower Power,” The Moment: The New York Times Style Magazine Blog (June 26).
McQuaid, Cate. “Breaking Down the Beauty of Styrofoam,” Boston Globe (March 28).
Smith, Roberta. “Review of Begin Again Right Here,” New York Times (October 3).
Steele, Robin. “RISD Museum’s Styrofoam’ Features Kilted Lincoln,” Brown Daily Herald(March 31).
Van Siclen, Bill. “Flights of Foam at RISD,” Providence Sunday Journal (March 9).
Velasco, David. “Nayland Blake at Matthew Marks,” Artforum.com (February 22).
2007 Baker, Kenneth. “Wurtz Plays with Architecture, Illusion,” San Francisco Chronicle (November 3): E10.
Brooks, Amra. “Our Favorite Shows and Artifacts: Art to Live For,” LA Weekly (December 26).
Clark, E.K. “Back to Basics,” NY Arts (January/February).
Frank, Peter. “The Big Picture and the Small,” LA Weekly (February 14).
Helfand, Glen. “B. Wurtz at 871 Fine Arts,” Artforum.com (November 8).
Knight, Christopher. “When Mere Gray Is More Than Gray,” Los Angeles Times (April 20).
McQuaid, Cate. “Arts and Entertainment,” Boston Globe (March 15).
Ollman, Leah. “Around the Galleries,” Los Angeles Times (January 12): E32.
2006 Andrews, Betsy. “The Chair, Reconsidered,” Idaho Mountain Express (June 14).
Baker, R.C. “Chicken and Eggs,” Village Voice (September 13-19).
Jones, Kristin. “Review of Dereconstruction,” Frieze (October).
Masters, H.G. L Magazine (August 30).
McKinnon, John. Time Out Chicago(October 19).
Princenthal, Nancy. Art in America (December).
Velasco, David. “Critics’ Picks,” Artforum.com (September 18).
Velasco, David. “Review of Dereconstruction,” Artforum (September): 374.
Winkleman, Edward. “Artist of the Week,” edwardwinkleman.blogspot.com (July 10).
“Review,” Art MoCo(October 31).
Update, Interior Design (June): 38.
2005 Cotter, Holland. “The Sun Rises in the Evening,” New York Times (June 10): E44.
Hainley, Bruce. “Only Connect : The Art of B. Wurtz,” Artforum (October): 242-247.
2004 White, Roger. “Curious Crystals of Unusual Purity,” Brooklyn Rail (September): 17.
2002 Olson, Marisa. “Guide to Trust No. 2 at the Yerba Buena Center for the Arts,” Artweek (May).
2001 Cotter, Holland. “Review,” New York Times (December 14): E40.
Cotter, Holland. “Not a. Lear,” New York Times (October 12): E37.
Grabner, Michelle. “Review,” Frieze (April): 96.
McQuaid, Cate. “Everyday Epiphanies,” Boston Globe (April 19): D6.
2000 Johnson, Ken. “Review,” New York Times (January 28): E37.
1999 Boström, Patrik. “Review,” Västerbottens Folkblad (March 15): 3.
Hainley, Bruce. “Best of the 90’s: Top Ten,” Artforum (December): 130.
Ivy, Angus. “Wop: ANP Antwerp, Belgium,” Zingmagazine (Spring/Summer): 230.
1998 Hainley, Bruce. “Boys will be Boys,” Frieze (November/December): 42.
Schmerler, Sarah. “Review,” Time Out New York (September 24): 61.
1997 Cotter, Holland. “A Show That Could Travel In Just a Carry-On Bag,” New York Times (December 14) : E44-45.
Doran, Anne. “Review,” Time Out New York (August 7): 47.
Kandel, Susan. “Review,” Los Angeles Times (May 16): F21.
Madestrand, Bo. “Review,” Expressen (January 7): 4.
Peeters, Mark. “Review,” NRC Handelsblad (January 17).
Rian, Jeff. “Letter from Paris,” Artnet.com (March 24).
1996 Ericsson, Lars. “Review,” Dagens Nyheter (December 20): B3.
1995 Levin, Kim. Village Voice (March 28): 9.
1993 Levin, Kim. Village Voice (May 11): 75.
Princenthal, Nancy. “Artist’s Book Beat,” Print Collector’s Newsletter (March/April): 28.
Robinson, Walter. “Music to Your Eyes: CD Covers Play Tribute to Modern Masterpieces,” Mademoiselle (October): 102.
Saltz, Jerry. “Mayday, Mayday, Mayday,” Art in America (September): 41-45.
Smith, Roberta. “Review,” New York Times (May 14): C26.
Weidenbaum, Marc. “More Pictures + Music,” Pulse! (August): 17.
1992 Pagel, David. “Review,” ArtIssues (March/April): 34.
1991 “Goings On About Town,” New Yorker (April 29): 17.
Schjeldahl, Peter. “The Salon of April,” Village Voice (May 14): 86.
Schwan, Gary. “On and Off-The-Wall Art,” Palm Beach Post (April 5): 35.
1990 Gutterman, Scott. “Natural and Unnatural Causes,” Art International (Autumn): 58.
Harris, Patty. “Four Summer Art Shows,” Downtown (August 29): 12-13.
Smith, Roberta. “The Group Show as Crystal Ball,” New York Times (July 6): C1.
1989 Cooper, Dennis. “Review,” Artforum (Summer): 143.
Haus, Mary. “Review,” ARTnews (December): 169-170.
Hixson, Kathryn. “Review of Dorothy,” Chicago in Review (November): 110.
Smith, Roberta. “Romancing the Stone,” New York Times (August 11): C21.
1988 Finnegan, Patrick. “Photo Poetics,” Washington Blade (April 1): 21.rundberg, Andy. “The Logic of Display,” New York Times (January 29).
Knight, Christopher. “Re:Placement Parts: Alternative Galleries Break Down Walls,” Los Angeles
Herald Examiner (March 20): E10.
McCoy, Pat. “ (of Ever-Ever Land I speak) ,” Artscribe International (January/February): 73.
Raczka, Robert. “The Next Generation,” Afterimage (November): 20-21.
Richard, Paul. “Photo Poetics,” Washington Post (March 25).
Thorson, Alice. “Photo Poetics,” Washington Times (March 31).
1987 Artner, Alan. “Review,” Chicago Tribune (March 12): 9F.
Handy, Ellen. “The Four Corners of Abstraction,” Arts (November): 108-109.
Zimmer, William. “Post-Abstract Abstraction in Ridgefield,” New York Times (July 5).
1984 Drohojowska, Hunter. “An Exhibit to Lift Your Post-Olympic Spirits,” Los Angeles Herald
Examiner (September 7): 27.
Relyea, Lane. “Focus on Cultural Differences,” Artweek (September 29): 6.
1981 Ricky, Carrie. “Art Attack,” Art in America (May): 41-48.

Exhibitions

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