Born in Pasadena, California, in 1948
Lives and works in New York City


California Institute of the Arts, Valencia, CA; MFA

University of California at Berkeley, Berkeley, CA; BA



ICA, Los Angeles (forthcoming)
Metro Pictures, New York (forthcoming)

Lulu, Mexico City

Metro Pictures, New York
Office Baroque, Brussels
Selected Works, 1970 – 2016, La Casa Encendida, Madrid, Spain

Kunstverein Freiburg, Freiburg, Germany
World Food Books, (curated by Nicholas Tammens), Melbourne, Australia
“Works in Handmade Paper 2013-2015”, Dieu Donne, New York
Baltic Centre for Contemporary Art, Gateshead, England

Richard Telles Fine Art, Los Angeles
“Jim Isermann and B. Wurtz”, Mary Boone, New York
“Works: 1972 – 2014”, Maisterravalbuena, Madrid

“Recent Works”, Metro Pictures, New York
“History Works”, Bureau (in collaboration with Triple Canopy), New York
Kate MacGarry, London
Galerija Gregor Podnar, Berlin

White Flag Projects, St. Louis

“Works 1970-2011”, Metro Pictures, New York

The Apartment, Vancouver

Richard Telles Fine Art, Los Angeles
“B. Wurtz: Photo/Objects,” 871 Fine Arts, San Francisco

The Suburban, Oak Park, IL
Feature Inc., New York

Feature Inc., New York

Feature Inc., New York

“B. Wurtz: 70+30=2000,” Gallery 400, University of Illinois at Chicago (catalogue)
Richard Telles Fine Art, Los Angeles
“buttons. part 1,” Feature Inc., New York
“buttons. part 2,” Feature Inc., New York

Salle de Bains, Rotterdam
Spak, Umeå, Sweden

Feature Inc., New York

Feature Inc., New York
Richard Telles Fine Art, Los Angeles

Ynglingagatan 1, Stockholm

“Mandalas,” Feature Inc., New York

“Daily Life, 1970–1993,” Feature, New York (catalogue)

Feature, New York

Feature, New York

“Life,” Feature, New York

“Survival,” Feature, New York

Bess Cutler Gallery, New York

Feature, Chicago
Bess Cutler Gallery, New York


The Gallery @Michael’s, Los Angeles, organized by Christopher Schwartz
Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington DC,
curated by Gianni Jeter
A Page from My Intimate Journal (Part 1), Gordon Robichaux, New York

“Social Photography V”, Carriage Trade, New York
“A Still Life by Chardin”, Lisson Gallery, London, curated by Maxwell Graham
“Poor Timing”, Hopkinson Mossman, Aukland, New Zealand
“N. Dash, Virginia Overton, B. Wurtz”, Maisterravalbuena, Lisbon, Portugal
“If I Had Possession Over Judgement Day: Collections of Claude Simard”, Tang Museum at Skidmore College, Saratoga Springs, New York

“Strange Abstraction”, Fredericks and Freiser, New York
“The Trick in the Smile: the Artium Collection”, The Basque Museum—Center of Contemporary Art, Vitoria-Gasteiz, Spain
“Pure Pulp”, Wellin Museum of Art, Hamilton College, Clinton, New York
“Exquisite Corpse”, Planthouse, New York
“Redeux (Sort of)”, Kai Matsumiya, New York

“Zabriskie Point”, Jack Hanley Gallery, New York
“The Lulennial: A Slight Gestuary, curated by Fabiola Iza and Chris Sharp, Lulu, Mexico City, Mexico
“Circumstance”, Aldrich Contemporary Art Museum, Ridgefield, Connecticut
“Z-ing”, Richard Telles Fine Art, Los Angeles
“Calisthenics”, Thomas Duncan Gallery, Los Angeles, curated by Matt Paweski
“The Crack-Up”, Room East, New York
“Tableau”, Kai Matsumiya, New York

“Home Again, Again II”, The Journal Gallery, Brooklyn
“Stay in Love”, Laurel Gitlen, New York, curated by Chris Sharp
“Displayed”, Anton Kern Gallery, New York, curated by Matthew Higgs
“Joyride”, Marlborough Chelsea, New York, organized by Ed Spurr and Brendt Barbur
“Duckrabbit,” Anat Egbi, Los Angeles, curated by Jason Bailer Losh
“Krazy Kats, Artist House Party Presents, New York
“This One’s Optimistic: Pincushion, New Britain Museum of American Art, Connecticut
“Implicit Horizon”, Mixed Greens, New York
“Poor Working Conditions”, Martos Gallery, New York
“Home Again”, Again II, The Journal Gallery, Brooklyn

“Celluloid Brushes”, Ludlow 38, New York
“Lat. 41º 7’ N., Long. 72º 19’ W”, curated by Bob Nickas, Martos, New York
“The Cat Show”, curated by Rhonda Lieberman, White Columns, New York
“Neomaterialism, MoBY – Museum of Bat Yam, Israel
“Work”, (organized Sara Greenberger Rafferty), Klaus Von Nichsstagend, New York
“Ten Years”, Wallspace, New York
“Prague Biennial”, Prague, Czech Republic
“Café Horizon (You slowly look around now – hold it)”, Arthur Boskamp-Stiftung, Hohenlockstedt, Germany
“Goods”, MoBY, Museums of Bat Yam, Israel
“Table Setting”, Jancar Jones Gallery, Los Angeles
“Why is Everything the Same? Works from the Collection of Anne Collier and Matthew Higgs”, Shoot the Lobster, Martos Gallery, New York
Office Baroque, Antwerp

“OO”, Misako & Rosen, Tokyo, curated by Rob Halverson / C-o-o-l Art
“All in Line”, Adam Baumgold Gallery, New York
“Everyday Things: Contemporary Works from the Collection,” Museum of Art, Rhode Island School of Design, Providence, RI
“Josh Tonsfeldt & B. Wurtz,” ANNAELLE, Stockholm, Sweden
“Everyday Abstract – Abstract Everyday”, James Cohan Gallery, New York, USA, curated by Matthew Higgs
“The Art of Cooking,” Royal/T, Los Angeles, CA
“I Surrender”, Devening Projects + Editions, Chicago
“New Traditionalists”, curated by Mary Grace Wright, Martos Gallery, New York
“Tops”, Open Space, Long Island City, NY
“B. Wurtz & Co.,” Richard Telles Gallery, Los Angeles, curated by Matthew Higgs
“Cheat Chains and Telephone,” Kansas, New York
“Xylor Jane and B. Wurtz,” Pacific Northwest College of Art, Portland, OR
“Anagram City,” Golden Gallery, Chicago
Invitational Exhibition of Visual Arts, National Academy of Arts and Letters, New York
“Bulletin Boards”, Venus Over Manhattan (with White Columns), New York
“Creature From the Blue Lagoon”, Martos Gallery, Bridgehampton, New York
“The 5th Season”, The Artist’s Institute, New York

“Moment – Ynglingagatan 1,” Moderna Museet, Stockholm
“Antic Measures,” Gregor Podnar Gallery, Berlin
“Underemployed,” Zurcher Studio, New York; curated by Josh Blackwell
“The 2011 Bridgehampton Biennial,” Martos Gallery, Bridgehampton, NY; organized by Bob Nickas (catalogue)
“Pandora’s Box: Joseph Cornell Unlocks the MCA Collection,” Museum of Contemporary Art, Chicago
“Building Blocks: Contemporary Works from the Collection,” Museum of Art, Rhode Island School of Design, Providence
“Two Fold,” Michelle Grabner/Brad Killam home, Oak Park, IL; curated by Colleen Asper & Ethan Greenbaum
“Salon Zürcher,” Zürcher Studio, New York

“Salad Days,” The Journal Gallery, Brooklyn, NY
“Stuff Art,” U.turn Art Space, Cincinnati, OH
“S(l)umm(er)ing on Madison Avenue,” Notary Public, New York; curated by Jo-ey Tang
“The Same Sight Slighter,” Renwick Gallery, New York
“Mean and Sneaking,” FiveMyles, Brooklyn; curated by Vicki Sher

“Skulture,” Feature Inc., New York
“Hello Goodbye Thank You, Again,” Castillo/Corrales, Paris; curated by Anthony Huberman
“Exposed Terrain,” Martin Art Gallery, Muhlenberg College, Allentown, PA; curated by Amra Brooks, (catalogue)
“Another ’80s,” Adam Baumgold Gallery, New York
“Curated By—Vienna 09: B. Wurtz & Noam Rappaport @ Galerie Steinek,” curated by Matthew Higgs
“N’importe Quoi (Anything),” Musée d’Art Contemporain de Lyon, France; curated by Vincent Pécoil and Olivier Vadrot
“Phot(o)bjects,” Presentation House Gallery, Vancouver and Lawrimore Project, Seattle; curated by Bob Nickas

“Peanut Gallery,” The Journal Gallery, Brooklyn; curated by Joe Bradley
“Shit,” Feature Inc., New York
“The Box,” Norma Desmond Productions, Los Angeles
“Living Flowers: Ikebana and Contemporary Art,” Japanese American National Museum, Los Angeles
“Stephen Prina, James Welling, B. Wurtz,” Richard Telles Fine Art, Los Angeles
“Field Work,” The Apartment, Vancouver
“Object Salon,” Honey Space, New York; curated by Bob Nickas, Kathy Grayson, Pascal Spengemann, Brooke Geahan, and Thomas Beale
“Styrofoam,” Museum of Art, Rhode Island School of Design, Providence, RI (brochure)

“Chistopher Knowles and B. Wurtz,” Allston Skirt Gallery, Boston; curated by Matthew Higgs
“Open End,” Kinkead Contemporary, Culver City, CA; curated by David McDonald
“You Always Move in Reverse,” Leo Koenig Inc., New York; curated by Bjarne Melgaard

“B. Wurtz, Christopher Knowles,” Herald Street Gallery, London
“The Chair, Reconsidered,” Sun Valley Center for the Arts, Sun Valley, ID
“Eldorado,” Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Luxembourg
“Dereconstruction,” Barbara Gladstone Gallery, New York; curated by Matthew Higgs (catalogue)

“Looking at Words,” Andrea Rosen Gallery, New York; conceived by Barbaralee Diamonstein-Spielvogel
“The O Show,” Shore Institute of the Contemporary Arts, Long Branch, NJ; Kresge Foundation Gallery, Ramapo College, Mahwah, NJ (2006);
curated by MatCH-Art
“Studio: Seven Months of My Aesthetic Education (Plus Some) NYC Version and Climaxed,” Metropolitan Museum of Art, New York; Musée d’Orsay,
Paris (web catalogue)
“The sun rises in the evening.,” Feature Inc., New York

“Word of Mouth, A Selection: Part 1,” Dinter Fine Art, New York
“Curious Crystals of Unusual Purity,” P.S.1 Contemporary Art Center, Long Island City, NY, organized by Bob Nickas and Steve Lafreniere

“All That Glitters,” Islip Art Museum, East Islip, NY; curated by Karen Shaw (catalogue)
“GTt2,” Yerba Buena Center for the Arts, San Francisco; curated by ANP (catalogue)

“Sharon Kaitz/B. Wurtz,” Allston Skirt Gallery, Allston, MA
“Double Visions,” Adam Baumgold Gallery, New York
“Texty,” M du B, F, H & g, Montreal
“W,” Museé des Beaux-Arts, Dole, France; curated by Robert Nickas (catalogue)
“Not a. Lear,” Gracie Mansion Gallery, New York; Allston Skirt Gallery, Boston, MA; curated by ANP
“Een Goed In De Weg Staande Tafel,” Galerie van Gelder, Amsterdam; curated by Jack Jaeger

“Bubbles,” Center for Contemporary Non-Objective Art, Brussels; curated by Edith Doove (catalogue)
“3ness,” Museum Dhondt-Dhaenens, Deurle, Belgium; curated by Edith Doove, Dike Blair, and Jimi Dams
“Not a. Lear,” Torch, Amsterdam; Art Process, Paris; Galerie S. & H. De Buck, Ghent, Belgium, curated by ANP

“Would have had.,” Cabinet, London
“Cookie Snow Feature,” Cokkie Snoei, Rotterdam
“Pretty Happy Painting (with Michael Lazarus and David Moreno),” M du B, F, H & g, Montreal
“Sticker Shock: Artists’ Stickers,” Institute of Contemporary Art, Philadelphia (catalogue)
“Surface As Structure,” Claremont Graduate University, Claremont, CA; curated by Sue Spaid (catalogue)

“Word Perfect,” Gallery 400, University of Illinois at Chicago
“f.i.s.t.,” ANP, Antwerp, Belgium
“Science,” Feature Inc., New York
“Opens,” M du B, F, H & g, Montreal

“Fake Ecstasy With Me,” Museum of Contemporary Art, Chicago
“Normotic,” One Great Jones, New York; curated by David Humphrey
“At the Threshold of the Visible: Minuscule and Small-Scale Art, 1964–1996,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY;
Maryland Institute College of Art, Decker Galleries, Baltimore, MD; Art Gallery of Ontario, Toronto; Art Gallery of Windsor, Windsor, Ontario;
Virginia Beach Center for the Arts, Virginia Beach, VA; Center on Contemporary Art, Seattle, WA; Edmonton Art Gallery, Edmonton, Alberta; Laguna Art Museum, Laguna Beach, CA; curated by Ralph Rugoff (catalogue)

“Bring Your Own Walkman,” W139, Amsterdam; curated by Jack Jaeger (catalogue)
“Hello” (with Dike Blair, Vincent Fecteau and Richard Hawkins), Feature Inc., New York
“Flying Buttress Please,” Torch, Amsterdam
“Twist” (with Jean-Philippe Antoine and Stephan Melzl), Galerie Ghislaine Hussenot, Paris

“Acts of Obsession,” Carla Stellweg Gallery, New York
“Invitational +,” Adam Baumgold Fine Art, New York

“It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art,” Contemporary Arts Center, Cincinnati, OH (catalogue)
“Representational Drawings,” Feature Inc., New York
“Strung Into the Apollonian Dream…,” Feature Inc., New York
“Smells Like Vinyl,” Roger Merians Gallery, New York; organized by Sarah Seager and Thaddeus Strode “Stretch Out and Wait”
(with Keith Mayerson and Megan Williams), Richard Telles Fine Art, Los Angeles

“Lessons in Life: Photographic Works from the Boardroom Collection,” Art Institute of Chicago “Sex,” Adam Baumgold Fine Art, New York
“Paintings,” Feature Inc., New York
“Projets et Dessins,” Galerie Claire Burrus, Paris
“Wood Works,” Adam Baumgold Fine Art, New York

“Influx,” Gallery 400, University of Illinois at Chicago
“les petits riens de la vie,” La Galerie Volée à Une Muse, Lyons, France
“The Return of the Cadavre Exquis,” The Drawing Center, New York; Corcoran Gallery of Art, Washington, DC; Forum for Contemporary Art, St. Louis, MO; Fundación para el Arte Contemporáneo, Mexico City; Santa Monica Art Museum, Santa Monica, CA; curated by Ann Philbin and Ingrid Schaffner (catalogue)

“Another Subjectivity,” Galerie Martina Detterer, Frankfurt am Main (catalogue)
“Jori Felice, Richard Hawkins, B. Wurtz,” Roy Boyd Gallery, Santa Monica, CA
“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

“Objectionable Beauty,” Jan Kesner Gallery, Los Angeles
“Rocking Horses for Children in Crisis,” Lorence-Monk Gallery, New York
“Directly On and Off the Wall,” Palm Beach Community College Museum of Art, Lake Worth, FL; curated by Kip Eagen

“Work on Paper,” Paula Allen Gallery, New York
“The Thing Itself,” Feature, New York
“Perspectives on Place: Attitudes Towards the Built Environment,” University Art Gallery, San Diego State University, San Diego, CA
“The New School Collects: Recent Acquisitions,” Parsons School of Design, New York; curated by Kathleen Goncharov

Marta Cervera Gallery, New York
“Buttinsky,” Feature, New York
“Cinderella Rockefeller,” Feature, New York
“Poetic Objectives,” Curt Marcus Gallery, New York; curated by Gordon VeneKlasen
“Romancing the Stone,” Feature, New York
“Dorothy,” Center for Contemporary Art, Chicago; curated by Hudson
“Double Take,” Contemporary Arts Center, Cincinnati, OH

“Photo Poetics,” Jack Shainman Gallery, Washington, DC
“The Logic of Display,” P.S.1, The Institute for Art and Urban Resources, Long Island City, NY; curated by Paul Laster and Renee Riccardo (catalogue)
“Re:Placement,” Los Angeles Contemporary Exhibitions, Los Angeles, CA; curated by Joy Silverman and Marc Pally
“A Visible Order,” Otis/Parsons Exhibition Center, Los Angeles; curated by Paul Laster and Renee Riccardo
“Near Miss,” Feature, Chicago
“Photography on the Edge,” Haggerty Museum of Art, Marquette University, Milwaukee, WI (catalogue)
“Information as Ornament,” Feature and Rezac Gallery, Chicago; curated by Hudson and Susan Rezac (catalogue)
“New Strategies,” Jan Kesner Gallery, Los Angeles; curated by Clayton Press and Gregory Linn (catalogue)

“(of Ever-Ever Land i speak),” Stux Gallery, New York; curated by Christian Leigh (catalogue)
“Small Scale Sculpture,” Atlanta College of Art Gallery, Atlanta (catalogue)
“Actualities,” Ledis Flam Gallery, Brooklyn, NY (catalogue)
“Signs of Intelligent Life,” Greathouse Gallery, New York
Jan Baum Gallery, Los Angeles
“Sculpture,” Bess Cutler Gallery, New York
“Post-Abstract Abstraction,” Aldrich Museum of Contemporary Art, Ridgefield, CT; curated by Eugene Schwartz (catalogue)
“Gallery Artists,” Bess Cutler Gallery, New York
“Nature,” Feature, Chicago
INTAR Latin American Gallery, New York, NY; curated by Hudson
“CalArts: Skeptical Belief(s),” Renaissance Society at the University of Chicago; Newport Harbor Art Museum, Newport Beach, CA (catalogue)

“Promises, Promises,” Feature, Chicago
“Six Sculptors,” Artists Space, New York (catalogue)
“Religion: Painting and Sculpture,” Tibor de Nagy Gallery, New York

“Post Olympic Art,” Galerie Beau Lezard, Paris

“Post Olympic Art,” Los Angeles Contemporary Exhibitions, Los Angeles (catalogue)

“Lynne Henkel, B. Wurtz,” Los Angeles Contemporary Exhibitions, Los Angeles


“Art In Conversation: B. WURTZ with Sara Roffino,” The Brooklyn Rail, June 3
Cumming, Laura, “B. Wurtz: Selected works 1970-2015 review – Everyday rubbish reimagined”,, January 3
“B. Wurtz at Metro Pictures”, Contemporary Art Daily, March 31
Higgs, Matthew, “Top 10 of 2016”, Artforum, December, p210
Hainley, Bruce and Winer, Helene. B. Wurtz: Selected Works. BALTIC Center for Contemporary Art, Gateshead, UK and La Casa Encendida, Madrid.
Krasinski, Jennifer. “The Slightest Move: On Two Artists Who Possess A Profoundly Light Touch,” (March 8).
Sam, Sherman. “B. Wurtz: Baltic Centre for Contemporary Art,” Artforum (February): 250. Hanley, Sarah Kirk. “Edition Reviews: B. Wurtz,” (April 1).
O’Donnell, Annie. “Review: B. Wurtz, BALTIC Centre for Contemporary Art, Gateshead,” (January 31).
Russeth, Andrew. “Around New York,” ARTnews (Summer): 118-121.

Dunne, Susan, “Pan-tastic Paintings: The Art of B. Wurtz at the Aldrich”, Hartford Courant, June 1 Prince, Mark, “B. Wurtz, Kunstverein Freiburg”, Flash Art, (online), June 1

Rosenberg, Karen, “Review: Stay in Love”, New York Times, January 16
“Stay in Love at Laurel Gitlen”, Contemporary Art Daily, February 11
Black, Ezrah Jean, “Thanks, I’ll Leave it: At the Hammer Museum; and around town”, Artillery, Feb 21, web only
Knight, Christopher, “B. Wurtz’s Dot Paintings at Richard Telles Fine Art”, Los Angeles Times, February 27

O’Neill-Butler, Lauren, Wurtz, B., “500 Words: B. Wurtz”, Artforum, June 18, 2013, web
Griffin, Jonathan, “Best of 2012: B. Wurtz & Co.”, Frieze, Jan 1, 2013, web
Scheldahl, Peter, “B. Wurtz,” The New Yorker (April 15): 14.
Hall, Emily, “B.Wurtz: Metro Pictures”, Artforum, Summer 2013, p. 359
“Celluloid Brushes at Ludlow 38”, Contemporary Art Daily, September 15
“Lat 41º 7’ N., Long 72º 19’ W” at Martos”, Contemporary Art Daily, August 31st.

Wurtz, B. and Steel Stillman. B. Wurtz: Food and Watercolors, Publication Studio, Portland, Oregon.
“John Newman and B. Wurtz,” BOMB,  (Summer): 24-33.
Baran, Jessica. “B. Wurtz at White Flag Projects,” Art in America,  (December): 19
Gass, William, “Making an Understatement: B. Wurtz at White Flag Projects,” St. Louis Magazine, (September 24)
Rosenberg, Karen, “Check Out the Gallery in the Freezer, ‘Creature From the Blue Lagoon,’ in Bridgehampton,” New York Times (August 12): C21
Heidenry, Rachel, “B. Wurtz’ demands attention at White Flag,” St. Louis Beacon, (September 26)
Khazam, Rahma. “Antic Measures,“, Critics’ Picks, 5 Jan
Pagel, David. “B. Wurtz & Co. at Richard Telles Fine Art“, Los Angeles Times, 29 March
Soto, Paul. “B Wurtz’s Legacy Is Unfinished,“ Art in America, 4 April
Reber, Simone. “Antic Measures,”, 22 December
Motley, John, “Unlikely Pair of Artists Share Obsession with Time,” The Oregonian, 7 March

Baker, R.C. “The Best NYC Art Shows of 2011,” Village Voice, 28 December
Prince, Mark. “Antic Measures,” Frieze, 15 December
Smith, Roberta. “Substance and Spectacle,” New York Times, 16 December
Smith, Roberta. “Best of 2011,”, 16 December (slide show)
Reber, Simone. “Antic Measures,”, 22 December
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, 2 September
Rosenberg, Karen. “All Nooks, Crannies, Bedrooms and Trees Are Backdrops for Art,” New York Times,7 August
Indrisek, Scott. “The Pleasures of the Prosaic at the Bridgehampton Biennial,” Modern Painters, posted 15 August
Sharp, Chris. “The Big Picture,” essay in Ian Pedigo, exhibition catalogue, Southern Alberta Art Gallery, 11–18
Review, New Yorker, Goings On About Town, 8 August
Salsbury, Britany. “B. Wurtz,”, Critic’s Picks, 26 July
Esplund, Lance. Review, Wall Street Journal, 23 July
Smith, Roberta. “An Artist Who Makes Much Out of Very Little,” New York Times, 1 July, C23
Kimball, Whitney. “B. Wurtz: Works at Metro Pictures,”, 29 June
Sterns, Jamie. “B. Wurtz, 1970 – 2011—Metro Pictures,” Ya Ya Ya, 27 June
Baker, R.C. “Best in Show: B. Wurtz at Metro Pictures,” Village Voice, 6 July
Wilson, Michael. “B. Wurtz and Peter Nadin Prove It’s Easy Being Green,” New York Observer, 5 July
Barliant, Claire. “Review: B. Wurtz, ‘Works 1970–2011,’” Time Out New York, 5 July
Indrisek, Scott. “Simple Quirks: B. Wurtz Gets Appreciated,” Modern Painters, Summer, 21
McClemont, Doug. “Dough McClemont’s Top Ten New York Shows in July”, Saatchi Online Magazine, 13 July
Miranda, Carolina A. “This Week: Must-See Arts in the City,” WNYC Culture, 23 June
Rosenberg, Karen. Review of “Salon Zürcher,” New York Times, 4 March 2011, C25

Grabner, Michelle and Brad Killam. Can I Come Over to Your House? The First Ten Years of The Suburban, 1999–2009, Poor Farm Press, Manawa, WI
Peck, Aaron. Review,, Critic’s Picks, Summer
Smith, Roberta. “Same Sight Slighter,” New York Times, 13 May;

McDade, Jackson. “Skulture Vulture”,, 27 December
Adler, Dan. “Phot(o)bjects,” Frieze, September
Griffin, Kevin. “Breaking through dimensions: Photo show challenges convention,” Vancouver Sun22 May
Vogel, Sabine B. “Correspondences,”, 18 May
Horny, Henriette. “Fremde Herren in den eigenen Geschäften” (review of “Curated By”), Kurier, 4 May
Fessler, Anne Katrin. “Alternativkommandos und geladene Störköche: ‘Curated By,’” Der Standard, 8 May
“Slideshow: Viennafair 2009,” Art – Das Kunstmagazin, 11 May (reproduction)
Cotter, Holland. Review of “Peanut Gallery,” New York Times, 30 January

Hodge, Brook. “Seeing Things: Flower Power,” The Moment: The New York Times Style Magazine Blog, 26 June McQuaid, Cate. “Breaking Down the Beauty of Styrofoam,” Boston Globe, 28 March
Smith, Roberta. Review of “Begin Again Right Here,” New York Times, 3 October
Steele, Robin. “RISD Museum’s ‘Styrofoam’ Features Kilted Lincoln,” Brown Daily Herald, 31 March
Van Siclen, Bill. “Flights of Foam at RISD,” Providence Sunday Journal, 9 March
Velasco, David. “Nayland Blake at Matthew Marks,”, Picks, posted 22 February

Baker, Kenneth. “Wurtz Plays with Architecture, Illusion,” San Francisco Chronicle, 3 November, E10
Brooks, Amra. “Our Favorite Shows and Artifacts,: Art to Live For, by LA Weekly Critics,” LA Weekly, 26 December
Clark, E. K., “Back to Basics,” NY Arts, January/February (reproduction)
Frank, Peter. “The Big Picture and the Small,” LA Weekly, 14 February
Helfand, Glen. “B. Wurtz at 871 Fine Arts,”, Picks, posted 8 November
Knight, Christopher. “When Mere Gray Is More Than Gray,” Around the Galleries, Los Angeles Times, 20 April
McQuaid, Cate, Boston Globe, Arts and Entertainment, 15 March
Ollman, Leah. Around the Galleries, Los Angeles Times, 12 January, E32

Andrews, Betsy. Review of “The Chair, Reconsidered,” Idaho Mountain Express, 14 June
Baker, R. C. “Chicken and Eggs,” Village Voice, 13–19 September, 58
Jones, Kristin M. Review of “Dereconstruction,” Frieze, October, 259
Masters, H. G. Review, L Magazine, 30 August–12 September, 68
McKinnon, John. Review, Time Out Chicago, 19–25 October
Princenthal, Nancy. Review, Art in America, December
Velasco, David. Review,, Critics’ Picks, 18 September
Velasco, David. Review of “Dereconstruction,” Artforum, September, 374
Winkleman, Edward. Artist of the Week,, 10 July
Review, Art MoCo, 31 October
Update, Interior Design, June, 38 (reproduction)

Cotter, Holland. “The Sun Rises in the Evening,” New York Times, 10 June, E44
Hainley, Bruce. “Only Connect: The Art of B. Wurtz,” Artforum, October, 242–247 (reproductions)

White, Roger. Review of “Curious Crystals of Unusual Purity,” Brooklyn Rail, September, 17

Olson, Marisa S. “Guide to Trust No. 2 at the Yerba Buena Center for the Arts,” Artweek, May

Cotter, Holland. Review, New York Times, 14 December, E40
Cotter, Holland, “Not a. Lear,” New York Times, 12 October, E37
Grabner, Michelle. Review, Frieze, April, 96 (reproduction)
McQuaid, Cate. “Everyday Epiphanies,” Boston Globe, 19 April, D6

Johnson, Ken. Review, New York Times, 28 January, E37

Boström, Patrik. Review, Västerbottens Folkblad, 15 March, 3
Hainley, Bruce. “Best of the ’90s: Top Ten,” Artforum, December, 130
Ivy, Angus. “WOp: ANP Antwerp, Belgium,” Zingmagazine 3 (Spring/Summer), 230

Hainley, Bruce. “Boys will be Boys,” Frieze, November/December, 42
Schmerler, Sarah. Review, Time Out New York, 24 September–1 October, 61

Cotter, Holland. “A Show That Could Travel In Just a Carry-On Bag,” New York Times, 14 December, E44–45
Doran, Anne. Review, Time Out New York, 7 August, 47
Kandel, Susan. Review, Los Angeles Times, 16 May, F21
Madestrand, Bo. Review, Expressen, 7 January, 4 (reproduction)
Peeters, Mark. Review, NRC Handelsblad, 17 January
Rian, Jeff. “Letter from Paris,”, posted 24 March

Ericsson, Lars O. Review, Dagens Nyheter, 20 December, B3 (reproduction)

Levin, Kim. Village Voice, Choices, 28 March, 9

Levin, Kim. Village Voice, Choices, 11 May, 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 (reproduction)
Saltz, Jerry. “Mayday, Mayday, Mayday,” Art in America, September, 41–45
Smith, Roberta. Review, New York Times, 14 May, C26
Weidenbaum, Marc. “More Pictures + Music,” Pulse!, August, 17

Pagel, David. Review, ArtIssues, March/April, 34

Goings On About Town, New Yorker, 29 April, 17
Schjeldahl, Peter. “The Salon of April,” Village Voice, 14 May, 86
Schwan, Gary. “On and Off-The-Wall Art,” Palm Beach Post, 5 April, 35

Gutterman, Scott. “Natural and Unnatural Causes,” Art International, Autumn, 58 (reproduction)
Harris, Patty. “Four Summer Art Shows,” Downtown, 29 August, 12–13 (reproduction)
Smith, Roberta. “The Group Show as Crystal Ball,” New York Times, 6 July, C:1, 23

Cooper, Dennis. Review, Artforum, Summer, 143 (reproduction)

Haus, Mary. Review, ARTnews, December, 169–170
Hixson, Kathryn. Review of “Dorothy,” Chicago in Review, Arts, November, 110
Smith, Roberta. Review of “Romancing the Stone,” New York Times, 11 August, C21

Finnegan, Patrick. Review of “Photo Poetics,” Washington Blade, 1 April, 21
Grundberg, Andy. “The Logic of Display,” New York Times, 29 January
Knight, Christopher. “Re:Placement Parts: Alternative Galleries Break Down Walls,” Los Angeles Herald Examiner, 20 March, E10
McCoy, Pat. Review of “(of Ever-Ever Land I speak),” Artscribe International, January/February, 73
Raczka, Robert. “The Next Generation,” Afterimage, November, 20–21
Richard, Paul. Review of “Photo Poetics,” Washington Post, 25 March
Thorson, Alice. Review of “Photo Poetics,” Washington Times, 31 March

Artner, Alan. Review, Chicago Tribune, 12 March, 9F
Handy, Ellen. Review of “The Four Corners of Abstraction,” Arts, November, 108–109
Zimmer, William. “Post-Abstract Abstraction in Ridgefield,” New York Times, 5 July

Drohojowska, Hunter. “An Exhibit to Lift Your Post-Olympic Spirits,” Los Angeles Herald Examiner, 7 September, 27
Relyea, Lane. “Focus on Cultural Differences,” Artweek, 29 September, 6

Ricky, Carrie. “Art Attack,” Art in America, May, 41–48


“Films” (group screening), Christine Burgin Gallery, New York

“B. Wurtz: Super-8 Film Presentation,” Beyond Baroque Literary/Art Center, Venice, CA

Group screening (Super-8), Empty Space Theater, Santa Barbara, CA

Group screening (Super-8), FILMEX (Los Angeles International Film Exposition), Los Angeles



“The Potential of Twist Ties Remains Elusive,” an online project curated by Jo-ey Tang;; Link

“Sam Gordon & B. Wurtz,” North Drive Press #5 (interview)
North Drive Press #5, (multiple)

“Salon XXIV” The Journal, no. 24; curated by Joe Bradley
“Begin Again Right Back Here,” White Columns, New York; curated by B. Wurtz

Untitled publication, no. 1 (Spring), Feature Inc., New York (reproductions)

blocks, onestar press, Paris (artist’s book)
“Some Blocks,” Dinter Fine Art Project Room, 1 March 1–30 April,   HYPERLINK
“” (project archive)

Waters, John, and Bruce Hainley. Art: A Sex Book, Thames and Hudson, New York, 115, 121, 124, 135,180

Chelsea, Connaissance des Arts, November, 14–15 (reproduction of artwork)

Hudson. “Stroboscopes,” Documents sur L’Art, no. 7 (Spring), 9 (reproduction of artwork)

L’Endroit Idéal (Ideal Place), edited by Eric Troncy, L’Ile du Roy, Centre d’Art et Jardin, Val de Reuil, France, 170–171 (artist’s project)

Farm 5 (with Raymond Pettibon and Dodie Bellamy), Feature and Instituting Contemporary Idea, New York

LACE: 10 Years Documented, Joy Silverman, project director, LACE (Los Angeles Contemporary
Exhibitions), Los Angeles, 36, 55, 82 (reproductions of artwork)

Farm 2 (Head Sex), Feature and Instituting Contemporary Idea, Chicago (reproduction of artwork)

Farm, Feature and Instituting Contemporary Idea, Chicago (reproduction of artwork)


The Pollock-Krasner Foundation, Inc.

Peter S. Reed Foundation

Artist and Homeless Collaborative, Park Avenue Women’s Shelter, New York (grant to make collaborative work with residents)

National Endowment for the Arts, Honorarium (Post-Olympic Art)