Louise Lawler

Born in 1947 in Bronxville, New York; lives in New York City
Attended Cornell University (BFA 1969)

SELECTED ONE-PERSON EXHIBITIONS

2017
Louise Lawler: Why Pictures Now, Museum of Modern Art, New York (cat.)
2015
Louise Lawler, No Drones, Blondeau & Cie, Geneva
2014
The High Line Billboard, New York
Louise Lawler, No Drones, Metro Pictures, New York
Louise Lawler, No Drones, Sprüth Magers, Berlin
Louise Lawler, No Drones, Studio Guenzani, Milano
Louise Lawler, No Drones, Galerie Greta Meert, Brussels
Louise Lawler, No Drones, Yvon Lambert, Paris
Louise Lawler, No Drones, Sprüth Magers, London
2013
Louise Lawler, Adjusted, Museum Ludwig, Cologne
Long Term View, Dia Art Foundation, New York
2012
Louise Lawler, Galerie Neue Meister, Albertinum, Dresden
2011
No Drones, Sprüth Magers, London
Louise Lawler, Metro Pictures,New York
2010
“Later,” Yvon Lambert, Paris (and 1988, 1990, 2003, 2007)
2009
“Taking Place,” Sprüth Magers, Berlin
2008
“Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other,” Metro PIctures, New York (and 1982, 1987, 1989, 1991, 1994, 1997, 2000, 2004)
2007
“Where is the Nearest Camera?,” Sprüth Magers, London, (2007-2008) (and 2004)
“Louise Lawler: The Tremaine Pictures 1984-2007,” BFAS Blondeau Fine Art Services, Geneva (cat.)
Studio Guenzani (two-person exhibition with Cindy Sherman), Milan (and 2001, 1988)
2006
“Twice Untitled and Other Pictures (looking back),” curated by Helen Molesworth, Wexner Center, Ohio (cat.)
2005
“In and Out of Place: Louise Lawler and Andy Warhol,” Dia, Beacon
2004 
“Louise Lawler and Other Artists,” Museum for Gugenwartskunst, Basel, Switzerland (cat.)
Looking Forward, Metro pictures, New York
Not there, Spruth Magers, London
2003
Selected Works 1980-2000, 5 Rue de la muse, Geneva
New Walls, Yvon Lambert, Paris
“Probably Not in the Show,” Portikus, Frankfurt
“Add to It,” Portikus, Frankfurt
2001
Dunn-Rite and other Pictures, Studio Guenzani, Milan
“Controlled Temperature,” Art & Public, Geneva
“More Pictures and Other Pictures,” Galerie Meert Rihoux, Brussels (and 1988, 1991)
2000 
“More Pictures,” Metro Pictures, New York
“Paint, Wood, Plaster, Fabric, Glass and Other Pictures,” Richard Telles Fine Art, Los Angeles
“More Pictures,” Neugeriemschneider, Berlin
1999
“The Tremaine Series, 1984,” Skarstedt Fine Art, New York
“‘Hand On Her Back’ and Other Pictures,” Monika Sprüth Galerie, Cologne (and 1997)
1998
Pictures that May or May Not Go Together, Gallery Larsen, Stckholm
1997 
“Monochrome,” Hirshhorn Museum and Sculpture Garden, Washington, D.C. (broch.)
Statue, Metro Pictures, New York
Farbe, Wande, Bilder, Monika Spruth Galerie, Cologne
1996
It Could be Elvis and Other Pictures, Galerie Six Friedrich Munich
SL Simpson Gallery Toronto
Fixed intervals (two-person exhibition with Allan McCollum), John Weber Gallery, New York
1995
“A Spot on the Wall,” Munich Kunstverein, Munich; Neue Galerie am Landesmuseum Joanneum, Graz, Austria; De Appel, Amsterdam (cat.)
1994 
“Press-papiers, cartes postales, images et cannibalisme,” Centre d’Art Contemporain, Geneva
“External Stimulation,” Galleria Klemens Gasser, Bolzano, Italy; Monika Spruth Galerie, Cologne
External Stimultation, metro pictures, New York
Studio Guenzani, Milan
1993
Sprengel Museum, Hannover
1991
“For Sale,” Metro Pictures, New York
1990
“Connections, Louise Lawler: The Enlargement of Attention, No One Between the Ages of 21 and 35 is Allowed,” Museum of Fine Arts, Boston
Lawler Museum of Fina Arts, Boston
A Vendre, Galerie Yvon Lambert, Paris
1989 
“The Show Isn’t Over,” Photographic Resource Center, Boston
The Show Isn’t Over, Photographic Resource Center, Boston
1988
“Les Objets,” Galerie Meert Rihoux, Brussels
Vous Avez Déjà vu ça, Galerie Yvon Lambert, Paris
Work by Louise Lawler and Allan McCollum and Fixed interval as Matter of Agreement, Le Consortium, Dijon, (two-person exhibition with Allan McCollum)
Investigation 1988, Institute of Contemporary Art, University of Pennsylvania, Philadelphia
Studio Guenzani (two-person exhibition with Condy Sherman), Milan
1987  
“Enough, Project: Louise Lawler”, Museum of Modern Art, New York (brochure)
The Big Top is Up, Kuhlenschmidt/Simon, Los Angeles
It Remains to be seen, Metro Pictures, New York
Maison de la Culture et de la Comunication de Saint-Etienne, France (two-person exhibition with John Knight)*
Ideal Settings, Diane Brown Gallery, New York (two person exhibition with Allan McCollum)
As Serous As a Circus, Isabella Kacprzak, Stuttgart, Germany
1986 
“What is the Same,” Maison de la Culture et de la Communication de Saint Etienne, France
1985 
“Interesting,” Nature Morte, New York
1984 
“Home/Museum – Arranged for Living and Viewing,” Matrix, Wadsworth Atheneum, Hartford, Connecticut
1982 
“Another Gallery,” Anna Leonowens Gallery II, Halifax, Nova Scotia
1981
Jancar/Kulenschimidt, Jancar/Kulenschimidt Gallery, Los Angeles
1979
“A Movie Will Be Shown Without the Picture,” Aero Theater, Santa Monica; sponsored by the Foundation for Art Resources

SELECTED GROUP EXHIBITIONS

2017
Unpacking, Marciano Art Foundation,  Los Angeles (cat.)
2016
Question the Wall Itself, Walker Art Center, Minneapolis (cat.)
First Light: A Decade of Collecting at the ICA, Institute of Contemporary Art, Boston
What People Do For Money, Manifesta 11: The European Biennial of Contemporary Art, Zurich Human Interest: Portraits from the Whitney Collection, The Whitney Museum, New York
Schiff Ahoy: Contemporary Art from the Brandhorst Collection, Museum Brandhorst, The Netherlands
L’image Volee, Fondazione Prada, Milan (cat.)
Acquisitions récentes, Frac Franche-Comté, France
Ordinary Pictures, Walker Art Center, Minneapolis (cat.)
OPEN THIS END: Contemporary Art from the Collection of Blake Byrne, The Miriam & Ira D. Wallach Art Gallery, Columbia University, New York
Accrochage, Punta della Dogana, Venice
Open Spaces / Secret Places: Works from the Sammlung Verbund, Vienna, Palais de Beaux-Arts Bruxelles, Belgium
2015
Greater New York, MoMA PS1, New York
Collecting Lines: Drawings from the Ringier Collection, Villa Flora, Winterthur, Switzerland
A Republic of Art: French Regional Collections of Contemporary Art, Van Abbemuseum, The Netherlands
Et in Arcadio Ego – Weltchaos & Idylle, Museum Kurhaus Kleve, Germany
To Expose, To Show, To Demonstrate, To Inform, To Offer, Mumok, Vienna
Dimensions Variable: Artists and Architecture, Pavillon de l’Arsenal, Paris (cat.)
Reflections: A series of changing displays of Contemporary Art, National Galleries of Scotland, Edinburgh
Of Images.. Strategies on Appropriation, Museum fur Gegenwartskunst, Basel
America is Hard to See, The Whitney Museum of American Art, New York
Picasso in Contemporary Art, Deichtorhallen Hamburg, Germany (cat.)
Stories We Tell Ourselves, Aspen Art Museum
Parasophia, Kyoto International Festival of Contemporary Culture
Looking Back / The 9th White Columns Annual, White Columns, New York
2014
To Have and to Hold, Rubell Family collection/Contemporary Arts Foundation, Miami (2014-2015)
Social Factory, 10th Shangai Biennale
Rich Pickings: Photography and Wealth, Museum for Kunst & Gewebe, Hamburg
Art Lovers: Stories of Art in the Pinault Collection, Gramaldi Forum, Monaco
Works from the Pianult Collection, Palazzo Grassi, Venice
Bernd&Hilla Becher, Louise Lawler, S.M.A.K., Gent
Secrets and lies, with Cindy Sherman, Museum of Contemporary Art, San Diego
Takeit or leave it: Institution, Image, Ideology with Jenny Holzer and Barbara Kruger, Hammer Museum, Los Angeles
Codex, with John Baldessari, Ed Ruscha, Cindy Sherman, CCA Wattis Institute for Contemporary Arts, San Francisco
2013
The Causes of Things, CNAP Centre National des Arts plastiques. Brussels(cat.)
November 1 – December 21, Casey Kaplan, New York
Das beste vom Besten. Vom Riskanten Geschäft der Kunst, Kunstverein Dusseldorf
Reinventing the wheel: the readymade centenary, Monash University Museum of Art, Australia
Looking forward: gifts of contemporary art from the Patricia A. Bell Collection, Montclair Art Museum, New Jersey
Honey I rearranged the collection, Petach Tikva Museum of Art, Israel
Version Control, Arnolfini Bristol
This will have been, The institute of Contemporary Art, Boston
The causes of things, CNAP, Centre National des Arts Plastiques, Brussels
2012
Elles:Women Artists from the centre Pompidou, Paris, Seattle Art Museum(cat.)
Regarding Warhol:Sixty Artists, Fifty years, The Metropolitan Museum of Art, New York (cat)
open spaces | secret places, Museum der Moderne Salzburg, Austria(cat.)(2012-2013)
Painting in Photography, Stadel Museum, Frankfurt (cat.)
Histories de l’Art, VOX Centre de l’image contemporaine, Montreal
Spies in the House of Art Photography, Film and Video, The Metropolitan Museum of Art, New York
This Will Have Been: Art, Love&Politics, Museum of Contemporary Art Chicago; Institute of  Contemporary Art Boston; Walker Art Center, Minneapolis (2012-2013)
2011
The world belongs to you, Palazzo Grassi, Venezia
Made in Italy, Gagosian Gallery, Roma
“The Deconstructive Impulse: Women Aritsts Reconfigure the Signs of Power, 1973-1991,” Neuberger Museum of Art, Purchase College, New York; Nasher Museum of Art at Duke University, Durham, North Carolina (cat.)
2010
“Pictures by Women: A History of Modern Photography,” Museum of Modern Art, New York (2010-2011)
“Hyper Real,” Museum Moderner Kunst, Vienna (2010-2011)
“Hareng Saur: Ensor and Contemporary Art,” S.M.A.K./Museum of Fine Arts, Ghent
“Untitled (Ohne Titel),” Neue Gesellschaft für Bildende Kunst, Berlin
“Taking Place,” The Stedelijk Museum, Amsterdam (2010-2011)
“Adaptation: Between Species,” The Power Plant, Toronto (cat.)
“Sound & Vision,” Art Institute of Chicago, Chicago
“El Gabinete Blanco,” The Jumex Collection, Mexico City
2009
“Where Do We Go From Here: Selections from the Jumex Collection,” Bass Museum of Art, Miami (2009-2010)
“Beg Borrow and Steal,” The Rubell Family Collection Museum, Miami (2009-2010) (cat.)
“Mondernologies: Contemporary Artists Researching Modernity and Modernism,” Museu d’Art Contemporani, Barcelona; Museum of Modern Art, Warsaw (2009-2010) (cat.)
“See This Sound: Promises in Sound and Vision,” Lentos Kunstmuseum, Linz (2009-2010) (cat.)
“The Pictures Generation: 1974-1984,” The Metropolitan Museum of Art, New York (cat.)
“Nothingness and Being,” The Jumex Collection, Mexico City
“The Quick and the Dead,” Walker Art Center, Minneapolis (cat.)
2008
“Political Corect,” BFAS Blondeau Fine Art Services, Geneva
Metro Pictures, New York (and 2007, 2005, 2003, 2002, 2000, 1996, 1994, 1993, 1992, 1991, 1990, 1989, 1987, 1986, 1985, 1984, 1981)
“Blasted Allegories: Works from the Ringier Collection,” Kunstmuseum, Luzern (cat.)
“The Museum as Medium,” Museo de Arte Contemporánea de Vigo, Spain
“Whitney Biennial 2008,” Whitney Museum of American Art, New York (cat.)
2007
“Documenta 12,” Aue-Pavillon, Kassel (cat.)
Museum Ludwig, Köln
“Held Together With Water,” Sammlung Verbund, MAK, Vienna (cat.)
Sammlung Verbund, MAK, Vienna (cat.)
The Ellipse Foundation: Contemporary Art Collection, Portugal
“Not for Sale,” P.S.1, New York
“The 80′s: A Topography,” Fundação Serralves, Porto, Portugal (cat.)
“Sequence 1: Selections from the Collection of François Pinault,” Palazzo Grassi, Venice (cat.)
2006
“Why Pictures Now,” Museum Moderner Kunst, Austria (cat.)
“An Ongoing Low-Grade Mystery,” Meert-Rihoux, Brussels
“Make Your Own Life: Artists In & Out of Cologne,” ICA: University of Pennsylvania; The Powerplant, Toronto; The Henry Art Gallery, Seattle; MOCA, Miami
2005
“Museum Fever: Included Louise Lawler,” National Museum of Art, Oslo
“Slide Show,” The Baltimore Museum of Art, Maryland (cat.)
“Flashback: Revisiting the Art of the Eighties,” Kunstmuseum Museum for Gegenwartskunst, Basel (cat.)
2004  
“The Big Nothing,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia (cat.)
2003
“Pletskud,” Arken Museum for Moderne Kunst, Skøvej, Germany
“The Last Picture Show: Artists Using Photography 1960-1982,” Walker Art Center, Minneapolis; Museo de Arte Contemporanea de Vigo, Spain; Fotomuseum Winterthur, Switzerland; Miami Art Center (cat.)
“Designs for Living,” Margo Leavin Gallery, Los Angeles
2002 
“Open House,” Casino Luxembourg, Luxembourg (cat.)
“Visions from America: Photographs from the Whitney Museum of American Art,” Whitney Museum of American Art, New York (cat.)
“Extension,” Magasin 3 Stockholm Konsthall, Stockholm, Sweden (broch.)
“Life, Death, Love, Hate, Pleasure, Pain,” Museum of Contemporary Art, Chicago (cat.)
2001    
“American Art,” Galerie Rudolfinum, Centre of Contemporary Arts, Prague (cat.)
“Televisions,” Kunsthalle Wien, Vienna (cat.)
2000 
“rot grau” (red grey), Kunsthalle Basel
“Whitney Biennial,” Whitney Museum of American Art, New York (cat.)
1999   
“The Museum as Muse”, Museum of Modern Art, New York; Museum of Contemporary Art, San Diego (cat.)
“Shelf Life,” Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
“Triennale Exhibition: Sentiment of the Year 2000,” Triennale di Milano, Italy
1997 
“Collected,” The Photographer’s Gallery, London
“Foto Text Text Foto,” Fotomuseum Winterthur, Zurich, Switzerland
“Deep Storage/Arsenale der Erinnerung,” Haus der Kunst, Munich Nationalgalerie SMPK, Berlin, Germany; Kunstmuseum Dusseldorf im Ehrenhof, Germany; Henry Art Gallery, Seattle (cat.)
“Moving Images,” Galerie für Zeitgenössische Kunst, Leipzig, Germany (cat.)
1996  
“Cultural Economies: Histories from the Alternative,” The Drawing Center, New York
“Comme Un Oiseau,” la Fondation Cartier pour l’art Contemporain, Paris
“Architecture, Art, and Planning Department Centennial,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York
“10th Biennale of Sydney,” Art Gallery of New South Wales; Artspace, New South Wales; Ivan Dougherty Gallery, Australia (cat.)
1995 
“The End(s) of the Museum,” Fundacio Antoni Tapies, Barcelona (cat.)
“Passions Privees,” Musée d’Art Moderne de la Ville de Paris (cat.)
1994  
“Radical Scavenger(s): The Conceptual Vernacular in Recent American Art,” Museum of Contemporary Art, Chicago
“Die Orte der Kunst,” Sprengel Museum, Hannover, Germany
“4 x 1 im Albertinum,” Gemaldegalerie Neue Meister, Staatliche Kunstsammlungen, Dresden, Germany (cat.)
“Temporary Translation(s): Sammlung Schurmann,” Deichtorhallen Hamburg, Germany (cat.)
1993  
“Louise Lawler, Cindy Sherman, Laurie Simmons,” Kunsternes Hus, Oslo; Museum of Contemporary Art, Helsinki, Finland (cat.)
“The Image of the Exhibition,” Hochschule für Angewandte Kunst, Vienna, Austria
“The Nightshade Family,” Museum Fridericianum, Kassel, Germany (cat.)
“The Language of Art,” Kunsthalle Wien, Vienna, Austria
“Kontext Kunst,” Neue Galerie am Landesmuseum Joanneum, Graz, Germany (cat.)
“Songs of Retribution,” Richard Anderson Gallery, New York
1992 
“American Art of the 80s,” Museo d’Arte Moderna e Contemporanea di Trento, Italy (cat.)
“Informationsdienst,” Kunstlerhaus Stuttgart, Germany
1991   
“Whitney Biennial,” Whitney Museum of American Art, New York (cat.)
“Anni Novanta,” Galeria Communale d’Arte Contemporanea, Bologna, Italy
“Devil on the Stairs: Looking Back on the 80s,” Institute of Contemporary Art, Philadelphia, Pennsylvania; Newport Harbor Art Museum, Newport Beach, California
“Carnegie International,” Carnegie Museum of Art, Pittsburgh, Pennsylvania (cat.)
“Hugo-Erfurth-Preis: Manuel Alvarex Bravo, Louise Lawler, Henk Tas,” Museum Morsbroich, Leverkusen, Germany (cat.)
1990    
“The Decade Show,” New Museum of Contemporary Art, New York
“Affinities and Institutions: The Gerald S. Elliott Collection of Contemporary Art,” Art Institute of Chicago
“Word as Image,” Contemporary Arts Museum, Houston
1989 
“Photography of Invention: American Pictures of the 1980s,” National Museum of American Art, Smithsonian Institute, Washington, D.C.
“A Forest of Signs: Art in the Crisis of Representation,” Museum of Contemporary Art, Los Angeles (cat.)
“Tenir L’image a distance,” Musee d’Art Contemporain de Montreal
“Confronting the Uncomfortable: Questioning Truth and Power,” Yale University Art Gallery, New Haven, Connecticut
“In Other Words,” Museum am Ostwall, Dortmund, Germany
“Moscow – Vienna – New York,” The Vienna Festival, Austria
1988  
“Investigations 26: Louise Lawler,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia
“Five Installations,” Museum of Contemporary Art, Los Angeles
“Presi Per Incantamento,” Padiglione d’Arte Contemporanea di Milano, Italy
“Work by Louise Lawler and Allan McCollum and Fixed Intervals as Matter of Agreement,” Le Consortium, Dijon, France (two-person exhibition with Allan McCollum)
1987  
Maison de la Culture et de la Communication de Saint-Etienne, France, (two-person exhibition with John Knight) (cat.)
“Photography and Art: Interactions Since 1946,” Los Angeles County Museum of Art; Museum of Art Fort Lauderdale; Queens Museum, New York
“Implosion: A Postmodern Perspective,” Moderna Museet, Stockholm (cat.)
1986    
“Damaged Goods,” New Museum of Contemporary Art, New York
“l’oeuvre et son accrochage,” Centre Georges Pompidou, Paris
“Art and Its Double: A New York Perspective, ” Fundacio Caixa de Pensions, Barcelona; Caixa de Pensions, Madrid (cat.)
1985  
“The Art of Memory/The Loss of History,” New Museum of Contemporary Art, New York
“New York Now: Correspondences,” Laforet Museum, Tokyo; traveled to (1986) Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan; Tazaki Hall Espace Media, Kobe, Japan
1984 
“Masking/Unmasking: Aspects of Post-Modernist Photography,” The Friends of Photography, Carmel, California
“Ideal Settings,” Diane Brown Gallery, New York (two-person exhibition with Alan McCollum)
“New York, Ailleurs et Autrement,” ARC Musee d’Art Moderne de la Ville de Paris
1983  
“Multiple Choice,” P.S. I, New York
“Drawings/Photographs,” Leo Castelli, New York
1981   
“Extended Photography,” Secessionist Museum, Vienna
1978
“_________, Louise Lawler, Adrian Piper and Cindy Sherman are participating in an exhibition organized by Janelle Reiring at Artists Space, September 23 to October 28, 1978,” Artists Space, New York

SELECTED BIBLIOGRAPHY

2017
Marcoci, Roxana, ed. Louise Lawler: Receptions. The Museum of Modern Art, New York
Meade, Fionn and Jordan Carter. Question the Wall Itself. Walker Art Center, Minneapolis: 15, 43, 96-97, 100, 232-243
Woodward, Richard. “An Audience of Insiders,” The Wall Street Journal (May 4): A12.
Smith, Roberta. “Stealth Aesthetic, Muted Aura,” The New York Times (May 12): C13, C16.
Schjeldahl, Peter. “Looking and Seeing: A Louise Lawler Retrospective,” The New Yorker (May 8): 72-73.
2016
Byers, Dan, ed. The Artist’s Museum. ICA Boston and Delmonico Bools / Prestel, Munich, London, New York: 112-121
Hoffmann, Jens. Animality. Marianne Goodman Gallery, New York, London and Paris: 94
Bethenod, Martin, ed. Pinaul Collection 07, Pinault Collection, Paris: 95.
Greenough, Sara. Photography Reinvented.The Robert E. Meyerhoff and Rheda Becker Collection. National Gallery of Art, Washington and Princeton University Press: 57-9
Crimp, Douglas. “Pictures. S’ Approprier La Photographie. New York, 1979-2014.” Le Point du Jour, Cherbourg-Octeville, France: front cover, 70, 70, 73-4, 97, 199-209
Thomas Demand and Chiara Costa, eds. L’image Volee. Fondazione Prada, Milan: 47, 77
Crosby, Eric, ed. Ordinary Pictures, Walker Art Center, Minneapolis: 127-129.
Alex Kitnick, “Greater New York,” Artforum (January): 236-237.
Isabel Flower, “Preview: ‘Ordinary Pictures,’” Artforum (January): 138.
Sabrina Tarasoff, “In The Avant-Foyer: On Decadence And De-Facement,” Mousse Magazine (February): 40-53.
Taylor Dafoe, “MoMA to Mount Louise Lawler Retrospective in 2017,” BlouinArtInfo.com (June 23).
2015
Bob Nickas,  The Dept. of Corrections. Karma, New York: 251, 256-260, cover.
Springerin. Spring 2015: 16-17, 86, 93, cover.
Dirk Luckow, ed. Picasso in Contemporary Art. Snoeck Verladgesellschaft mbH, Cologne: 192-193.
Ines Gebetsroither, “Lawler, Louise; McCollum, Allan.” In to expose, to show, to demonstrate, to inform, to offer. Artistic Practices around 1990. Edited by Matthias Michalka. Museum Moderner Kunst Stiftung Ludwig Wien and Verlag der Buchhandlung Walther Konig, Koln: 128-131.
2014
Tanja Baudoin and Sven Lutticken, eds. Louise Lawler. A movie Will be Shown Without the Picture. If I can’t dance I don’t want to be part of your revolution, Amsterdam.
Gordon Hughes. Resisting Abstraction. The University of Chicago Press: 1-2.
Ann Ellegood and Johanna Burton, eds. Take it or Leave it: Institution, Image, Ideology. Prestel, New York and the Hammer Museum, Los Angeles: 174.
Lee Beard and Rebecca Morrill, eds. The Twenty First Century Art Book, Phaidon Press Limited, London and New York:152
Hannah Stamler,  “Louise Lawler, Metro Pictures”, Modern Painters (September), 85.
Graham Bowley. “A Louise Lawler Billboard for the High Line”, Artsbeat.blogs.nytimes.com (August 19)
Nate Freeman. “A Louise Lawler Work Depicting A Room at Sotheby’s Will Greet Passersby Walking the High Line” GalleristNY.com (August 19)
Laurie Hurwitz. “Louise Lawler at Yvon Lambert”, ARTnews (Summer 107).
Nicholas Linnert, “Louise Lawler at Metro Picture”, Artforum.com (July 15)
Hannah Stamler, “Review. Louise Lawler at Metro picture”, blouinartinfo.com (July 5)
Art in America (April), cover
Jorg Scheller, Louise Lawler at Museum Ludwig, Cologne, Frieze d/e (March/April), 116-7
2013
Hans- Jurgen Hafner, Das Beste vom Besten, Kunstverein Dusseldorf, 2013
“A Portfolio (traced)” Artforum (October): 230-239
Mignon Nixon, “Preview: Louise Lawler : Adjusted, Artforum (September) 198.
Faucon, Sèbastien and Carine Fol. The Causes of Things,. CNAP Centre National des arts plastiques, Paris: 42, 43.
Robin Kesley. Our Lady of Perpetual Help:Thoughts on Recent Scolarship on Photography, Aperture(Spring): 50-55
2012
Hans-Jurgen Hafner, “Curator’s key”, Spike (Winter): 44-5
Untitled: The Salomon Collection, les presses de Cultura, Wetteren, Belgium: 102-106
Helen Molesworth. “Louise Lawler: Just the Facts”. In Interiors, edited by Johanna Burton, Lynne Cook, and Josiah McElheny. Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York and Sternberg Press, Berlin: 18-21.
Morineau Camille and Annalisa Rimmaudo, eds. elles@centrepompidou, Centre Pompidou, Paris, Seattle Art Museum: 57
Mark Rosenthal et al., Regarding Warhol: Sixty Artists, Fifty Years, The Metropolitan Museum of Art, New York: 114.
Vera Dika, The(Moving) Pictures Generation, Palgrave Macmillan, New York: 169.
Douglas Crimp. Indirect Aswers, Artforum(September): 502-505
Martin Engler, ed. Painting in Photography, Stadel Museum, Frankfurt and Kehrer Verlag, Berlin: 78-83, cover
Helen Molesworth, ed. This will have been:Art, Love&Politics in the 1980’s, Museum of Contemporary Art Chicago and Yale University Press, New Haven: 89-91, 360-362.
Gegen die Wand, Monopol(February): 42 – 47.
2011
Nancy Princenthal (ed.), The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1991, Neuberger Museum of Art, DelMonico Books Prestel, Munich, pp. 124-127
2010
Adaptation: Between Species, The Power Plant, Toronto, pp. 34
Stefan Ratibor (ed.), Roy Lichtenstein: Still Lifes, Gagosian Gallery, New York, pp. 200-215
2009
Juan Roselione-Valadez (ed.), Beg Borrow and Steal, Rubell Family Collection, Miami, pp. 146-149
Isabelle Graw, “A Stroke of Genius: On Louise Lawler at Sprüth/Magers, Berlin,” Texte zur Kunst, December, pp. 132-135
Hilde Van Gelder and Helen Westgeest, “Photography and painting in multi-mediating pictures,” Visual Studies, Volume 24 #2, September, pp. 122-131
Daniel Schreiber, “Portfolio: Louise Lawler,” Monopol, September, pp. 68-79
See This Sound, Lentos Kunstmuseum, Linz, pp. 95, 261
Sabine Breitwieser (ed.), Modernologies: Contemporary Artists Researching Modernity and Modernism, Museu D’Art Contemporani, Barcelona, pp. 134-139
Peter Eleey (ed.), The Quick and the Dead, Walker Art Center, Minneapolis, pp. 12-13, 340-341
Douglas Eklund, The Pictures Generation, 1974-1984, The Metropolitan Museum of Art, New York
Barbara Pollack, “The Bowl and the Beautiful,” Art in America, May, pp. 90-91
Stephen Melville, “Twice Untitled and Other Shows,” The Journal of Visual Culture, Sage Publications, pp. 103-115
Peter Schjeldahl, “Alien Emotions: Pictures Art Revisited,” The New Yorker, May 4, pp. 74-75
Holland Cotter, “At the Met, Baby Boomers Leap Onstage,” The New York Times, April 24, pp. C27, C30
Stacey Allan, “Role Refusal: On Louise Lawler’s Birdcalls,” Afterall, #20, Spring, pp. 108-113
Guy Trebay, “The Last Collection,” The New York Times Magazine, February 15, pp. 46-47
2008
Ann Goldstein, “Best of 2008: Louise Lawler, ‘Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other,’” Artforum, December, pp. 284
Bob Nickas, “Best of 2008: Louise Lawler, ‘Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other,’” Artforum, December, pp. 293
Jörg Heiser, “Art Versus Market: The Logic of Unseizable Gratification,” Things That Matter in Contemporary Art, Sternberg Press, Berlin, pp. 248-251
Hubert Beck and Günter Engelhard, Fotografie, Stadel Museum, Hatje Cantz Verlag, Ostfildern, pp. 156-157
Beatrix Ruf (ed.), Blasted Allegories: Works from the Ringier Collection, JRP Ringier, Zurich, pp. 128-129, 146-147, 201
Jerry Saltz, “The Art World’s Space Invader,” New York, June 2, pp. 76-77
2008 Biennial Exhibition, Whitney Museum of American Art, New York and Yale University Press, New Haven, pp. 164-165
Martin Coomer, “Louise Lawler,” Time Out, London, January 7
2007
Louise Lawler: The Tremaine Pictures 1984-2007, Geneva: BFAS Blondeau Fine Art Service
Pop Art Is, Gagosian Gallery, London, pp. 128-137
Helen Molesworth, “Hidden Agendas,” Frieze, September, pp. 140-141
Rhea Anastas, “Her Kindling Voice,” Texte Zur Kunst, Issue #67, September, pp. 160
Andrea Miller-Keller and Stephen Melville, Louise Lawler: The Tremaine Pictures, BFAS Blondeau Fine Art Services, Geneva, pp. 94
Documenta 12, Documenta und Museum Fridericianum, Kassel, pp. 144-145
Andrea Kroksnes, “Where is Meaning?,” Held Together With Water, Sammlung Verbund, Hatje Cantz, Ostfildern, pp. 300-313
The 80′s: A Topology, Ulrich Loock (ed.), Museu Serralves, Portugal, pp. 355
Sequence 1: Selections from the Collection of François Pinault, Palazzo Grassi, Venice and Skira Editore, Milan, pp. 104-105, 122-131
2006
Why Pictures Now, Museum Moderner Kunst, Austria, pp. 122-125
Anselm Haverkamp, “Den Konflikt im Blick,” Texte Zur Kusnt, December, pp. 208-214
Twice Untitled and Other Pictures (Looking Back), Helen Molesworth (ed.), essays by Rosalyn Deutsche, Ann Goldstein and Helen Molesworth, The MIT Press, Cambridge, MA, pp. 195
Kirsten Swenson, “Louise Lawler Looks Back,” Art in America, December, pp. 116-121, 168
Hamza Walker, “Reviews: Twice Untitled and Other Pictures (Looking Back), Modern Painters, November, pp. 100-101, 125
Julia Bryan-Wilson, “Previews,” Artforum, September, pp.164
Superstars: von Warhol bis Madonna, Kunsthalle Wien & BA-CA Kunstforum, pp. 157, 160, 177
James Welling, “Louise Lawler,” Bomb, Spring, no. 95, pp. 22 + cover
Hal Foster et al., Art Since 1900, Thames & Hudson, United Kingdom
Achim Hichdorfer, “Louise Lawler,” Camera Austria, Munich, vol. 92, pp. 9-22 and cover image
2005
Garzona, Daniel: Conceptual Art Cologne
Ann Goldstein, BEST OF 2005, ARTFORUM International, December, p. 246
Hatje Cantz Verlag, Flashback: Revisiting the Art of the 1980s,Kunstmuseum Basel, Museum fur Gegenwartskunst, SwitzerlandNancy Princenthal, “Review of Exhibitions: Louise Lawler at Metro Pictures,” Art in America,February, pp. 125-126
Brian Sholis, “Reviews: Louise Lawler at Metro Pictures,” Untitled, London, no. 33, Spring, p. 57
Elizabeth Schambelan, “Louise Lawler – Metro Pictures,” Artforum, February, p. 172
Max Henry, “Louise Lawler: Looking Forward,” Modern Painters, London, February, pp. 106-107
Slide Show, essays by Darsie Alexander and Robert Storr, The Pennsylvania University Press, University Park, Pennsylvania, pp. 114-117
Elizabeth Hamilton, ed., The Blake Byrne Collection, MOCA, Los Angeles, p. 50
Museumsfeber: Works From the Collections. Included: Louise Lawler, essays by Marianne Yvenes, Andrea Kroksnes, Ellen Lerberg, Museumsfeber, Oslo (cat.)
Lisa Skolnik, “5 Things You Need to Know about Collecting Photography,” Chicago Tribune Magazine, 13 November, pp. 19-21
2004 
Eleanor Heartney, “Pictures From the Exhibition,” Art Press, Paris, no. 301, pp. 36-42
Bruce Hainley, “Mata Hari Takes a Picture,” Frieze, London, September, pp. 80-87
Louise Lawler and Others, edited by Philipp Kaiser, essays by George Baker, Jack Bankowsky, Andrea Fraser, Isabelle Graw, and Brigit Pelzer, Hatje Cantz, Ostfildern-Ruit, Germany (cat.)
2003  
Yang Hae-gyu, “Ecology and Art container in the Frames”, Art in Culture
Birgit Pelzer, “Interpositions. The Work of Louise Lawler,” Exit, Madrid, no. 9, pp. 50-79, (cover illustration)
The Last Picture Show: Artists Using Photography 1960-1982, Walker Art Center, Minneapolis; Museo de Arte Contemporanea de Vigo, Spain; Fotomuseum Winterthur, Switzerland; Miami Art Center (cat.)
After the Observatory, Paula Cooper Gallery, New York (images used as catalogue illustration)
2002
Visions from America: photographs from the Whitney museum of American Art, New York
Osborne, Peter (Ed.): Conceptual Art, Phaidon Press, London
Photography Transformed, essay by Klaus Kertess, Harry N. Abrams, New York, pp. 128, 239
Open House, essay by Adam Budak, Casino Luxembourg, Luxembourg
Extension, Magasin 3 Stockholm Konsthall, Stockholm, Sweden
Conceptual Art, edited by Peter Osborne, Phaidon Press, London, p. 179
2001
Televisions, Vienna: Kunsthalle: Kunsthalle Wien
Art amd Artifact-The Museum as Medium, London: James Putnam Thames & Hudson
American Art, Prague: The Centre of Contemporary Art
American Visionaries, New York: Whitney Museum of American Art
Bruce Hainley, “Louise Lawler,” Frieze, London, January/February, p. 102, (p. 97 illustration)
Pierre Leguillon, “Le Debut d’une Histoire et La Fin d’une Autre”, Art Press (spècial)
Johannes Meinhardt, “Erhellende Konstellation,” Kunstforum, Berlin, January/March, pp. 230-249
Art Now, edited by Burkhard Riemschneider and Uta Grosenick, Taschen, Cologne, pp. 94-95
2000 
David Pagel, “Beauty, Through the Eye of Its Beholder,” Los Angeles Times, 18 February, p. 34
Margaret Sundell, “Louise Lawler, Metro Pictures,” Artforum, April, pp. 140-141
Louise Lawler: An Arranagement of Pictures, essay by Johannes Meinhardt, interview with Louise Lawler by Douglas Crimp, Assouline, Paris and New York
Modern Contemporary: Art at MoMA Since 1980, edited by Kirk Varnedoe, Paola Antonelli, Joshua Siegel, Museum of Modern Art, New York, p. 220
Bruce Hainley, “Best of 2000,” Artforum, December, p. 132, (pp. 110-111 illustration)
1999
Roberta Smith, “Louise Lawler: Skarstedt Fine Art,” New York Times, 23 April, p. E35
Art at the Turn of the Millennium, edited by Burkhard Riemschneider Uta Grosenick, Taschen, pp. 302-305
Frazer Ward, “Critical Mass,” Frieze, London, Summer, pp. 56-57
The Museum As Muse, introduction by Kynaston McShine, Museum of Modern Art, New York, pp. 142-143
Andrea Kroksnes, “Louise Lawler: Specters of Modernism,” Parkett, Zürich, no. 57, pp. 156-161
Helen Molesworth, “Louise Lawler at Skarstedt Fine Arts,” Documents, pp. 59-62
1998 
Emotion, essays by Daniel Birnbaum, Carl Freedamn, Iwona Blazwick Deichtorhallen, Hamburg
A Spot on the Wall, edited by Hedwig Saxenhuber, essays by Rosalind Krauss, Helmut Draxler, Claudia Jottes, Oktagon, Cologne (cat.)
1997  
Helen Molesworth, “Louise Lawler: Metro Pictures, New York,” Frieze, London, May, pp. 73-74
Alexander Alberro, “Louise Lawler: Metro Pictures,” Artforum, Summer, pp. 135-136
George Baker, “Paint, Walls, Pictures: Something Always Follows Something Else. She Wasn’t Always a Statue,” Texte zur Kunst, Berlin, no. 26, pp. 88-93
Monochrome, essay by Phyllis Rosenzweig, the Hirschorn Museum and Sculpture Garden, Washington, D.C. (broch.)
1996
Rosalind Krauss, “Louise Lawler: Souvenir Memories,” Aperture, no. 145, pp. 36-39 (cover illustration)
Jurassic Technologies Revenant, (for 10th Biennale of Sydney)
1995 
Manfred Hermes, “Louise Lawler-Monika Spruth,” Flash Art, Milan, March/April, p. 108
The End(s) of the Museum, Fundacio Antoni Tapies, Barcelona
1994
Ingrid Periz, “Louise Lawler”, Art + Text, no. 49, p. 82
Martha Buskirk, “Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson,” October, no. 70, pp. 104-108
Abigail Solomon-Godeau, “The Label Show: Contemporary Art and the Museum,” Art in America, October, pp. 51-55
Tory Dent, “Alreadymade ‘Female’ Louise Lawler,” Parachute, Montréal, no. 76, Winter, pp. 20-24
Peter Doroshenko, “A Part of the Picture,” Grand Street, vol. 13, no. 3, Winter, pp. 225-233 (cover illustration)
Louise Lawler, For Sale, essay by Dietmar Elger, Thomas Weski, Reihe Cantz, Leipzig
1993 
Berta Sichel, “Louise Lawler,” Poliester, Fall, vol 2, no. 7, pp. 32-34
Louise Lawler, Cindy Sherman, Laurie Simmons, edited by Asmund Thorkildsen, Kunstnernes, Oslo
On the Museum’s Ruins, by Douglas Crimp with photographs by Louise Lawler. Cambridge: MIT Press
1992 
Maria Schneider, “Louise Lawler,” Metropolis, February
1991  
Jean-Pierre Criqui, “Louise Lawler. Critique d’art,” Art Press, Paris, January, pp. 42-46
Roberta Smith, “Art in Review: Louise Lawler,” New York Times, 31 May, p. C26
1990 
Fred Fehlau, “Louise Lawler Doesn’t Take Pictures,” Artscribe, London, May, pp. 62-65 (cover illustration)
Peter Barr, “Deconstructing. Louise Lawler at the MFA,” Art New England, December/January
1989
A Forest of Signs: Art in the Crisis of Representation, essays by Ann Goldstein and Howard Singerman, Museum of Contemporary Art, Los Angeles; published by MIT Press, Cambridge
Joshua Decter, “Louise Lawler,” Flash Art, Milan, October, pp. 127-128
Ken Johnson, “Louise Lawler at Metro Pictures,” Art in America, November, p. 191
“Louise Lawler” Kunstforum, Berlin, November/December
Robert Storr, “Louise Lawler: Unpacking the White Cube,” Parkett, Zürich, no. 22, pp. 105-108
1988
Claudia Hart, “Louise Lawler, Museum of Modern Art,” Artscribe, London, January/February, pp. 70-71
“Project,” Flash Art, Milan, November/December, pp. 93-94
Patrick Javauet, “Knight, Lawler: les lecons d’une confrontation Maison de la Culture et de la Communication,” Art Press, Paris, January, pp. 70-71
Alfred Durante, “Louise Lawler,” Arts Magazine, April, p. 93
Investigations, essay by Jack Bankowsky, Institute of Contemporary Art, University of Pennsylvania (broch.)
1987
“Louise Lawler des lieux ou des oeuvres d’art ont ete installees,” Art Press, Paris, no. 113, pp. 18-19
Jan Avgikos, “Louise Lawler, Metro Pictures,” C Magazine, Toronto, Summer, pp. 69-70
Jack Bankowsky, “Spotlight: Louise Lawler,” Flash Art, Milan, April, p. 86
Cora Rosevear, Projects: Louise Lawler, Museum of Modern Art, New York (broch.)
Parachute, Montréal, no. 46, March – May (cover)
Jean Fisher, “Louise Lawler,” Artforum, April, pp. 121-122
Implosion: A Postmodern Perspective, essays by Lars Nittve, Germano Celant, Kate Linker, Craig Owens, Moderna Museet, Stockholm
Johannes Meinhardt, “Louise Lawler: As Serious as a Circus,” Kunstforum, Berlin, October/November
1986  
Kate Linker, “Rites of Exchange,” Artforum, November, pp. 99-100
Dan Cameron, Art and Its Double: A New York Perspective, Fundacio Caixa de Pensions, Barcelona
“Project,” Artforum, November, p. 101
“Arranged for Living,” File Magazine, Toronto, 25 December, pp. 36-47, (back cover)
John Russell, “Louise Lawler,” New York Times, 30 January, p. C22
1985
Jeanne Silverthorne, “Louise Lawler, Metro Pictures,” Artforum, April, p. 89
Andrea Fraser, “In and Out of Place,” Art in America, June, pp. 122-129
1984 
Louise Lawler, “Arrangements of Pictures,” October, no. 26, pp. 3-6
Louise Lawler Matrix 77, Wadsworth Atheneum, Hartford, Connecticut
Kate Linker, “Eluding Definition,” Artforum, December, p. 66
Therese Lichtenstein, “Louise Lawler/Alan McCollum,” Arts, December, p. 34
Dan Cameron, “Four Installations: Francesc Torres, Merle Ukeles, Louise Lawler/Alan McCollum and Todt,” Arts Magazine, December, pp. 66-70
1983
Stephen F. Eisenman, “Louise Lawler,” Arts Magazine, January, p. 41
Therese Lichtenstein, “Louise Lawler,” Arts Magazine, February, p. 5
Claude Gintz, “A Pierre et Marie,” Cover, Paris, Spring, p. 6
1982  
Benjamin Buchloh, “Allegorical Procedures: Appropriation and Montage in Contemporary Art,” Artforum, September, pp. 48-49
Roberta Smith, “Didacticism, Material and Immaterial,” Village Voice, 21 December, p. 113
Guy Bellavance, “Dessaisissement et Reappropriation: du ‘photographique’ dans l’art americaine,” Parachute, Montréal, December – February, pp. 9-17
“A Picture Is No Substitute For Anything,” Wedge, no. 2, Fall, pp. 58-67