Language Writing in America, 1960-1980
Robert Longo:  Static Violence

The Look of Critique
Steven Parrino:  Designerly Violence
Spiritual America
David Salle:  Our Subjectivity
Tropical Codes:  Ross Bleckner:  Exhausted Contracts; James Welling:  Party Favors; 
Peter Nagy:  The Mutant Social; Peter Halley:  Brutal Dimensions; Not Vital:  The Inapposable World;
Jeff Koons:  Tragic Equilibrium; Joanthan Lasker:  The Qualities of Irony; Haim Steinbach:  Conversational Objects;
Gretchen Bender:  Total Effect – Neutralization and the Psychedelic Concept;
Joseph Nechvatal:  Grace Under Pressure; Saint Clair Cemin:  Perverse Objectifications; Annette Lemieux:  Unbranded Cattle; Richard Prince:  Affluent Scrutiny;
Allan McCollum:  The Blank Spectacle – from Surrogates (Generic Paintings) to Incidental Pictures and Perpetual Photos to Perfect Vehicles;
Carroll Dunham:  The Process of Automatic Appeal; Robert Gober:  The Subliminal Function of Sinks
Sal Scarpitta’s “Benny ‘Kid’ Paret”
Sculpture by Joel Fisher
Charles Clough:  The Slow Canary
Radical Consumption and the New Poverty
Country Meaning
Hegel’s Faun:  Episodes in Corporate Existentialism
Chinatown International
Sal Scarpitta:  Cars and Sleds
Off White
Ross Bleckner:  Wishful Thinking
Vera Lehndorff and Holger Trulzsch:  Body Double
Meg Webster:  Endeavored Form
Post-Appropriation and the Romantic Fallacy:  Gober, Etkin, Shaver, Carroll
Hyperframes:  A Post-Appropriation Discourse in Art
Sal Scarpitta:  The Dog Days of Myth and History
Robert Rauschenberg:  Beauty and Facticity
Charles Clough:  Hot Paint and the Cold Shoulder
Mimmo Paladino:  The Spiritual Dimension of Quantity
Trans-Europe Express
Michelangelo Pistoletto:  Ephemeral Utopias
Rene Ricard:  Sinking to the Bottom of Discourse
Closed Fires:  A Non-Introduction to “The Last Decade” or A Reprise of Joan Didion’s “The White Album”
Rene Ricard:  From Kant to Kitsch and Back Again
Ulysses and Zarathrustra:  A Few Competitive, Non-Alternative Remarks About Alternative Spaces
A New Low
Sandro Chia:  Kitsch and the Historical Moment of Painting
A New World Determined by the Sex of Abstraction
From Edmond and Jules de Goncourt to Lee Harvey Oswald: or, the Void Disguised as the Rug Beneath Our Feet
Sandro Chia:  Toward a Prolegomena of Weather as Critical Method
Sandro Chia:  Readymade Masterpieces
Julian Trigo:  The Disfigured Soul
The Wrong Logician or, Cats and Dogs Fighting Like Clouds:  Equivalence as Critical Aporia in the Work of Vik Muniz
The Ludicrous and Romantic Soul in Sandro Chia’s Small Bronze Sculptures
Alessandro Twombly:  Animal, Mineral, Vegetable
Horizontal Elevators
Le Cimetière du Montparnasse:  The Tautology of the Kiss
Bill Rice:  Venetian Blinds and Hot Red Trucks
Tuesday Morning:  A Letter to Elliot Schwartz
According to What:  A Column About Art and the Kitchen Sink
The Reality of Realist Painting in Contemporary Art
A Chickadee’s Impressions of the Intestinal Garment of Cardinal Richelieu
Room LXVII or La Quinta del Sordo (The Deaf Man’s Villa):  Goya’s Black Paintings and the Times We Live In
The Undifferentiated Truth of Art
Malcolm Morley and the Art of the Incommensurable
Barney & Joan:  Barney Rosset’s Photographs of Joan Mitchell and Joan Mitchell’s Letters to Barney Rosset
Lawrence Carroll – In Memory of Our Feelings
Saint Clair Cemin:  The Chimera at Berggasse, 19
Ross Bleckner:  Underexpression or Arrangements in Gray
Abraham David Christian:  The Palace at 4 P.M.
Sandro Chia and the Ironic Loneliness of the Long Distance Runner
Sitting in the Café Fiaschetteria
Sal Scarpitta:  Highway Sign
Abraham David Christian:  Interstate Zero
Robert Longo:  Straits of Power and the American Psyche
Remembering Joan
Re-Enter the Barbarians
El Paso, Texas:  Border Town or Crossroads of the World
Behind the Scenes of the East Village and the Post-Appropriationists in the 1980’s
Saint Clair Cemin:  From Penguins to Idols
Alex Katz:  A Walk in the Woods
Sandro Chia in Sicily:  The Bridge of Messina
Jonathan Lasker:  A Mortality of Forms
A Day with Alessandro Twombly in the Etruscan Countryside
Staying in the Moment with David Salle
The Curious Case of Line in Jonathan Lasker’s Drawings
A Tribute to Bill Rice:  A Letter, A Eulogy, A Poem
Homage to Philippe Briet
Peter Nadin:  An Odyssey of the Mark in Painting
Mark Turgeon:  Allegories of Bad Government and Good People
Mark Innerst:  Painting at the Point of Infinity
Robert Longo:  Behind the Closed Eyes of a Sleeping Universe
A Voyage by Ships Beyond the Sea:  A Poem in Seven Parts, Inspired by the Life and Work of Malcolm Morley and Based Loosely on
“The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
William Anastasi at Bludgeon’s Height:  Libido, Religion, and the Living History of Conceptual Art
Mark Innerst:  Doubt and Delirium
The Great Silence
Giacometti’s Walking Man and Alessandro Twombly’s Desert Flowers
Mimmo Paladino in a World of Disjunctions and Deflections
A Tribute to Enrico Pedrini:  The Pharmacist from Genoa (A Letter)
Remembering Barney:  A Tribute to Barney Rosset
Jeff Koons:  Shiny on the Outside, Hollow on the Inside  
Five Sentences for Jefferson Hayman
William Anastasi: Reinventing Drawing

The Mannequin of History:  Art After Fabrications of Critique and Culture
Donald Baechler: Victim of Improvement - An Introduction
Each Time I Come to Berlin
Jonathan Lasker: New Complete Essays - An Introduction
A Poem is Political, How?

“After reading your ‘Barney and Joan’ I am – what am I? Is that me, is this the gleam of recognition finally surfacing, is this writing of yours so decisively transcendental (whatever that means), so transforming me to myself, that I mistake it for greatness? I do not know. But the floods of emotion that it ignited in me are all pouring to that waiting empty lonely beautiful center. For me that one color is no longer missing. You sent me home. You can go there again. Now I know. And Joan is there, for herself, the true home she never knew. Forget me, what you have discovered about her obliterates all the pedantic nonsenses spelled out about her up till now. May the next people to discover her do so following the lines of your vision. It pleases me that you use Nicolas Calas as an important basing point – somehow I recognized his intuitive strength, half buried as it was. And then you go far beyond him. For me, you brought back from my own guts feelings which I thought were long gone.

“What do I do now – on my own? You leave me feeling both emptied and filled, exhilarated and depressed to the highest and lowest peaks and valleys, simultaneously. My teacher, Alfred Adler, at Parker School in Chicago and my most important teacher amongst many, warned me about a danger which you have so beautifully brought into view. He said that I would have to put up with the unblockable surges in myself – tremendous highs of happiness followed by the lows of depression. He said that I should look upon that state of being as a great and wonderful gift, one which few others would have. Well, your essay drove me into one of my ‘seizures’ such as I have not had for years. Alfred was right and I am lucky and you have brought that all back to me tonight. God bless you.”

“Barney [Rosset] [12:45 A.M., 4/27/01]

“(I showed this to Astrid just now and asked her if I should send it. And she said yes, right away, I understand perfectly why it makes you feel as you do – and spell Richard’s name right. I had somehow slipped a t between the i and the c.)”

*With few exceptions, indicated by an asterisk, all the texts from 1983 through 1994
were co-authored by Collins & Milazzo. All other texts in all other years were written by Richard Milazzo.

1972   Anonymous (Richard Milazzo), “Circus Breaths” (poems), 1969-1971, in riverun, Franklin & Marshall College, Lancaster, Pa., Vol. 1, No. 1, (Spring/Summer 1972).

1975   “On Essaying Essays,” in Essaying Essays: Alternative Forms of Exposition, edited by Richard Kostelanetz (New York and Milan:  Out of London Press, September 1975).
“On Logical Space,” in James Reineking, Logical Space (New York and Milan: Out of London Press, 1975).

1976   “Autonomous Propositions” (essay) and “Five Poems” (1975), in Il Verri, No. 4 (Mantova, Italy, December 1976).

1978“The Italics of Attentuation:  Reference and the Ontology of Refusal in Contemporary Italian Poetry” (afterword), October 1978, in The Waters of Casablanca:  Analogic and Ablative Poiesis Towards Ontologic Writing in Italy, co-edited by Richard Milazzo, in Chelsea, No. 37 (December 1978).

1980   “The Monological Mirror” (manifesto), co-written with Luigi Ballerini, in L-A-N-G-U-A-G-E, No. 11 (January 1980).
“Tetragon” (preface), co-written with Luigi Ballerini, in The Invisible Philosophy:  French and Italian Writing, co-edited by Richard Milazzo, Gizeh, No. 1 (New York and Milan:  Out of London Press, Fall, 1980).
“Victim Charm” (essay), “The Infant Universe” (poetry), “Abrupt Mirror” (poetry), in The Invisible Philosophy: French and Italian Contemporary Writing, co-edited by Richard Milazzo, Gizeh, No. 1 (New York and Milan:  Out of London Press, Fall 1980).
“Theo-Syncopation” (introduction), in The Syntactic Revolution:  Collected Works of A.L. Gillespie, edited with textual notes by Richard Milazzo (New York and Milan:  Out of London Press, September 1980).

1981   “Abrupt Mirror” (poetry) (1980), translated from English into Italian, in Tam Tam, No. 25 (Parma, Italy, January 1981).
“Language Writing in America, 1960-1980)” (introduction), co-written with Luigi Ballerini, in La Rosa Disabitata:  Poesia Trascendentale Americana, 1960-1980, co-edited by Richard Milazzo, Materiali 56 / Testi 3 (Milan:  Feltrinelli Editore, May 1981).

1982   “Trigon” (preface) and “Biconditional Trans-Negligibility” (introduction), in Rosemary Mayer, Pontormo’s Diary, co-edited by Richard Milazzo (New York and Milan:  Out of London Press, October 1982).
“No Warning” (preface) and “Deer Charge: A Tract on Sentiment and Style” (introduction), in Beauty and Critique: Hypothetic Structurations of Cotenability Toward a Theory of Modal Criticism in Art,
edited by Richard Milazzo (New York:  Time & Space Limited, 1982).

1983   “Deer Charge:  A Tract on Sentiment and Style,” in Partial Texts:  Essays and Fictions, in Wedge, Nos. 3/4/5 (1983).
*“Stephen Lack:  New Evidence,” in Flash Art, No. 114 (November 1983).
“Residual Ontology,” co-written with Debra Satz, March/April 1979, in The Favorite Malice:  Ontology and Reference in Contemporary Italian Poetry, edited by Thomas J. Harrison (New York and Milan: Out of London Press, 1983).

“Robert Longo: Static Violence,” in Flash Art, No. 112 (May 1983).
“Robert Longo: Static Violence,” reprinted in Effects: Magazine for New Art Theory, No. 1 (Summer 1983).

1984   *“The Monological Mirror” (manifesto), co-written with Luigi Ballerini, in The L-A-N-G-U-A-G-E Book:  Poetics of the New, edited by Bruce Andrews and Charles Bernstein (Carbondale and Edwardsville, Illinois:  Southern Illinois University Press, 1984).
*“Deer Charge:  A Tract on Sentiment and Style,” in Postmoderno e letteratura: percorsi e visioni della critica in America, edited by Peter Carravetta and Paolo Spedicato (Milan:  Bompiani, February 1984).
“The Look of Critique:  Anomaly and Instrumentality in the Meta-Spectacle” (introduction), in Collaboration:  Constructs for the New Scrutiny, co-edited by Collins & Milazzo, in New Observations,
New York, No. 20, 1984.
“Theoretical Landscapes:  The Nebulous Spectacle and the Subtended Psyche” (exhibition statement), Civilization and the Landscape of Discontent, curated by Collins & Milazzo, Gallery Nature Morte, New York, April 1984.
“Still Life with Transaction:  Former Objects, New Moral Arrangements, and the History of Surfaces” (exhibition statement), curated by Collins & Milazzo, International with Monument Gallery, New York, March/April 1984.
“Raffaele Perrotta:  La fredda serata genovese del segno,” (in English) in Il Cobold Magazine, No. 11 (April-June 1984).
“Curator’s Note” and “Natural Genre:  From the Neutral Subject to the Hypothesis of World Objects” (introduction), in Natural Genre (catalogue), curated by Collins & Milazzo, School of Visual Arts, Fine Arts Gallery and Museum, Florida State University, Tallahassee, Florida, September 1984.
“Steven Parrino:  Designerly Violence,” in East Village Eye, October 1984.
“Excerpts from Natural Genre,” in Spectacle:  A Field Journal from Los Angeles, No. 2 (1984).
“The New Capital” (exhibition statement), curated by Collins & Milazzo, White Columns, New York, December 1984 - January 1985.
“Sentimental Pressure” (introduction), in Forced Sentiment (catalogue), curated by Robert Longo, Artists Space, New York, December 1984 - January 1985.

1985   “On Nature,” in Wild History, compiled by Richard Prince (New York: Tanem Press, 1985).
“Final Love” (exhibition statement), curated by Collins & Milazzo, Cash/Newhouse Gallery, New York, March-April 1985.
“Crowded God” (A Performance Text for Robert Longo’s The Marble Fog), Brooklyn Museum, New York, April 13, 1985.
“Paravision” (exhibition statement), curated by Collins & Milazzo, Postmasters Gallery, New York, 1985.
“Richard Milani:  The Disinternalized Self” and “Tom Brazelton:  Glamorous Negations,” in Failure and Deliberation, in New Observations, New York, No. 28 (1985).
“Total Effect:  Neutralization and the Psychedelic Concept,” in Zien Magazine, Rotterdam, No. 8 (1985).
“Final Love,” in Creativa:  Foglio Aperto d’Arte e Cultura, Genova, Italy, No. 4 (March/April 1985).
“Persona Non Grata” (exhibition statement), curated by Collins & Milazzo, Daniel Newburg Gallery, September 11 - October 5, 1985.
“Neutral Trends,” in East Village Eye, October 1985.
“Richard Milani:  The Disinternalized Self” and “Tom Brazelton: Glamorous Negations,” in Failure and Deliberation, in Per Approssimazioni, Palermo, Italy, September/December 1985.
“Alexander Hahn:  The Generic Event,” in Swiss Artists in New York, Vol. 1 (Switzerland: Richard H. Pichler, 1985).
“Alexander Hahn:  The Generic Event,” in Fri-Art:  Made in Switzerland (CH-Fribourg, Switzerland, 1985).
“The New Sleep:  Stasis and the Image-Bound Environment:  Joseph Nechvatal, Gretchen Bender, Sara Hornbacher, Paul Nichols,” from “Video:  The Reflexive Medium,” guest edited by Sarah Hornbacher,
in Art Journal (College Art Association), Vol. 45, No. 3 (Fall 1985).
“Barry Bridgwood:  Still Life to the Power of X” (catalogue), New Math Gallery, New York, November-December 1985.
“Cult and Decorum” (exhibition statement), curated by Collins & Milazzo, Tibor De Nagy Gallery, New York, December 1985 - January 1986.

1986   “Time After Time (A Sculpture Show),” (exhibition statement), curated by Collins & Milazzo, Diane Brown Gallery, New York, March 8 - April 2, 1986.
“Spiritual America” (newsletter-cum-catalogue), Spiritual America, curated by Collins & Milazzo, CEPA, Buffalo, New York, May 3 - June 15, 1986.
“David Salle:  Unsere Subjektivitat” [Our Subjectivity], in Kunstforum, Bd. 83 (March/April/May 1986).
“Tropical Codes” / A Selection:  Ross Bleckner:  Exhausted Contracts; James Welling:  Party Favors; Kevin Larmon:  Yellow Table; Sarah Charlesworth:  Natural Signs – from Structural Reformulation to Iconic Abstraction; Peter Nadin:  The New Moral Order; Joel Otterson:  Higher Syntax; Meyer Vaisman:  Special Norms; Peter Nagy:  The Mutant Social; Peter Halley:  Brutal Dimensions; Not Vital:  The Inapposalble World; Jeff Koons:  Tragic Equilibrium; Joanthan Lasker: The Qualities of Irony; Haim Stainbach:  Conversational Objects; Michael Zwack:  Inexistentialization and the Human Promise; Gretchen Bender:  Total Effect – Neutralization and the Psychedelic Concept; Joseph Nechvatal:  Grace Under Pressure; Oliver Wasow:  A Groundless Phenomenology; Joel Fisher:  Recognition in Reverse; Saint Clair Cemin:  Perverse Objectifications; Annette Lemieux:  Unbranded Cattle; in Kunstforum, Bd. 83 (March/April/ May 1986).

“Gary Stephan: Transzendentale Ubereinkunfte” [Transcendental Agreements], in Kunstforum, Bd. 84 (June/July/August 1986).
“Tropical Codes II” / A Selection:  Richard Prince:  Affluent Scrutiny; Allan McCollum:  The Blank Spectacle – from Surrogates (Generic Paintings) to Incidental Pictures and Perpetual Photos to Perfect Vehicles; Carroll Dunham:  The Process of Automatic Appeal; Robert Gober:  The Subliminal Function of Sinks; Olivier Mosset:  Found Abstraction; in Kunstforum, Bd. 84 (June/July/August 1986).
“Paravision” (in Spanish and English), in Figura (Seville, Spain), No. 6 (1986).
*“An Interpretation of a Text by Alberto Cappi on Flavio Ermini, Entitled ‘Soledad’,” in Differentia:  Review of Italian Thought, No. 1 (Autumn 1986).
“Sara Hornbacher:  The Torque Habit” and “Joseph Nechvatal:  Grace Under Pressure,” from “The New Sleep:  Stasis and the Image-Bound Environment,” in Differentia: 
Review of Italian Thought
, No. 1 (Autumn 1986).

“Ultrasurd” (catalogue essay), curated by Collins & Milazzo, S.L. Simpson Gallery, Toronto, Canada, September-October 1986.
“Robin Rose:  Tranquil Crisis” (catalogue), Fendrick Gallery, Washington D.C., October-November 1986.
“Modern Sleep” (pamphlet), curated by Collins & Milazzo, American Fine Arts Co., New York, October-November 1986.

1987   “The Antique Future” (pamphlet), curated by Collins & Milazzo, Massimo Audiello Gallery, New York, February-March 1987.
“Abraham David Christian” (catalogue), Diane Brown Gallery, New York, February-March 1987.
“Sal Scarpitta’s Benny ‘Kid’ Paret,” in “The Future of Hedonism and Sports Events,” guest edited by Robert Morgan, in New Observations, No. 46 (March 1987).
“Sculpture by Joel Fisher / Captions by Collins & Milazzo” (catalogue), Diane Brown Gallery, New York, April-May 1987.
“Extreme Order” (pamphlet), curated by Collins & Milazzo, Lia Rumma Gallery, May-June 1987.
“Charles Clough:  The Slow Canary” (brochure), American Fine Arts Co., New York, May/June 1987.
“The Ironic Sublime” (catalogue essay), curated by Collins & Milazzo, Galerie Albrecht, Munich, West Germany, June-July 1987.
“Hybrid Neutral,” in Thought Objects, edited by Barbara Ess, Just Another Asshole, No. 7 (1987).
“Irony and Superfluity” (catalogue), in The Independent XX (Amsterdam:  Torch, 1987).
“Radical Consumption and the New Poverty:  A Discourse on Irony and Superfluity,” edited by Collins & Milazzo in New Observations, New York, No. 51 (October 1987).
“The New Poverty” (catalogue essay), curated by Collins & Milazzo, John Gibson Gallery, New York, October-November 1987.
“The New Poverty,” in Sun Storm, October 1987.
“Country Meaning,” in M/E/A/N/I/N/G, No. 2 (November 1987).
“The New Capital” (exhibition statement), in Corporate Crime / Malicious Mischief:  Power and Mediation – A Fin de Siècle Tautology, curated by Armando Rascon, San Diego, CA.,
November 14 - December 19, 1987; published in catalogue form by Installation Press, 1987.

“Hegel’s Faun:  Episodes in Corporate Existentialism,” in Ibis, edited by Raffaele Perrotta, in Il Cobold Magazine, No. 16 (December 1987).
“Tropical Codes III”:  Jeff Koons, Philip Taaffe, David Diao, Saint Clair Cemin, Annette Lemieux, Charles Clough, Walter Robinson, Abraham David Christian, John Dogg, Ti Shan Hsu, Sal Scarpitta,
Meg Webster, in Kunstforum, Bd. 92 (December 1987 / January 1988).


1988   “Media Post Media” (catalogue essay), curated by Collins & Milazzo, Scott Hanson Gallery, New York, January-February, 1988.
“A Dear Manger, A Dress Pattern, Farthest Sea Water, and A Signature” (pamphlet), curated by Collins & Milazzo, 303 Gallery, New York, February-March 1988.
“Chinatown International,” in New Observations, No. 35 (March 1988).
“Time After Time (A Sculpture Show),” in Magazine d’Art Contemporain, Halle Sud, Geneve, No. 17 (1er trimestre 1988).
“Sal Scarpitta:  Cars and Sleds” and “Ange Leccia:  Deplaned Ontology” in Differentia:  Review of Italian Thought, No. 2 (Spring 1988).
“Symmetries:  An Inquiry by Parkett,” edited by Lucio Pozzi, in Parkett No. 16 (1988).
“Utopia/Dystopia:  A.D. Christian / Claudia Hart / Dean McNeil,” Scott Hanson Gallery, March 19 - April 19, 1988.
“Off White” (pamphlet), curated by Collins & Milazzo, Diane Brown Gallery, New York, May 1988.
“Twisted Axiologies; or, The Dog(g) Made Us Do It:  A Reply to Thomas McEvilley’s ‘Son of Sublime’ Commentary on Collins & Milazzo in Artforum, June 1988, unpublished.
“Art at the End of the Social” (catalogue essay), curated by Collins & Milazzo, The Rooseum, Malmö, Sweden, July-October, 1988.
“Abraham David Christian: Sculpture” (catalogue essay), Musèe de Calais, France, and Gatodo Gallery, Tokyo, Japan, 1988.
“Sal Scarpitta:  Cars and Sleds” [Automobili e Slitte] and “Not Vital:  The Inapposable World” [Un Mondo Inaccostabile] (pamphlet), Studio Guenzani, Milan, Italy, Summer 1988.
“Primary Forms, Mediated Structures:  Cemin, Fisher, Kessler, Otterson” (catalogue essay), curated by Collins & Milazzo, Massimo Audiello Gallery, New York, September-October 1988.
“Hybrid Neutral:  Modes of Abstraction and the Social” (catalogue essay), Independent Curators, Inc., traveling exhibition, curated by Collins & Milazzo, September 1988 - October 1990.
“Ross Bleckner:  Wishful Thinking,” in Galeries Magazine, No. 27 (October/November 1988).
“Vera Lehndorff and Holger Trulzsch:  Body Double” (catalogue essay), Scott Hanson Gallery, New York, November 19 - December 24, 1988.
“The New Poverty II” (pamphlet), curated by Collins & Milazzo, Meyers/Bloom Gallery, Santa Monica, California, December 1988 - January 1989.

1989   “Pre-Pop Post-Appropriation” (catalogue essay), curated by Collins & Milazzo, Stux Gallery, in collaboration with Leo Castelli Gallery, New York, February-March 1989.
“David Carrino:  Signed Temporality,” in Differentia:  Review of Italian Thought, No. 3-4 (Spring/Autumn 1989).
“Three New Artists:  Saint Clair Cemin, Meg Webster, Ford Beckman,” in Bottom Line / Personal, Vol. 10, No. 11 (June 15, 1989).
“Meg Webster:  Endeavored Form,” in Galeries Magazine, No. 31 (June/July 1989).
“Three New Artists:  Lawrence Carroll, Suzan Etkin, Nancy Shaver,” in Bottom Line / Personal, Vol. 10, No. 15 (August 15, 1989).
“Post-Appropriation and the Romantic Fallacy:  Gober, Etkin, Shaver and Carroll,” in Tema Celeste, No. 21 (July-September 1989).
“Three New Artists:  Robert Bordo, Vik Muniz, Holt Quentel,” in Bottom Line / Personal, Vol. 10, No. 17 (September 15, 1989).
“Three New Artists:  William Anastasi, Bernd and Hilla Becher, Peter Fend,” in Bottom Line / Personal, Vol. 10, No. 20 (October 30, 1989).
“Hyperframes:  A Reply to the Netherlands Office for Fine Arts and ‘L’Exposition Imaginaire’,” in L’Exposition Imaginaire:  The Art of Exhibiting in the Eighties
(Gravenhage: SDU Uitgeverij and Rijksdiest Beeldend Kunst, 1989).

“Sal Scarpitta:  The Dog Days of Myth and History,” in Tema Celeste, No. 22-23 (October/December, 1989).
“Buena Vista” (catalogue essay), curated by Collins & Milazzo, John Gibson Gallery, New York, October/November 1989.
“Three New Artists:  David Carrino, Charles Clough, Tyler Turkle,” in Bottom Line / Personal, Vol. 10, No. 23 (December 15, 1989).

1990   “The Last Laugh:  Irony, Humor, Self-Mockery and Derision” (exhibition statement), curated by Collins & Milazzo, Massimo Audiello Gallery, New York, January 1990.
“Ford Beckman:  Form and Ethics” (catalogue essay), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, January 1990.
“Meg Webster:  Endeavored Form” (catalogue essay), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, January 1990.
“Joseph Nechvatal:  Deprivileging Critique,” in Selected Works of Joseph Nechvatal, Editions Antoine Candau, Paris, France, January 1990.
“Ford Beckman:  Existential Blocks,” in Tema Celeste, No. 24 (January-March 1990).
“Sal Scarpitta:  The Dog Days of Myth and History” (catalogue essay), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, February 1990.
“Robert Rauschenberg:  Beauty and Facticity” (catalogue essay), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, February 1990.
“Change Inc. Benefit” (catalogue), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, February 1990.
“Presumption and Consideration” (catalogue essay), in Token Gestures (A Painting Show), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, March 1990.
“Charles Clough:  Hot Paint and the Cold Shoulder” (catalogue essay), in A Curatorial Project by Collins & Milazzo, Scott Hanson Gallery, New York, March 1990.
“Deinventing Discourse; or the Unguarded Front” (De-inventer Le Discours; ou Le Front Non Garde) (catalogue essay), in All Quiet on the Western Front? (A l’ouest, rien de nouveau?),
Vol. I (Paris: Galerie Antoine Candau, March 1990).
“Two New Artists:  Nicholas Howey, Gary Stephan” in Bottom Line / Personal, Vol. II, No. 8 (April 30, 1990).
“Candy Ass / Cary Leibowitz:  Picture This” (catalogue essay), in U Can’t B Dead All the Time (Paris: Editions Antoine Candau, 1990).
“Mimmo Paladino:  The Spiritual Dimension of Quantity” (La dimensione spirituale della quantita) (catalogue essay), Galleria d’arte moderna / Villa delle rose, Nuova Alfa Editoriale,
Bologna, Italy, April 1990.
“Trans-Europe Express” (catalogue essay), John Gibson Gallery, New York, June 2 - July 27, 1990.
“Michelangelo Pistoletto:  Ephemeral Utopias,” in Tema Celeste, No. 26 (July/Oct. 1990).
“Rene Ricard:  Sinking to the Bottom of Discourse” [Pt. 1], in Tema Celeste, No. 26 (July/Oct. 1990).
“Wall Patrol” in Cover Magazine, September 1990.
“So This Was How You Died, in Whispers That You Did Not Hear” (exhibition statement), Greenberg/Wilson Gallery, New York, September 15 - October 20, 1990.
“Closed Fires:  A Non-Introduction to The Last Decade or A Reprise of Joan Didion’s The White Album” (catalogue essay), curated by Collins & Milazzo, Tony Shafrazi Gallery, New York,
September 5 - October 27, 1990.
“Il giardino nero delle quattro promesse” (poetry), in La Sposa di Messina (Milan:  Ubulibri, 1990).
“Taro Suzuki:  Finding the Loophole in Sisyphus’s Contract” (catalogue), White Columns, New York, October 1990.

1991   “Who Framed Modern Art or the Quantitative Life of Roger Rabbit” (catalogue essay), curated by Collins & Milazzo, Sidney Janis Gallery, New York, January 10 - February 9, 1991.
“Everything Changes More Than Once” (catalogue essay), in Arte Debole = Weak Art, Stux Gallery, New York, January 1991.
“Rene Ricard:  From Kant to Kitsch and Back Again” [Pt. 2], in Tema Celeste, No. 29 (January/February 1991).
Excerpt from “The Black Garden of Four Promises” (poetry), in Thirty Horses for “The Bride of Messina,” edited by Demetrio Paparoni,  in Tema Celeste, No. 29 (January/February 1991).
“Michelangelo Pistoletto:  Effimere Utopie,” in Tema Celeste, No. 29 (January/February 1991).
“Two New Artists:  James Clark and Cary Leibowitz,” in Bottom Line / Personal, Vol. 12, No. 3 (February 15, 1991).
“Outside America:  Going into the 90’s” (catalogue essay), curated by Collins & Milazzo, Fay Gold Gallery, Atlanta, Georgia, March 8 - April 16, 1991.
“Ulysses and Zarathrustra:  A Few Competitive, Non-Alternative Remarks About Alternative Spaces,” in An Anthology of Statements Celebrating the Twentieth Anniversary of White Columns, edited by Collins & Milazzo, New York, 1991.
“Menzogna e Postappropriazionismo,” in Tema Celeste, No. 30 (March/April 1991).
“A New Low” (exhibition catalogue), curated by Collins & Milazzo, Claudio Botello Gallery, Turin, Italy, May 9 - June 15, 1991
“Sandro Chia:  Kitsch and the Historical Moment of Painting” (Il Kitsch e il Momento attuale della Pittura) (catalogue essay), in Sandro Chia:  Paintings and Recent Titles, edited by Maria Luisa Frisa (Milan:  Arnoldo Mondadori Arte, 1991).
“A New World Determined by the Sex of Abstraction,” in Tema Celeste, No. 32-33 (Autumn 1991).

1992   “Maurizio Pellegrin” (catalogue essay), in Maurizio Pellegrin (Rome:  Valentina Moncada, 1992).
“Foreword,” in Fiction South / Fiction North (New York, and Tallahassee, Florida:  Ridgefield Press, January 1992).
“Sal Scarpitta:  The Dog Days of Myth and History” (catalogue essay), curated by Collins & Milazzo, Annina Nosei Gallery, in cooperation with Leo Castelli, New York, February 7 - March 20, 1992.

“Theoretically Yours” (catalogue essay), curated by Collins & Milazzo, Museum of the Autonomous Region of Valle d’Aosta, Chiesa di San Lorenzo, Aosta, Italy, May 29 - June 28, 1992.
“Who’s Afraid of Duchamp, Minimalism, and Passport Photography?” (catalogue essay), curated by Collins & Milazzo, Annina Nosei Gallery, New York, October 1992.
“In America è già domain,” in Arte, No. 233 (October 1992).
“A Bed of Roses,” in Tema Celeste, No. 37-38 (Autumn 1992).
“From Edmond and Jules de Goncourt to Lee Harvey Oswald:  or, the Void Disguised as the Rug Beneath Our Feet,” in Virtual Gallery, edited by Matt Marello, Input / Output, New York, August 1992.

1993   “Toward a Prolegomena of Weather as Critical Method in Relation to Sandro Chia’s Paintings,” in 99:  Turn-of- the-Century Magazine, Vol. 1, No. 1 (Spring 1993).
“Culturele Ontmaskering:  Een Vraaggespek met Jonathan Lasker,” in Metropolis M, No. 1 (February 1993).
“Sandro Chia:  Readymade Masterpieces,” in Flash Art, January-February 1993.
“The Mirror and the Chemise in Pierre de Ronsard’s Ode, Plusieurs de Leur Corps Denues” and “From Edmond and Jules De Goncourt to Lee Harvey Oswald:  or, the Void Disguised as the Rug
Beneath Our Feet” (exhibition essays), in Needlepoint, Embroidery, Macramé, and Crochet, curated by Collins & Milazzo, Postmasters Gallery, New York, February 13 - March 13, 1993.
“5 Uses of Space:  Africano, Dona, Howey, Kaneda, Moylan,” in Artiscope, Brussels, Belgium, February-April 1993.
“The Ballade of the Happy Corpse” (catalogue essay), in Elvis Has Left the Building (A Painting Show), curated by Collins & Milazzo, sponsored by Sandro Chia, 521 West 23rd Street, New York, May 26 - June 26, 1993.
“Foreword,” in Charles Clough:  Ptg. 1993,” edited by Mary Haus, curated by Collins & Milazzo, Grand Salon, May 20 - June 19, 1993.
“Paul Steinitz:  The De- and Re-idealization of Love,” in Galeries Magazine, No. 55 (Summer 1993).
“Julian Trigo:  The Disfigured Soul” (catalogue essay), in Julian Trigo:  Paintings, curated by Collins & Milazzo, Grand Salon, New York, September 11 - October 9, 1993.
“The Wrong Logician; or, Cats and Dogs Fighting Like Clouds:  Equivalence as Critical Aporia in the Work of Vik Muniz” (catalogue essay), in Vik Muniz:  Equivalents, curated by Collins & Milazzo, Ponte Pietra, Verona, and Grand Salon, New York, October 14 - November 13, 1993.
“Claudia Zemborain:  The Leaves of No Tree or the Sublime Animal Heeding the Indications of the Soul” (catalogue essay), in Claudia Zemborain:  Paintings, curated by Collins & Milazzo, Grand Salon, New York, November 20 - December 18, 1993.

1994   “The Ludicrous and Romantic Soul in Sandro Chia’s Small Bronze Sculptures” (catalogue essay), in Sandro Chia:  Small Bronze Sculptures, curated by Collins & Milazzo, Grand Salon, New York, January 8 - February 5, 1994.
“Alessandro Twombly:  Animal, Mineral, Vegetable” (catalogue essay), in Alessandro Twombly:  Paintings, Grand Salon, curated by Collins & Milazzo, New York, March 10 - April 9, 1994.
“Across the River and Into the Trees” (catalogue essay), in Across the River and Into the Trees (A Sculpture Show), curated by Collins & Milazzo, The Rushmore Festival, Woodbury, New York, June 25 - July 10, 1994.
“Harland Miller,” in Galeries Magazine, Summer 1994.
“Big Paintings and Green Paintings:  Russell Scarpulla and Nicholas Howey” (catalogue essay), Sergio Tossi Arte Contemporanea, Prato, Italy, October 1994.
*“Art Media Watch by Charle[ne] Hass [Richard Milazzo],” in The New York Review of Art, Vol. 1, Number 5 (December 1994).
*“Horizontal Elevators” (Ascensori orizzontali), in Tema Celeste, No. 49, December 1994.

1995   “Le Cimetière du Montparnasse:  The Tautology of the Kiss,” in New Observations, No. 105, (March/April 1995).
“Josef Zutelgte” (catalogue essay), in Josef Zutelgte:  Sculpture and Drawings, In Khan Gallery, New York, April 4 - 29, 1995.
“Allegoria Non Troppo:  A Preface” (catalogue essay), in Scienza Naturale, Naples, Edizioni Morra, May 1995.
“Marielis Seyler:  Stillness and Transformation; or, the Ancient Art of Empatheia,” in Marielis Seyler:  Natura Naturata, Gallery Egon von Kameke, Berlin-Potsdam, Germany, June 1995.
“Bill Rice:  Venetian Blinds and Hot Red Trucks” (catalogue essay), in Bill Rice: New Paintings, curated by Richard Milazzo, 11, rue Larrey at Sidney Janis Gallery, New York, December 14, 1995 - January 27, 1996.

1996   “Tuesday Morning:  A Letter to Elliot Schwartz” (catalogue text), in Elliot Schwartz:  Selected Photographs 1980-1996, curated by Richard Milazzo, 11, rue Larrey at Sidney Janis Gallery, New York, February 3 - March 6, 1996.
“According to What:  A Column about Art and the Kitchen Sink,” in Artnet, New York, March 1996.
“Tomás Clusellas:  The Hungry Angel; or, Fingerprints, Faint Kisses and the Smudge of Human Existence,” in Tomás Clusellas:  Recent Works, Galería Nina Menocal, Mexico, D.F., March 1996.
“L’indifferenziata e inhumana ultima cosa,” in Tema Celeste, No. 56 (Spring 1996).
“Afterword,” in Sandro Chia:  New Paintings, curated by Richard Milazzo, Sidney Janis Gallery, New York, May 4 - June 8, 1996.
“James Hill” (catalogue essay), in James Hill:  Do Drop In, Bill Maynes Contemporary Art, New York, May 1996.
“Elliot Schwartz,” in Bomb Magazine, Summer 1996.
“GianCarlo Pagliasso:  Mama’s Boy” (catalogue essay), in GianCarlo Pagliasso:  New Paintings, Galerie de l’Ecluse, Paris, and Studio Bocchi, Rome, September-October 1996.
“The Reality of Realist Painting in Contemporary Art” (catalogue essay), in Realism After Seven A.M.:  Realist Painting after Edward Hopper, curated by Richard Milazzo, The Hopper House, Nyack, New York, October 27 - December 1, 1996.
“A Chickadee’s Impressions of the Intestinal Garment of Cardinal Richelieu” (poetry), in Donna Moylan:  A Real Job, Paolo Baldacci Gallery, New York, 1996.

1997   “Alessandro Twombly’s Sculpture:  Day One in the Life of a Planet or a Stargazer” (exhibition catalogue), in Alessandro Twombly:  New Sculpture, curated by Richard Milazzo, 11, rue Larrey at Sidney Janis Gallery, New York, January 31 - February 28, 1997.

“Marielis Seyler:  Stillness and Transformation; or, the Ancient Art of Empatheia,” in Marielis Seyler:  Empatheia / Photo Paintings (Prague:  Odephil Editions, 1997).
“Room LXVII or La Quinta del Sordo (The Deaf Man’s Villa):  Goya’s Black Paintings and the Times We Live In,” in New Observations, No. 116 (Fall 1997).
“Steven Harvey:  The Blue Figures” (catalogue essay), in Figures, Gallery Schlesinger, N.Y., December 4, 1997 - January 10, 1998.

1998   “Excerpts from The Undifferentiated Truth of Art (A Work in Progress),” in “Fertility,” guest edited by Erika Knerr, New Observations, No. 119 (Summer/Fall 1998).

“Malcolm Morley and the Art of the Incommensurable” (catalogue essay), in Malcolm Morley:  Paintings, Watercolors, Drawings, Sculpture, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), September-December 1998.
Excerpts from “Barney & Joan:  Barney Rosset’s Photographs of Joan Mitchell” (catalogue essay), curated by Richard Milazzo, James Danziger Gallery, New York, October 23 - November 28, 1998.
Excerpts from “Barney & Joan:  Barney Rosset’s Photographs of Joan Mitchell and Joan Mitchell’s Letters to Barney Rosset,” in Evergreen Review, No. 101 (Winter 1998).
“Lawrence Carroll – In Memory of Our Feelings” (catalogue essay), in Lawrence Carroll, Galerie der Stadt Stuttgart (Ostfildern-Ruit, Germany:  Cantz Verlag, 1998).
“Letter to the Editor – Recycle, Reuse, Renew,” in Evergreen Review, No. 101 (Winter 1998).

1999   “A Metope of Modena’s,” in The Story of the Phoenix, edited by Daniel Rothbart (Rome:  Semiotic Street Situations, Inc., 1999).
“Introduction,” in Abraham David Christian, La Salle des Pieds Perdus:  Drawing / Zeichnung (New York - Paris - Turin - Louisville:  Edgewise Press, April 1999.
“From Le Violin d’Ingres:  Sunday Poems and Lineations, in Differentia, Nos. 8-9 (Spring/Autumn 1999).
“One Painting, Two Sculptures, Three-Hundred Photographs:  Michel Frère, Abraham David Christian, and Elliot Schwartz” (exhibition text), in One Painting, Two Sculptures, Three-Hundred Photographs:  Michel Frère, Abraham David Christian, and Elliot Schwartz,  curated by Richard Milazzo, UU (Universums Universitet), 610 Smith Street, Brooklyn, N.Y., June 5, 1999.
“Saint Clair Cemin:  The Chimera at Berggasse 19” (catalogue essay), in Saint Clair Cemin:  Bronzes, curated by Richard Milazzo, Velge & Noirhomme, Brussels, Belgium, September 23 - November 6, 1999.
“Underexpression or Arrangements in Gray” (catalogue essay), in Ross Bleckner:  Paintings 1997-1999, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), October 2 - December 1999.
“Uomo di terra:  In memoria di Michel Frère,” in Tema Celeste Art News, No. 75 (1999).


2000   “S.C. (Sandro Chia) = R.P.A.R. (Restless Painter at Rest) or P.D. (Painter Dreaming)” (catalogue essay), in Sandro Chia:  New Paintings, curated by Richard Milazzo, Velge & Noirhomme, Brussels, Belgium, February 24 - April 29, 2000.
“The Palace at 4 P.M.” (catalogue essay), in Abraham David Christian:  Die Wege Der Welt (The Ways of the World), Global Art Rheinland 2000, Wilhelm Lehmbruck Museum (Duisburg), Germany,
February 20 - April 30, 2000; (Köln:  DuMont, 2000).
“Of Rivers, Dogs, Tea Leaves and Stars” (catalogue essay), in Abraham David Christian:  Rio Grande, Museo Muncipal de Bellas Artes, Uruguay, 2000.
“Sandro Chia and the New Byzantium” (catalogue essay), in Sandro Chia:  Muse/Mosaico, Accademia di Belle Arti di Ravenna, Comune di Ravenna (Milan:  Edizioni Mazzotta, 2000).
“The Ironic Loneliness of the Long Distance Runner Sitting in the Café Fiaschetteria” (catalogue essay), in Sandro Chia, Galleria Civica di Arte Contemporanea, Trento (Turin:  hopefulmonster, 2000).
“Sal Scarpitta:  Highway Sign” (catalogue essay), in Birthright:  An Exhibition of Works by Sal Scarpitta, Tryon Center for Visual Art, Spirit Square Galleries, Charlotte, North Carolina, October 12 - December 31, 2000.
“Abraham David Christian:  Interstate Zero” (catalogue essay), in Abraham David ChristianNebraska, Kulturzentrum, Rommerskirchen, Germany, November 2000.
“Robert Longo:  Straits of Power and the American Psyche” (catalogue essay), in Robert Longo:  1980-2000, curated by Richard Milazzo, Galleria Emilio Mazzoli, Modena, Italy, November 16 - December 2000.
*“Country Meaning,” in Meaning:  An Anthology of Artists’ Writings, Theory, and Criticism, edited by Susan Bee and Mira Schor (Durham & London:  Duke University Press, 2000).
*“Art at the End of the Social,” in Los Manifestos del Arte Posmoderno, edited by Anna Maria Guasch (Madrid:  Ediciones Akal, 2000).

2001   “Remembering Joan,” with photographs by Barney Rosset and writing by Barney Rosset and Richard Milazzo, in Evergreen Review, No. 104 (January 2001).
From “Sal Scarpitta:  The Dog Days of Myth and History,” in Salvatore Scarpitta:  Outlaw Art at Racing Speeds, Artcar Museum, Houston, Texas, February 17 - May 1, 2001.
“Sandro Chia:  Where Do We Come From, What are We, Where are We Going,” in Nu:  The Nordic Art Review, Vol. III, No. 3-4 (May 2001).
“What is a Wave?” (poetry), in The Drawings of Robert Longo (New York:  Keanu Reeves, 2001).
“Re-Enter the Barbarians,” in Nu:  The Nordic Art Review, Vol. III, No. 3-4 (May 2001).
“Abraham David Christian:  El Paso, Texas – Border Town or Crossroads of the World?” in The Cultural Traveller’s Guide, in New Observations, Spring/Summer 2001.
“Abraham David Christian:  Nine Sculptures – Multiplicity and Uniqueness (An Excerpt)” (catalogue essay), in Triennale Kleinplastik, Fellbach, Germany, July 21 - October 21, 2001.
“Behind the Scenes of the East Village and the Post-Appropriationists in the 1980’s,” in Summa Pictorica:  De Las Vanguardias a la Postmodernidad, edited by Anna Maria Guasch (Barcelona:  Planeta, Plawerg Editores, 2001).

2002   “The World Inside the World:  Saint Clair Cemin, Abraham David Christian, Elliot Schwartz – New Sculptures and Photographs” (exhibition statement), 22, rue Cauchy at Annina Nosei Gallery, New York, curated by Richard Milazzo, December 16, 2000 - February 8, 2001.
“Even Before They Could Enter” (poetry), in Evergreen Review, No. 105 (January 2002).
“Letter to the Editor,” in Evergreen Review, No. 105 (January 2002).
“William Rand,” in Kapital Magazine, 2002.
“Saint Clair Cemin:  From Penguins to Idols” [de pingüinos a ídolos] (catalogue essay), in Resonancias:  Esculturas de Saint Clair Cemin, Casa Iteso-Clavigero, Guadalajara, Mexico, November 14, 2001 - February 16, 2002; Museo de Arte Moderno, Mexico City, March 20 - May 26, 2002.
“Ross Bleckner:  The Bird Paintings” (catalogue essay), in Ross Bleckner:  Bird Paintings, Gallery Maruani & Noirhomme, Knokke-Zoute, Belgium, August 9 - September 2002.
“Sagrada y Profana:  Ava Gardner Vista por William Rand” (catalogue essay), in William Rand, Galería Nájera, Madrid, September 2002.

2003   “Preface,” in John T. Spike, Dissimilar Revelations:  Essays on Neolithic Art, Fra Angelico, Velázquez, Goya and Cézanne (New York - Paris - Turin:  Edgewise Press, Inc., 2003).
“Alex Katz:  A Walk in the Woods” (exhibition catalogue), in Alex Katz:  New Paintings, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), January 25 - February 2003).
“A Personal Note,” in Vik Muniz, Natura Pictrix:  Interviews and Essays on Photography (New York - Paris - Turin:  Edgewise Press, Inc., 2003).
“Sandro Chia in Sicily:  The Bridge of Messina,” in Studi di Storia dell’Arte, Todi (Perugia), No. 14 (2003).

“Jonathan Lasker:  A Mortality of Forms” (catalogue essay), in Jonathan Lasker:  Pinturas, Dibujos, Estudios 1977-2003, Museo Nacional Centro de Arte Reina Sofia, Madrid, June 5 - September 7, 2003.
“A Day with Alessandro Twombly in the Etruscan Countryside” (catalogue essay), in Alessandro Twombly:  New Paintings, curated by Richard Milazzo, Gallery Alain Noirhomme, Brussels (Belgium), September 18 - October 31, 2003.
“A Mortality of Forms” (catalogue essay), in Jonathan Lasker:  Gemälde, Zeichnungen, Studien 1977-2003, K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, September 20 - November 23, 2003.
“Vik Muniz:  Il Logico Ingiusto” (catalogue essay), in Vik Muniz, MACRO, September 27 - January 4, 2004 (Milan:  Mondadori Electa, 2003).
“The Wrong Logician; or, Cats and Dogs Fighting Like Clouds – 
Equivalence as Critical Aporia in the Work of Vik Muniz” (catalogue essay), in Vik Muniz (Milan:  Mondadori Electa, 2003). 
MACRO (Museo d’Arte Contemporanea, Roma), September 27, 2003 - January 4, 2004.
“Staying in the Moment with David Salle” (exhibition catalogue), in David Salle:  New Paintings, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), October 25 - December 2003.
“In Pursuit of ‘The Language of Man’:  The Early Works of Abraham David Christian” (catalogue essay), in The Language of Man, Neues Museum, Weserburg, Bremen, November 16, 2003 - February 29, 2004, Von der Heydt-Museum, Wuppertal, Germany, March 16 - May 18, 2004.  (Heidelberg:  Kehrer Verlag, 2003).

2004   “Two Poems:  ‘Like Ashes Upon a Golden Threshold’ and ‘A God Deposed,’” in Evergreen Review, No. 107 (February 2004), http://www.evergreenreview.com/107/contents.htm.

2005   “The Curious Case of Line in Jonathan Lasker’s Drawings” (catalogue essay), in Jonathan Lasker:  From Drawing to Painting to Drawing, Kunsthallen Brandts Klaedefabrik, Odense C, Denmark, February 18 - May 8, 2005.
“Robert Longo:  The Outside from the Inside” (exhibition catalogue), in Robert Longo:  Fire, Water, Rock 2003-2005, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), June 11 - Summer 2005.
Excerpts from “Pre-Pop Post-Appropriation,” “Sal Scarpitta:  The Dog Days of Myth and History,” “Sal Scarpitta:  Highway Sign,” in Salvatore Scarpitta:  Catalogue Raisonné, edited by Luigi Sansone (Milan:  Mazzotta, 2005).

2006   “Alessandro Twombly and ‘Asphodel, That Greeny Flower’” (catalogue essay), in Alessandro Twombly:  Recent Works, Lefevre Fine Art, London, October 12 - November 3, 2006.

2007   “A Tribute to Bill Rice:  A Letter, A Eulogy, A Poem,” in Evergreen Review, No. 112 (February-May 2007).
“Homage to Philippe Briet” and “Here We Watch for You,” in Philipe Briet:  Art, Art, Art, Caen:  Région Basse-Normandie, Caen, September 25 - November 4, 2007.
“Peter Nadin:  An Odyssey of the Mark in Painting” (catalogue essay), in Peter Nadin:  First Mark, Centro de Arte Contemporáneo Wifredo Lam (Milan:  Edizioni Charta, October 2007).
“Mark Turgeon:  Allegories of Bad Government and Good People” (catalogue essay), in Mark Turgeon, CUE Foundation, New York, October 18 - December 1, 2007.
“Mark Innerst:  Painting at the Point of Infinity” (catalogue essay), in Mark Innerst:  Paintings of New York, 2005-2007, curated by Richard Milazzo, Emilio Mazzoli Gallery, Modena (Italy), October 20 - December 2007.

2008   “Robert Longo:  Behind the Closed Eyes of a Sleeping Universe”  (Tras los ojos cerrados de un universo dormido) (catalogue essay), in Robert Longo:  Intimate Immensity, Galerìa Soledad Lorenzo, Madrid, May 6 - June 7, 2008.
“Sixteen Sonnets by Shakespeare,” in Evergreen Review, No. 116 (July 2008).
“A Voyage by Ships Beyond the Sea:  A Poem in Seven Parts, Inspired by the Life and Work of Malcolm Morley and Based Loosely on The Rime of the Ancient Mariner by Samuel Taylor Coleridge,” in Le Milieu:  An Online Cultural Review, August 2008.
“Forgiveness Only” (poetry), in Analogie del Mondo:  Scritti su Paolo Valesio, edited by Victoria Surliuga (Modena:  Edizioni del Laboratorio, 2008).

2009   “Preface,” in Ross Bleckner, Examined Life:  Writings, 1972-2007,
edited by by Richard Milazzo (New York - Paris - Turin:  Edgewise Press, Inc., May 2009).
“William Anastasi at Bludgeon’s Height:  Libido, Religion, and the Living History of Conceptual Art” (catalogue essay), in William Anastasi:  Paintings, Small Works, Drawings, curated by Richard Milazzo, Galleria Mazzoli, Modena, Italy, May 30 - September 2009.
“Gat Út in District 9,” “At Diplomacy’s Door,” “The Plume,” “Who After Such Suburban Visits,” “Song of Warsaw” (poems),  in Yellow Medicine Review:  A Journal of Indigenous Literature, Art, and Thought,
guest edited by Andrei Guruianu, Marshall, Minnesota, Fall 2009.
“Saigon,” “Cambodia,” “The Green Lantern” (poetry), in Evergreen Review, No. 120 (October 2009).
“When I Die” and “Sognare, Forse Dormire” poetry), in “Dust, Prop, Freeze,” Newspaper, Venice, Italy, No. 1 (October-November 2009).
“Mark Innerst:  Doubt and Delirium,” in Mark Innerst:  New Paintings 2006-2008 (catalogue essay), curated by Richard Milazzo, Alain Noirhomme Gallery, Brussels (Belgium), November 17 - December 31, 2009.
“Five Poems from Eastern Shadows,” in Scrisul Românesc, Vol. VII, No. 3 (67), 2009.
“Poems,” in Scrisul Românesc, Vol. VII, No. 12 (76), 2009.
“Trees and Poems:  for Lucas Reiner,” in Speak for the Trees, Friesen Gallery, Seattle, Washington, 2009-2010.


2010   “Abraham David Christian:  Torri del Silenzio” (catalogue essay), in Abraham David ChristianDer Weg [The Way], MKM Museum Küppersmühle für Moderne Kunst (Bielefeld Germany:  Kerber Verlag, 2010).
“This Light” (poem), in “Everyday I Am Here,” in Newspaper, Venice, Italy, No. 3 (May 2011).
“Yellow Christ” (poem), in “I’m Looking for It in the Yellow and White,” Newspaper, Venice, Italy, No. 4 (October 2010).
“The Great Silence” (essay), “The Fences of Romania,” “Liar’s Bridge,” “Memory of the Pain,” “When We Become the Sum,” “Moldovita,” “Arbore” (poems), in Twenty Years After the Fall:  A Retrospective in Poetry and Prose, edited by Andrei Guruianu (New York:  Parlor City Press, 2010).

2011   “Three Poems,” in Evergreen Review, No. 126 (Spring 2011).
Chamber by Ross Bleckner,” in Christie’s Auction Catalogue, Lot 148, New York, May 12, 2011.
“Family of Saltimbanques” (poem), in “Hangar 400,” Newspaper, Venice, Italy, No. 4 (May 2011).
“[Along the Hudson, and on the Edge],” in The Bugle, June 29, 2011.
“Giacometti’s Walking Man and Alessandro Twombly’s Desert Flowers” (catalogue essay), Boursier Contemporary Art, Turin, May 3 - June 15, 2011.
“Lost” (poem), in “800 Q,” Newspaper, Venice, Italy, No. 5 (June 2011).

2012   “Classic Anecdote” (poem), in Verso Recto, 2012.
“Mimmo Paladino in a World of Disjunctions and Deflections” (catalogue essay), translated by Brunella Antomarini, in Mimmo Paladino:  New Paintings 2008-2011, Galleria Emilio Mazzoli, Modena,
January 27 - April 2012.
“Enrico Pedrini:  The Pharmacist from Genoa (A Letter),” in Artery, May 2012.
“Remembering Barney:  A Tribute to Barney Rosset” (essay), in Evergreen Review, No. 130 (Spring 2012).
“Poems,” in Scrisul Românesc, Vol. X, No. 7 (107), 2012.

2013   “Introduction,” in Peter Halley:  Selected Essays 1981-2001 (New York - Paris - Turin:  Edgewise Press, Inc., January 2013).

2014  
“Gretchen Bender: Total Effect,” in Gretchen Bender: People in Pain, edited by Philip Vanderhyden, published on the occasion of Philip Vanderhyden’s contribution for the 2014 Whitney Biennial, a refabrication of Gretchen Bender’s 1988 sculpture, People in Pain, New York, 2014.  
“Poems,” in Scrisul Românesc, Vol. XI, No. 4 (128), 2014.
“Abraham David Christian:  Torri del Silenzio (Epilogue),” in Abraham David Christian:  Tiefenbronn, (Heidelberg and Berlin:  Kehrer Verlag, 2014).

2015   “Introduction,” in In the Language of Barbarians, I Would Tell You Stories, edited by Richard Milazzo (New York - Paris - Turin:  Edgewise Press, 2015).
“Jeff Koons:  Shiny on the Outside, Hollow on the Inside,” Parts 1 and 2, in hyperallergic (Weekend Edition), January 31 and February 1, 2015.

“Five Sentences for Jefferson Hayman,” in Jefferson Hayman: The Heart Has Its Reasons, Italian translation by Ludovico Savoia (Italy: PH Neutra, 2015).
“William Anastasi: Reinventing Darwing,” in Drawing the Bottom Line, edited by Philippe Van Cauteren and Martin Germann, S.M.A.K., Museum of Contemporary Art, Ghent (Ghent, Belgium: Mercatorfonds, 2015).
“Nothing Gold Can Stay” (poem), in Lawrence Carroll:  Ghost House, curated and edited by Gianfranco Maraniello, MAMbo / Museo d’Arte Moderna di Bologna (Bologna, Italy:  Corraini Edizioni, 2015). 
“The Mannequin of History:  Art After Fabrications of Critique and Culture” (catalogue essay), in The Mannequin of History:  Art After Fabrications of Critique and Culture, curated by Richard Milazzo (Modena, Italy:  Franco Cosimo Panini Editore, 2015).

2017  “Introduction,” in Donald Baechler, Victim of Improvement:  Telegrams, Stories, Letters, Monologues, Interviews, 1985-2006, edited by Richard Milazzo (New York - Paris - Turin: Edgewise Press, Inc., 2017).
“Each Time I Come to Berlin,” in Ghost Stations: Poems 2015-2016, with a portfolio of photographs by Fausto Ferri, edited and with an introduction by Richard Milazzo (Tokyo, Japan: Tsukuda Island Press, 2017).
“Introduction,” in Jonathan Lasker, New Complete Essays, 1984-2013, edited by Richard Milazzo (New York - Paris - Turin: Edgewise Press, Inc., 2017). 
“A Poem is Politcal, How?” in Agorapoetics: Poetics After Postmodernism, edited by Rolando Pérez (Aurora, California: The Davies Group, Publishers, 2017).
“Song of Warsaw” (poem), in Agorapoetics: Poetics After Postmodernism, edited by Rolando Pérez (Aurora, California: The Davies Group, Publishers, 2017).