Dennis Adams
Professor
Dennis Adams is internationally recognized for his urban interventions and museum installations that reveal historical and political undercurrents in photography, cinema, public space and architecture. Over the last twenty-five years, He has realized over fifty urban projects in cities worldwide from Antwerp to Zagreb. His work has been the subject of numerous one-person exhibitions in museums and galleries throughout North America and Europe, and is included in major public collections both here and abroad, including the Museum Contemporary Art, Chicago; Museum of Modern Art, New York; Walker Art Center, Minneapolis; Whitney Museum of American Art, New York; Fonds National d’Art Contemporain, Paris; Museum van Hedendaagse Kunst, Antwerp; the Städtische Galerie im Lenbachhaus, Munich; and the Fotomusem Winterthur, Zurich.
Adams has taught at numerous institutions including: Parsons School of Design, New York; Ecole Nationale Supérieure des Beaux-Arts, Paris; Rijksakademie van Beeldende Kunsten, Amsterdam; and the Akademie der Bildenden Künste, Munich. He regularly lectures, participates in conferences, and offers seminars at academic and cultural institutions around the world. From 1997 to 2001, he was Director of the Visual Arts Program and Professor in the School of Architecture at MIT. In 2001 he joined the faculty of The Cooper Union where he teaches 3-Dimensional Design, Sculpture, and the Public Art studio/seminar.
GRANTS & AWARDS
1984 Fellowship Grant, National Endowment for the Arts
1986 Manhattan Borough President's Award for Excellence in the Arts
1988 Fellowship Grant, National Endowment for the Arts
1989 DAAD Fellowship, Berliner Künstlerprogramm
1995 Fellowship Grant, National Endowment for the Arts
2004 Lily Auchincloss Fellowship, New York Foundation for the Arts
PUBLIC ARTWORKS
1978
Patricia Hearst – A Second Reading. 10 windows on Eighth Avenue, New York
1983
Bus Shelter I. Broadway and 66th Street, New York
1985
Podium for Dissent. Battery Park City Landfill, New York. In collaboration with Nicholas Goldsmith.
1986
Bus Shelter II. 14th Street and Third Avenue, New York
1987
Bus Shelter IV. Domplatz, Münster, Germany
1988
Bus Shelter VII. C. W. Post Campus of Long Island University, Brookville, New York
Bus Shelter VIII. Queen and Bay Streets, Toronto
Bus Station. West and Liberty Streets, New York. In collaboration with Andrea Blum.
Fallen Angels. Watiangasse 6, Graz, Austria
Public Commands/Other Voices. Martin Luther King Jr. Metrorail Station, Miami
Reworking. multiple urban sites, Geneva
1989
The Algerian Folie. Parc de la Villette, Paris
Kunstinsel. Ferdinandstor and Glockengiesserwall, Hamburg
Pedestrian Tunnels. Vogelsangbrücke and Maillestrasse, Esslingen, Germany
The Procession. La Grande Arche, La Défense, Paris
Ticket Booth. Lobby, Whitney Museum of American Art, New York
1990
Bus Shelter V & VI. Schönebecker Höfe and Riegelweg, Essen, Germany
Community Table. Neighborhood Center, Polenburg,The Netherlands
Foyers. Gateshead, England
Siege. Butcher Gate and Waterloo Street, Derry, Northern Ireland
Terminus II. Oostereiland, Hoorn, The Netherlands
1991
Emancipation. Columbus Avenue and Park Plaza, Boston
Vanities. Königsplatz, Munich
1992
Arcadian Blind. Floriadepark, Zoetermeer, The Netherlands
Port of View. Quai du Port, Marseilles
Réservoir. Place des Arts, Montréal
Una Vez. Plaza del Generalisimo, Úbeda, Spain
1993
Monongahela Station. Point State Park, Pittsburgh
Squatter’s View. Kalkhaven, Dordrecht, The Netherlands
1994
Hematuria. Hoek Amerikalei Kasteelstraat, Antwerp
Memento Mori. Place de Tilleuils, Saint-Denis, France
1995
Coda. Schiphol Airport, Amsterdam
Tributaries. West Queens High School, New York
Apertura. Portugalete, Bilbao, Spain
1996
Goaltender. Sønder Boulevard, Copenhagen
1997
Wake. Library, State University of New York, Purchase
1998
Outtake. Kurfürstendamm, Berlin
1999
Retake. Bryn Mawr Station, Pennsylvania
Takedown. Trg bana Jelacica, Zagreb, Croatia
Bunnik Side. multiple urban sites, Utrecht, The Netherlands
2000
Tribüne. Neue Messe München, Munich
2001
Bus Shelter IV. Museum für Gegenwartskunst, Siegen, Germany
Afwerkplaats for Small Cars. Witte de With, Rotterdam
Seize. Contemporary Museum and Walters Art Museum, Baltimore
2003
Stadium. Utrecht
Horizon. Miami-Dade Water and Sewer Administration Building, Miami
2004
Free Load. Mies Van Der Rohe Pavilion, Barcelona
2005
Slips. Whitehall Ferry Terminal, New York
Silences. Minneapolis Community and Technical College. Minneapolis
SOLO EXHIBITIONS / INSTALLATIONS
1971
Philadelphia Art Alliance
1972
Akron Art Institute, Ohio
1974
Carl Solway Gallery, Cincinnati, Ohio
1975
Carl Solway Gallery, Cincinnati, Ohio
Wright State University, Dayton, Ohio
1976
Tyler School of Art, Philadelphia
1978
D.C. Space, Washington, D.C.
1979
Artists Space, New York
Minneapolis College of Art and Design
1980
California State University, Long Beach
Miami University, Oxford, Ohio
1984
The Kitchen, New York
1986
Nature Morte Gallery, New York
1987
Alternative Museum, New York
City University Graduate Center Mall, New York
1988
Cleveland State University, Ohio
de Appel Foundation, Amsterdam
Galerie Gabrielle Maubrie, Paris
Nature Morte Gallery, New York
The Clocktower, New York
1989
Christine Burgin Gallery, New York
Galerie Meert-Rihoux, Brussels
John Weber Gallery, New York
1990
Galerie Gabrielle Maubrie, Paris
Hirshhorn Museum, Washington, D.C.
Kent Gallery, New York
Optica Gallery, Montreal
1991
Galerie Lumen Travo, Amsterdam
Museum of Modern Art, New York
The Orangerie, Englischer Garten, Munich
1992
Galerie Franck + Schulte, Berlin
Musée Cantini, Marseilles
Sala Montcada de la Fundació “La Caixa,” Barcelona
1993
Galerie Gabrielle Maubrie, Paris
Portikus, Frankfurt a.M.
1994
Contemporary Arts Museum, Houston
Galerie Andreas Binder, Munich
Kent Gallery, New York
Museum van Hedendaagse Antwerpen, Antwerp
1995
La Chaufferie, Galerie de l'Ecole des Arts Décoratifs, Strasbourg
Galerie Lumen Travo, Amsterdam
Stroom, The Hague
1996
Queens Museum of Art, New York
Galerie Gabrielle Maubrie, Paris
1997
Kent Gallery, New York
1999
Kent Gallery, New York
Galerie Gabrielle Maubrie, Paris
Museum of Contemporary Art, Zagreb, Croatia
2000
13 Quai Voltaire, Caisse des Depots et Consignations, Paris
La Femis, Paris (screening)
Velan Centro d'Arte Contemporanea, Torino
Galerie Lumen Travo, Amsterdam
2001
Contemporary Museum, Baltimore
2002
Galerie Gabrielle Maubrie, Paris
Kent Gallery, New York
2003
Maison de la Culture Parc Frontenac, Montréal
2004
Galeria Moises Perez de Albeniz, Pamplona, Spain
Pabellón Villanueva, Royal Bontanical Garden, Madrid
Mies Van Der Rohe Pavilion, Barcelona
Galerie Gabrielle Maubrie, Paris
Galerie Lumen Travo, Amsterdam
2005
Kent Gallery, New York
2007
Galerie Gabrielle Maubrie, Paris
2008
Kent Gallery, New York
2009
Museum of Contemporary Art, Zagreb, Croatia
Galerie Lumen Travo, Amsterdam
SELECTED GROUP EXHIBITIONS
1974
American Painting and Sculpture Today. Contemporary Arts Center, Cincinnati
1977
Contemporary Drawing Invitational. Lake Placid School of Art, Lake Placid, New York
Art Stories. Libra Gallery, Claremont Graduate School, Claremont, California
Allegoria dell’impronta digitale. Galleria Mercato Del Sale, Milan
Great Enlargements. Midway Studios, Chicago
1978
Artwords and Bookworks. Los Angeles Institute of Contemporary Art
1979
In the Shadow of Marcel Duchamp. Grolier Club and Franklin Furnace, New York
Reality of Illusion. Denver Art Museum; University of Southern California, Los Angeles; Honolulu Academy of the Arts; Cornell University, Ithaca, New York; Oakland Museum, California; Toledo Museum, Ohio; University of Texas, Austin
1980
Sound, Space and Performance. Miami University, Oxford, Ohio
1981
Libres d’artista/Artists’ Books. Metronom, Barcelona
1983
The Ponderosa Collection. Butler Institute of American Art, Youngstown, Ohio
Grab Bag. City Gallery, New York
Subculture. Organized by Group Material. IRT subway trains, New York; C.E.P.A., Buffalo
Persuasion(s). The Kitchen, New York
1984
Metamanhattan. Whitney Museum of American Art Downtown, New York
Site Specific Proposals. East Carolina University, Greenville, North Carolina
Contemporary Perspectives 1984. Center Gallery, Bucknell University, Lewisburg, Pennsylvania; Sordoni Art Gallery, Wilkes College, Wilkes-Barre, Pennsylvania
1985
Not Just Any Pretty Picture. Part of the multigallery project: State of Union/State of Mind. P.S. 122, New York
The Artist as Social Designer: Aspects of Urban Art Today. Los Angeles County Museum of Art
Disinformation: The Manufacture of Consent. Alternative Museum, New York
Mass. Organized by Group Material. Hallwalls, Buffalo; Spaces, Cleveland; Arts Consortium, Cincinnati; Aljira Arts, Newark, New Jersey; New Museum of Contemporary Art, New York
Art on the Beach. Battery Park City Landfill, New York
1986
Homeless at Home. Storefront for Art and Architecture, New York
Liberty and Justice. Alternative Museum, New York
Cinemaobject. City Gallery, New York
Lost/Found Language. Lawrence Gallery, Rosemont College, Rosemont, Pennsylvania
Uplifted Atmospheres/Borrowed Taste. Hallwalls, Buffalo
1987
Spectre of Saturation. McIntosh/Drysdale Gallery, Washington, D.C.
Im Auftrag. Museum Folkwang, Essen, Germany
Atlantic Sculpture. Art Center College of Design, Pasadena, California
Dennis Adams, Tony Brown, Dan Graham, Rodney Graham. de Appel Foundation, Amsterdam
Skulptur Projekte in Münster 1987. Westfälisches Landesmuseum, Münster, Germany
Art in the Dark. City Without Walls, Newark, New Jersey
Constitution. Organized by Group Material. Temple Gallery, Temple University, Philadelphia
Nightfire. de Appel Foundation, Amsterdam
New York Art. ACE Contemporary Exhibitions, Los Angeles
1988
Constructions: Between Sculpture and Architecture. Sculpture Center, New York
Material Ethics. Milford Gallery, New York
Photography on the Edge. Haggerty Museum of Art, Marquette University, Milwaukee
Insight/On Site. Hillwood Art Gallery, C. W. Post Campus of Long Island University, Brookville, New York
Presi x incantamento: La nuova fotografia internazionale. Padiglione d’Arte Contemporanea, Milan
Reprises de vues. Halle Sud, Geneva
Accrochage 1: Dennis Adams, Dan Graham, Louise Lawler. Galerie Meert-Rihoux, Brussels
Rendez-vous manqués. Galerie Gabrielle Maubrie, Paris
L’inventaire/Les dimensions ordinaires. Manufrance, Saint-Etienne, France
Art in Public Places. Metro-Dade Center, Miami
The Whole World Is Still Watching. Randolph Street Gallery, Chicago
The Plight of the Figure. Islip Art Museum, East Islip, New York
Politically Charged. First Street Forum, St. Louis, Missouri
Bezugspunkte 38/88. Steirischer Herbst, Graz, Austria
Dennis Adams, Alfredo Jaar, Jeff Wall. Tomoko Liguori Gallery, New York
New Music America-Miami Festival. Miami
Public Discourse. Real Artways, Hartford, Connecticut
Unknown Secrets: Art and the Rosenberg Era. Organized by the Rosenberg Era Art Project. Hillwood Art Gallery, C. W. Post Campus of Long Island University, Brookville, New York; Massachusetts College of Art North Gallery, Boston; Olin Gallery, Kenyon College, Gambier, Ohio; Palmer Museum of Art, Pennsylvania State University, University Park, Pennsylvania; University of Colorado Art Gallery, Boulder; San Diego State University Art Gallery, California; Otis Art Institute of Parsons School of Design Gallery, Los Angeles; San Francisco Jewish Community Museum; Spertus Museum of Judaica, Chicago; Brody Gallery and Addison-Ripley Gallery, Washington, D.C.
The New Urban Landscape. World Financial Center, New York
Publics Art: Dennis Adams, Alan Belcher. Cold City Gallery, Toronto
Dennis Adams, Christian Boltanski, Sophie Calle, Alfredo Jaar, Stephen Laub, Antonio Muntadas. Craig Cornelius Gallery, New York
1989
Images Critiques: Adams, Jaar, Jammes, Wall. Musée d’Art Moderne de la Ville de Paris, Paris
Conspicuous Display. Stedman Art Gallery, Rutgers University, Camden, New Jersey
Sequence (Con)Sequence: (Sub)Versions of Photography in the 80s. Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York
Fonds National d’Art Contemporain: Acquisitions 1988. Fondation Nationale des Arts Graphiques et Plastiques, Paris
Revamp, Review. Center for Photography at Woodstock, New York
The Photography of Invention: American Pictures of the 1980s. National Museum of American Art, Smithsonian Institution, Washington, D.C.; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis
Jet Lag. Turon Travel, New York
Bientôt 3 ans. Galerie Gabrielle Maubrie, Paris
Magiciens de la Terre. Musée National d’Art Moderne, Centre Georges Pompidou, and La Grande Halle, Parc de la Villette, Paris
Dennis Adams, Alan Belcher, Jennifer Bolande. Margo Leavin Gallery, Los Angeles
Public Domain. Kent Gallery, New York
Tenir l’image à distance. Musée d’art Contemporain, Montréal
Not Photography. Meyers Bloom Gallery, Santa Monica, California
D & S Ausstellung. Kunstverein Hamburg, Germany
Strategie & Rhetorik: Dennis Adams, John Baldessari, Jochen Gerz. Galerie Anselm Dreher, Berlin
1. Internationale Foto-Triennale. Villa Merkel, Esslingen, Germany
Dennis Adams, Christian Boltanski, Alfredo Jaar. Elwood Fine Arts, Seattle
Dennis Adams, Ange Leccia, Not Vital. Galerie Faust, Geneva
FAUXtography. Art Center College of Design, Pasadena, California
Image World: Art and Media Culture. Whitney Museum of American Art, New York
Outdoor Projects: Dan Graham, Dennis Adams, Ludger Gerdes. Ulla Klot, Hamburg
Fax of Life. APAC Contemporary Art Center, Nevers, France
1990
Information. Terrain Gallery, San Francisco
Dennis Adams, IFP, Ange Leccia. Galerie Wilma Tolkdorf, Hamburg
Insect Politics: Body Horror/Social Order. Hallwalls, Buffalo
A New Necessity: Tyne International Exhibition. Gateshead, England
The Ready Made Boomerang. Sydney Biennale, Australia
Uncommon Ground: Architecture and Sculpture. 2AES Gallery, San Francisco
Passages de l’image. Musée National d’Art Moderne, Centre Georges Pompidou, Paris; Fundació Caixa de Pensions, Barcelona; Wexner Art Center, Columbus, Ohio; San Francisco Museum of Modern Art
The World of Towers: From Babylon to Manhattan. Comune di Milano, Milan
The Decade Show. Organized by Group Material. The Studio Museum in Harlem, New York
For Real Now. Stichting De Achterstraat, Hoorn, The Netherlands
Life-Size: A Sense of the Real in Recent Art. Israel Museum, Jerusalem
New Works for Different Places. TSWA, Four Cities Project. Derry, Glasgow, Newcastle, Plymouth, United Kingdom
Images in Transitional Photographic Representation Towards the 1990s. National Museum of Modern Art, Kyoto
Public Mirror: Artists Against Racial Prejudice. The Clocktower, The Institute for Contemporary Art, New York
Rendez-Vous Manqués 2. Galerie Gabrielle Maubrie, Paris
Empire State Biennal. Everson Museum of Art, Syracuse, New York
Rhetorical Image. The New Museum of Contemporary Art, New York
1991
The Political Arm. John Weber Gallery, New York
Enclosures and Encounters: Architectural Aspects of Recent Sculpture. Storm King Art Center, Mountainville, New York
Adams, Artschwager, Brauntuch, Burden, Foulkes, Hamilton, Kearns, Muntadas. Kent Gallery, New York
ISARprojekt 1991: Fotografie. Foto-Projekt München, Munich
Power: Its Icons, Myths and Structures in American Culture, 1961-1991. Indianapolis Museum of Art, Indiana
Oikos. Galerie Gabrielle Maubrie, Paris
Constructing Images: Synapse Between Photography and Sculpture. Lieberman & Saul Gallery, New York; The Tampa Museum of Art, Florida; The Center for Creative Photography, Tucson, Arizona
Artists of Conscience: 16 Years of Social and Political Commentary. Alternative Museum, New York
Recognitions/Interpretations/Interventions. University of Virginia, Charlottesville
ArgusAuge. Städtische Galerie im Lenbachhaus/Kulturreferat der Landeshauptstadt München, Munich
Departures, Photography 1923-1990. Iris & B. Gerald Cantor Art Gallery, College of the Holy Cross, Worcester, Massachusetts; Denver Art Museum; Joslyn Art Museum, Omaha, Nebraska; Pittsburgh Center for the Arts; The Goldie Paley Gallery at Moore College of Art and Design, Philadelphia; Telfair Academy of Arts and Sciences, Savannah, Georgia
Variations on Themes: Recent Print Acquisitions. Whitney Museum of American Art, New York
1992
Edities van kunstenaars van de galerie. Galerie Lumen Travo, Amsterdam
Notes from the Material World: Contemporary Photomontage. John Michael Kohler Arts Center, Sheboygan, Wisconsin
Internationale Künstlerplakate Saarbrücken. Saarbrücken, Germany
Allocaties/Allocations. Floriadepark, Zoetermeer, The Netherlands
Neuerwerbungen 1990-1992. Städtische Galerie im Lenbachhaus, Munich
The Power of the City/ The City of Power. The Whitney Museum of American Art Downtown, New York
Special Collections: The Photographic Order from Pop to Now. International Center of Photography, New York; Deutsch Fondation, Lausanne, Switzerland; Block Gallery, Northwestern University, Evanston, Illinois; Arizona State University Art Museum, Tempe; The Chrysler Museum, Norfolk, Virginia; Bass Museum of Art, Miami Beach, Florida; The Museum at Stony Brook, New York; Vancouver Art Gallery; Sheldon Memorial Art Gallery, Lincoln, Nebraska
Pour la suite du monde. Musée d’Art Contemporain de Montréal
C’est pas la fin du monde. Galerie du Théatre National de Bretagne, Rennes, France
Queues, Rendezvous, Riots: Questioning the Public. Walter Phillips Art Gallery, Banff, Canada
Post Human. FAE Musée d’Art Contemporain, Pully/Lausanne, Switzerland; Castello di Rivoli, Museo d’Arte Contemporanea, Torino; Deste Foundation for Contemporary Art, Athens; Deichtorhallen Hamburg
Cross Section. Battery Park City and the World Financial Center, New York
This is My Body: This is My Blood. Herter Art Gallery, University of Massachusetts, Amherst
Plus Ultra: Proyecto de arte público del Pabellón de Andalucía. Andalucía, Spain
Avantgarde & Kampagne. Kunsthalle Düsseldorf, Germany
L’art renouvelle la ville/ urbanisme et art contemporain. Musée national des monuments français, Paris
Commodity Image. International Center of Photography, New York; Institute of Contemporary Art, Boston; Kunsthal Rotterdam; Laguna Art Museum, Laguna Beach, California; High Museum at Georgia Pacific, Atlanta
1993
Art is Life. Museo dell’automobile, Torino
Licht-Räume. Museum Folkwang, Essen, Germany; Bauhaus Dessau, Berlin
Dennis Adams, Jochen Gerz and Lawrence Weiner. Galerie Anselm Dreher, Berlin
Moving. de Appel Foundation, Amsterdam
Three River Arts Festival. Pittsburgh
Austrian Triennial on Photography 1993. War. Neue Galerie am Landesmuseum Joanneum, Graz, Austria
Stadfahrt /City Tour. Kunst im öffentlichen Raum, Hamburg
51˚ 48’ -04˚ 40’ Kalhaven NL Dordrecht. Dordrecht, The Netherlands
Images pour la lutte contre le sida. Musée National d’Art Moderne, Centre Georges Pompidou, Paris
The Camera Politic. The Pittsburgh Center for the Arts; La Sala Mendoza, Caracas; The Contemporary Arts Center, Cincinnati; Mendel Art Gallery, Saskatoon, Canada
Konstruktion Zitat: Kollektive Bilder in der Fotografie. Sprengel Museum Hannover
1994
Sortir de sa Reserve. Galerie Gabrielle Maubrie, Paris
Public Interventions. The Institute of Contemporary Art, Boston
Inaugural Exhibition. Musée d’art Moderne et Contemporain, Geneva
1995
Semblances. Museum of Modern Art, New York
Sortir de sa Reserve. Galerie Gabrielle Maubrie, Paris
Human/Nature. The New Museum of Contemporary Art, New York
Premiers Dons 1964-1965 et Dons 1989-1994. Musée d'art Contemporain de Montréal
Le Monde Après la Photographie. Musée d'art moderne, Villeneuve d'Ascq; Villa Arson, Nice, France
Light Constructions. Museum of Modern Art, New York
Temporarily Possessed: The Semi-Permanent Collection. The New Museum of Contemporary Art, New York
Puente...de pasage: una exposición international de artes visuales en el Puente Vizcaya. Bilbao, Spain
Artistes/Architectes. Le Nouveau Musée, Villeurbanne, France
The Dakis Joannou Collection. Athens School of Fine Arts, Greece
1996
Box. Fotouchi Cramer Gallery, New York
Le musée des Beaux-Arts, Paris
Light Into Darkness. Kent Gallery, New York
City Space. Copenhagen
Luminous Image. Alternative Museum, New York
American Art. Stadtische Galerie im Lenbachhaus, Munich
1997
Biennial Exhibition of Public Art. Neuberger Museum of Art, State University of New York, Purchase
l'oeil alerte. Fonds Regional d'Art Contemporain, Bretagne
Acquisitions recentes. Fonds Regional d'Art Contemporain de Basse-Normandie, Caen, France
21st Century Streetscape. Municipal Arts Society, New York
Über Deutschland. Galerie Anselm Dreher, Berlin
1998
Do All Oceans Have Walls?. Gesellschaft für Aktuelle Kunst, Bremen, Germany
10 Years PORTIKUS Frankfurt. P.S.1 Contemporary Art Center, New York
Meeting Point. Galerie Lumen Travo, Amserdam
Points of Departure: Art on the Line. Septa 's R5 Train Stations/Philadelphia to Bryn Mawr, Pennsylvania
1999
Private Room Public Space. Almeers Centrum Hedendaagse Kunst- De Paviljoens, Almere, The Netherlands
Comfort Zone. PaineWebber Art Gallery, New York
Billboard, Art on the Road. MASS MoCa, North Adams, Massachusetts
Dream Architecture. Kent Gallery, New York
Drawing in the Present Tense. Parsons School of Design, New York
Espace, modes d'emploi. Centre d'Art Passerelle, Brest, France
Facettes de la Collection du Frac de Basse-Normandie a Caen. Centre d'Art Contemporain, Brussels
The Promise of Photography. P.S.1 Contemporary Art Center, New York; Schirn Kunsthalle, Frankfurt a.M.
Panorama. Centraal Museum, Utrecht, The Netherlands
Stimuli. Witte de With, Rotterdam
2000
Whitney Biennial. Whitney Museum of American Art, New York
Around 1984: A Look at Art in the 80's. P.S.1 Contemporary Art Center, New York
Collection of Anne-Marie Charbonneaux. Espace Gantner, Bourogne, France
Domiciles, de la maison a la ville, de la construction a la ruine. Centre d'art de Tanlay, Perrigny, France
Parcours/Saint-Germain-Des-Prés. Paris
Un Siecle d'Arpenteurs/ Les Figures de la Marche. Musée Picasso, Antibes, France
Open Ends/One Thing After Another. Museum of Modern Art, New York
2001
VOX. Kent Gallery, New York
Double Vision / photographs from the Strauss Collection. University Art Museum, California State University, Long Beach; Museum of Photographic Arts, San Diego
Hortus Conclusus. Witte de With, Rotterdam
La Bretagne Collectionne L'Art De Notre Temps Les Vingt Ans Du FRAC Bretagne: Comme a la maison. Ecole Supérieure d'Arts, Lorient, France
Arbeit Essen Angst. Kokerei Zollverein, Essen, Germany
2002
Video topiques/Tours et Retours de l'Art Vidéo. Musée d'Art Moderne et Contemporain de Strasbourg, France
Endless Summer. Kent Gallery, New York
Unforgettable. Chelsea Studio Gallery, New York
Arte/Citade/grupo de intervencao urbana. Sao Paulo
Photography as Commentary. Kent Gallery, New York
Ars Lucis et Umbrae. Museum im Palais Kinsky, Vienna
2003
Poetiques de l'espace. Fonds Régional d'Art Contemporain Bretagne, France
Warum. Gropius Bau, Berlin
20 ans/Collection. Fonds Régional d'Art Contemporain Basse-Normandie, France
de collectie. Muhka, Antwerp
Le Mois de la Photo a Montréal. Montréal
Global Priority. Herter Art Gallery, University of Massachusetts, Amherst
Regarde il Neige. Centre d 'Art Contemporain de Vassiviéres-en-Limousin
Categorically Speaking. The Museum of Contemporary Art, Chicago
Support. The Neue Galerie as a Collection. Neue Galerie am Landesmuseum Joanneum, Graz
2004
Fight the Power. Galerie Gabrielle Maubrie, Paris
cremers haufen. alltag, prozesse, handlungen: kunst der 60er jahre und heute, Landusmuseum, Münster, Germany
Ambulates/Cultural Portátil: Actitudes y Prototipos en el Espacio público
Centro Andaluz de Arte Contemporáneo of Sevilla, Spain
Shake. Villa Arson, Nice and OK Centrum für Gegenwartstkunst, Linz
TROU-art & archi & art. La Galerie, Noisy-le-Sec
Paysages Invisibles. Musee Departmental D’Art Contemporain de Rochechouart
la collection continue. Centre Culturel Una Volta, Bastia
Sammeln-Portraitfotografien. Neuer Kunstverein Aschaffenburg, Germany
Floating Point. Naumon, La Biennale di Venezia
2005
Regarding Terror: The RAF- Exhibition. Kunst-Werke Institute for Contemporary Art, Berlin and Neue Galerie am Landesmuseum Joanneum, Graz
Documentary Strategies. TENT, Center for Visual Arts, Rotterdam.
Burlesques contemporains. Jeu de paume, Paris
City Art. Center for Architecture, New York
The Gesture: A Visual Library in Progress. Macedonian Museum of Contemporary Art, Thessaloniki, Greece; Quarter, The New Center of Contemporary Art in Florence, Italy
Beyond Narcissus. Dorsky Gallery, New York
Mode’les mode’les. Mamco, Geneva
Light Art/ From Artificial Light. ZKM Museum for Contemporary Art, Karlsruhe
Emergency Biennale. Chechnya
2006
Down By Law. The Whitney Museum of American Art, New York
Conflicts. Moscow Photobiennale, Moscow State Exhibition Hall
20th Anniversary Exhibition. Galerie Gabrielle Maubrie, Paris
CollectePreentatie XIV. Museum van Hedendaagse Kunst, Antwerpen
Geschichten, Gesshichte – Set 3. Fotomusem Winterthur, Zurich
The Urban Cosmology. Kent Gallery, New York
Kapital. Kent Gallery, New York
10 anos de galeria. Galeria Moises Perez Albeniz, Pamplona, Spain
Interstics. A Storefront Film Project at the Anthology Film Archive, New York
2007
Filles rebelles. Frac Nord-Pas de Calais, Dunkerque, France
Close Looking. Kent Gallery, New York
Der Traum vom Ich/Der Traum von der Welt. Foto Kunst Stadtforum, Innsbruck
2008
REAL–Photographs from the Collection of the DZ Bank. Städel Museum, Frankfurt am Main
Entre Chein et Loup. Kent Gallery, New York
Mondo e Terra/La collection du FRAC Corse. Museo d’Arte Provincia di Nuoro, Sardinia, Italy
Exclusiones/Censorship. Galeria Moises Perez Albeniz, Pamplona, Spain
Touch Paper Once/Selected Documents from the Walter Phillips Gallery Achive
1976-2007. Walter Phillips Gallery, The Banff Center, Alberta, Canada
Revolutions 1968. Zacheta National Gallery of Art, Warsaw
The Past in the Present-Questioning History. Netherlands Fotomuseum, Rotterdam
Blickmaschinen. Museum Feur Gegenwartskunst, Siegen, Germany; C’Centre for Culture and Communication Mucsaber, Budapest; Sevilla Centro Andaluz de Arte Contemporáneo of Sevilla, Spain
Pari Photo. Galerie Gabrielle Maubrie, Paris
Transparence. L’Imagerie, Lannion, France
USA Today. The Museum of Contemporary Art, Chicago
2009
Walls of Algiers:Narratives of the Colonial City. The Getty Research Institute, Los Angeles
After Architecture. Arts Santa Mónica, Barcelona
Essential Works. Galerie Gabrielle Maubrie, Paris
Altering Collection. Museum of Contemporary Art, Zagreb, Croatia
Evento. Bordeaux
WRITINGS, INTERVIEWS, STATEMENTS AND MAGAZINE PROJECTS BY THE ARTIST
Adams, Dennis. "Afwerkplek for Small Cars." From (Witte de With, Rotterdam), no. 4, July 2001, pp. 74-81.
. Behind Social Studies. Self-published book. New York: 1977.
______.“The Critical Frame.” Art in America, April 1990, p. 33.
______.“Farnsworth.” Art Papers (Atlanta), January–February 1990, p. 32.
______.“Freeload” roulotte: 01, Barcelona, May, 2006, pp. 48-53.
______.“Leopard." From (Witte de With, Rotterdam), no. 5, December 2001, pp. 36-39.
______.“la foundation anon.,.” L’observatoire (Marseilles), no. 2, 1992, pp. 1, 32–33, 66.
______.Manifest ? La galerie de la mer. Symposium catalogue. Marseilles: Mission pour l’art contemporain, 1992.
______."Masquerade and Ambivalence.” Place-Position-Presentation-Public. Symposium catalogue. Maastricht/De Balie (Amsterdam), The Netherlands: Jan van Eyke Akademie, 1992, pp. 124–34.
______.“Pas d’original.” L’observatoire (Marseilles), no. 3, 1993, pp. 26–27.
______.“Patricia Hearst: A thru Z.” So & So (San Francisco), Summer–Fall 1980, cover and p.9.
______.“The Proscenium.” Control Magazine (London), September 1990, pp. 14–15.
______.“Questionnaire.” Zone 1–2, 1986, pp. 423, 455.
¬ . “Sky Writing.” Historias: VII Edición del Festival International de Fotografia y Artes Visuales PhotoEspaña (catalogue) 2004, Madrid, pp. 63-66, 168-170.
______.“Theater Of Cruelty.” Artscribe, Summer 1990, pp. 66–67.
______.“Transit Authorities.” Stroll (New York), Spring–Summer 1985, p. 3.
Adams, Dennis, and Jean-Claude Decaux. “A dialogue.” Port of View. Project catalogue. Marseilles: L’observatoire, 1992.
Adams, Dennis, and Adele Duval. Book interview. Public Difference. New York: Christine Burgin Gallery, 1989.
Adams, Dennis, and Eleanor Heartney. “Public Discourse, Private Interests, and the Public Street.” Art Papers (Atlanta), March–April 1992, pp. 14–17.
Adams, Dennis, and Anna Novakov. “Markers: The Gender of Urban Space.” Nonspectacle and the Limitations of Popular Opinion. Symposium catalogue. Northbrook, Illinois: Hirsch Farm Project, 1993.
Amar, Sylvie. “Interview with Dennis Adams: Le port et Musée Cantini.” Artpress, October 1992, p. 92.
Aguiriano, Maya. "Interview with Dennis Adams." Zehar, Arteleku (Spain), December-January-February 1994-1995, pp. 6-8.
Beros, Nada. "A Puncture From Which The City Reveals Itself. An Interview with Dennis Adams." Takedown. Project brochure/poster. Zagreb: Museum of Contemporary Art, 1999
"Street Ventriloquist/ An Interview with Dennis Adams." Art Press. December 1999, pp.24-29.
"Street Ventriloquist/ An Interview with Dennis Adams." M'ARS. no.3-4, 1999, pp.14-28.
Bleyer, Marcus. “Road To Victory/An Interview with Dennis Adams. MUSEO, no. 6, Spring 2003, 46-51.
Cruz, Amada. “Interview with Dennis Adams.” Dennis Adams. Exhibition brochure. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1990.
De Bruijne, Ellen. “An Interview with Dennis Adams.” 51˚ 48’ –04˚ 40’ Kalhaven NL Dordrecht. Exhibition catalogue. Dordrecht, The Netherlands: Commissie Kunst & Architectuur, 1993.
Doroshenko, Peter. “Interview with Dennis Adams.” Journal of Contemporary Art, Spring/ Summer 1991, pp. 5–11.
______."Interview with Dennis Adams." Dennis Adams/Selling History. Exhibition catalogue. Houston: Contemporary Arts Museum, 1994.
Drobnick, Jim. “Contesting Urban Spaces: An Interview with Dennis Adams.” Parachute, October–November–December 1992, pp. 47–51.
Ferguson, Bruce. “Interview compiled from previous interviews with the artist.” Rhetorical Image. Exhibition catalogue. New York: The New Museum of Contemporary Art, 1991, p. 30.
Goldmann, Daniela. “Kontradiktionen der Kunst: Daniela Goldmann im Gespräch mit Dennis Adams.” Noema Art Journal, October/November 1991, pp. 58–65.
Halle, Howard. “An Interview with Dennis Adams.” Dennis Adams: Building Against Image 1979–1987. Exhibition catalogue. New York: Alternative Museum, 1987.
Kazanjian, Dodie. “Portrait of the Artist 1987: Who Supports Him/Her?” Interview. Artsreview, Spring 1987, pp. 63–64.
Kolbowski, Silvia. “Freeload/Interview with Dennis Adams,” Scapes. no. 4, Fall 2005, pp. 27-32.
Marinkovic, Ana. " Dennis Adams - Arhitektura amnezije." Covjek i prostor, March-April 1998,
pp. 49-50.
Marí, Bartomeu. “Entretien avec Dennis Adams par Bartomeu Marí.” Saint- Denis: Memento Mori. Project brochure. Paris: Direction régionale des affaires culturelles d’lle-de-France, 1994.
Marzo, Jorge Luis. “The Impatient Glance: An Interview with Dennis Adams.” Lapiz, November–December 1992, pp. 20–28.
Novakov, Anna. “Temporary Connections: A Conversation with Dennis Adams.” Public Art Review, Spring/Summer 1994, pp. 18–19.
Pavelic, Tomislav. " Aktivisticam iz dokolice/An Interview with Dennis Adams." Kontura (Zagreb), Ljeto/Jesen 1999, p. 88.
Rinder, Larry. “An Interview with Dennis Adams.” Artpaper (Minneapolis), May 1988, pp. 9–10.
Rosen, Miriam. "Adams, pour faire valentir les gens." Libération, October 12, 1994, p. 44.
Sans, Jérôme. "An Interview with Dennis Adams." Flash Art, Summer, 1989, pp. 129–31.
Stimson, Blake. “Slow Provocation: An Interview with Dennis Adams.” Views – The Journal of Photography in New England, Winter 1992, pp. 3–7.
Vermandel, Frank. “Dennis Adams. La mémoire en fuite: Une entretien avec Dennis Adams.” Faces, Summer 1994, pp. 24–29.
ONE-PERSON EXHIBITION CATALOGUES AND BROCHURES
Building Against Image 1979–1987. New York: Alternative Museum, 1987. Essay by Patricia C. Phillips, interview with the artist by Howard Halle.
Dennis Adams. Pamplona: Galeria Moises Perez de Albeniz, 2004.
Der Müll, ( ) und der Tod. Frankfurt: Portikus, 1993. Introduction by Martin Hentschel and Kasper König, essay by Maureen P. Sherlock.
Double Feature. New York: Kent Gallery. 2008.
Ederle. New York: Queens Museum of Art, 1996. Introduction by Jane Farver, essay by Thomas Keenan.
El Pavelló de l’Est. Barcelona: Sala Montcada de la Fundació “la Caixa,” 1992. Introduction by Dennis Adams, essays by Susan Buck-Morss and Jorge Luis Marzo.
Patricia Hearst—A thru Z. Minneapolis: Minneapolis College of Art and Design, 1979. Introduction by John Bowsher.
Port of View. Marseilles: L’observatoire, 1992.
Procession. Paris: Programme art et architecture: La Grande Arche: fondation, l’Arche de la fraternité, Mission pour le Mécénat et l’action culturelle et Caisse des Dépôts, 1994. Essay by Elisabeth Lebovici.
Road to Victory. New York: Museum of Modern Art, 1991. Essay by Laura Rosenstock.
Selling History. Houston: Contemporary Arts Museum, 1994. Introduction by Marti Mayo, interview with Dennis Adams by Peter Doroshenko.
Takedown. Zagreb: Museum of Contemporary Art, 1999. Interview with the artist by Nada Beros.
10 thru 20. The Hague: Stroom hcbk, 1995. Introduction by Lily van Ginneken, interview with Dennis Adams by Hans Oerlemans.
The Archive. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1990. Introduction and interview with the artist by Amada Cruz.
The Architecture of Amnesia. New York: Kent Fine Art, 1990. Essay by Mary Anne Staniszewski.
Transactions. Antwerp: Museum van Hedendaagse Kunst Antwerpen, 1994. Introduction by Florent Bex, essays by Jan Foncé and Yves Michaud.
Vanities. New York: Kent Gallery, 1997. Introduction by Dennis Adams.
BOOKS
Ault, Julie, ed. Alternative Art New York, 1965-1985. Minneapolis-London: University of Minnesota Press, 2002, pp. 44, 290.
Bard, George and Mark Lewis, eds. Queues, Rendezvous, Riots. Banff, Alberta: Walter Phillips Gallery, 1994, pp. 1, 10-12, 15, 29-36, 143, 146.
Baqué, Dominique. La Photographie Plasticienne/ Un Art Paradoxal. Paris: Éditions du Regard, 1998, pp. 185-186, 195.
_____. Photographie Plasticienne, L’Extréme Contemporain. Paris: Éditions du Regard, 2004, pp. 150-152, 265.
_____. Pour Un Nouvel Art Politique/De L’Art Contemporain Au Documentaire.
Paris: Éditions Flammarion, 2004, pp. 114, 139-141.
Brand, Jan, Catelijne de Muynck and Jouke Kleerebezem, eds. Allocations: Art for a Natural and Artificial Environment. Den-Haag-Zoetermeer: Foundation World Horticultural Exhibition Floriade, 1992, pp. 60–61, 168–169, 231, 242.
Bullot, d'ÉRIK, ed .pointligneplan/cinéma et art contemporain. Paris: Éditions Léo Scheer, 2002, pp. 17, 116-123.
Büttner Claudia. Art Goes Public/Von der Gruppenausstellung im Freien zum Projekt im nicht-institutionellen Raum. Munich: Verlag Silke Schreiber, 1997, pp. 94, 200, 207, 228.
Campany, David, ed. Art and Photography. London: Phaidon Press Limited, 2003, pp. 29, 117.
Celik, Zeynep, Clancy-Smith, Julia and Terpak, Frances, eds. Walls of Algiers/Narratives of the City Through Text and Image, Los Angeles: The Getty Research Institute and University of Washington,
Seattle and London, 2009, pp. 7, 8-9, 10-11f.
Charbonneaux, d'Anne-Marie and Norbert Hillaire, eds. oeuvre et lieu. Paris: Flammarion, Paris 2002, pp. 218-219, 256.
Les Vanités Dans L’Art Contemporain:Flammarion,Paris 2005, pp. 18-21.
Cohen, Michele. Public Art for Public Schools. New York: Monacelli Press, 2009, pp. 152,156.
D’Agostino, Peter, and Lew Thomas, eds. Still Photography: the problematic model. San Francisco: NFS Press, 1981, pp. 111–115.
Davila, Thierry. Marcher,Créer/Déplacements, fâneries, dérives dans l'art de la fin du XXe siécle.
Paris: Editions du Regard, 2002, 169-173.
de Oliveira, Nicolas, Nicola Oxley, and Michael Petry. Installation Art. Washington, D.C.: Smithsonian Institution Press and London: Thames and Hudson Ltd, 1994, pp. 157, 163.
Deitch, Jeffery, Louise Neri, and Sara Watson, eds. EVERYTHING THAT'S INTERESTING IS NEW/The Dakis Joannou Collection. Ostfildern-Ruit, Germany: DESTE Foundation for Contemporary Art and Cantz Verlag, 1996, pp. 30-31.
Devolder, Anne-Mie, ed. The Public Garden/The Enclosure and Disclosure of the Public Garden. Rotterdam: NAi, 2002, pp. 13, 120, 126-127, 142-43, 172.
Durand, Régis. La Part de l’ombre: Essais sur l’expérience photographique. Paris: La Différence, 1990, pp. 196–202.
Evans, Martin. The Memory of Resistance. Oxford and New York; Berg, 1997, cover.
Gould, Claudia, and Valerie Smith, eds. 5000 Artists Return to Artists Space: 25 Years. New York: Artists Space, 1998, p. 108.
Grout, Catherine. A propos de l’art dans la ville. Besançon, France: Association Unité Mobile, 1991, pp. 30–32.
Gaaon, Todd, ed. The Light Construction Reader. New York:The Monacelli Press, 2002, pp. 44, 80.
Jacobson, Marjory. Art For Work: The New Renaissance in Corporate Collecting. Boston: Harvard Business School Press, 1993, pp. 28–29, 192, 194.
Jansen, Gregor, and Peter Weibel. Light Art from Artificial Light: Light as a Medium in 20th and 21st Century Art. Ostfildern, Germany: Hatje Cantz, 2006, p. 657.
Heartney, Eleanor. Art & Today. London: Phaidon Press Limited, 2008, pp. 328-29.
Heiferman, Marvin, ed. City Art. London/New York: Merrell Publishers Limited, 2005, pp. 11-13, 19, 20, 116, 166-8.
Horáková, Tamara, and Ewald Maurer, Johanna Hofleitner, Ruth Maurer-Horak, eds. Image:/images / Positionen zur zeitgenössischen Fotografie. Wien: Passagen- Verlag, 2001, pp. 230-232.
Kammerl, Sabine. Statements zu Theorie & Praxis von Kunst, Architektur, Design und deren Vermittlung im öffentlichen Raum. Regensburg, Germany: Lindinger + Schmid Verlag, 2001, pp. V-VIII.
Kelly, Liam. Thinking Long/Contemporary Art in the North of Ireland. Cork: Gandon Editions, 1996, pp. 60, 63, 73, 194.
_____, ed. AICA Congress 1997: Art and Centres of Conflict—Outer and Inner Realities. Belfast: AICA Publishing, 2001, pp. 72, 121-124.
König, Kasper, and Hans-Ulrich Obrist, eds. Jahresring 38: Der öffentliche Blick. Munich: Silke Schreiber, 1991, pp. 9–17.
Koscevic, Zelimir. Fotografska Slika - 160 Godina Fotografske Umjetnosti. Zagreb: Skolska knjiga, 2000, pp. XII and 131.
Lehmann, Ulrike, and Peter Weibel. ÄSTHETIK DER ABSENZ. Munich: Klinkhardt & Biermann, 1994, pp. 66,144, 186.
Lovejoy, Margot. POSTMODERN CURRENTS/Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall, 1997, 1992, 1989.
Leffingwell, Edward, and Karen Marta, eds. Modern Dreams: The Rise and Fall and Rise of Pop Art. New York: The Clocktower Gallery, The Institute for Contemporary Art, and Cambridge, Massachusetts, and London: MIT Press, 1988, pp. 6, 9, 110–117.
Magnani, Gregorio, Daniela Salvioni, and Giorgio Verzotti. Special Effects: The Photographic Experience in Contemporary Art. Milan: Giancarlo Politi Editore, 1989, pp. 13, 25–27, 162, 165, 191.
Michaud, Yves. Les marges de la vision: essais sur l'art (1978-1995). Marseille: Critiques d'art: éditions Jacqueline Chambon, 1996, pp.232-239.
_____. El Arte en Estado Gaseoso/Ensayo Sobre El Triunfo de lla Estética. México: Fondo de Cultura Económica, 2007. plates 7 &14.
Monvoisin, Alain. Dictionnaire International de la Sculpture/Moderne and Contemporaine. Paris: Editions du Regard, 2008. p.10.
¬¬¬Novakov, Anna, ed., Veiled Histories/The Body, Place and Public Art. San Francisco: Critical Press, 1997. pp.4-5, 7, 37-61, 174.
_____. ed. Carnal Pleasures/Desire, Public Space and Contemporary Art. San Francisco: Clamor Editions, 1998. pp. 122-135.
Okun, Rob A. The Rosenbergs: Collected Visions of Artists and Writers. New York: Universe Books, 1988, pp. 24, 76–77.
Plagemann, Volker, ed. Kunst im öffentlichen Raum: Anstösse der 80er Jahre. Cologne: DuMont Buchverlag, 1989, pp. 125, 129, 142–43, 148, 242.
Ross, Andrew. No Respect: Intellectuals & Popular Culture. New York and London: Routledge, Chapman and Hall, Inc., 1989, pp. 152–153.
Rouillé, André, La Photographie: Entre Document Et Art Contemporain.
Paris: Éditions Gallimard, 2005, pp. 520, 534-536, 542, 592.
Senie, Harriet F. Contemporary Public Sculpture: Tradition, Transformation, and Controversy. New York: Oxford University Press, 1992, pp. 193, 198–201.
Schütz, Heinz. Stadt.Kunst. Regensburg, Germany: Lindinger + Schmid Verlag, 2001, pp. 294,
V-VIII.
Staniszewski, Mary Anne. The Power of Display. A History of Exhibition Installations at the Museum of Modern Art. Cambridge, Massachusetts: MIT Press, 1998, pp. 296-298.
Storr, Robert. Gerhard Richter/Doubt and Belief in Painting. The Museum of Modern Art, New York, 2003, p.230.
Tschumi, Bernard and Irene Cheng. The State of Architecture at the Beginning of the 21st Century. New York: The Monacelli Press, Inc.,2003, pp. 12-13.
Trescher, Stephan. Light Boxes. Leuchtkastenkunst.Nürnberg: Verlag für moderne Kunst, 1999, pp. 28-30, 106-111, 144, 156.
Vale, Lawrence J. and Sam Bass Warner Jr. Imaging the City. New Jersey: Center for Urban Policy Research/Rutgers University, 2001, p.345.
SELECTED GROUP EXHIBITION CATALOGUES
1. Internationale Foto-Triennale. Villa Merkel, Esslingen, Germany. Essays by Alexander Tolnay, Ute Eskildsen, Els Barents, Christine Frisinghelli, Mark Haworth-Booth and Manfred Schmalriede, 1989.
51˚ 48' -04˚ 40' Kalhaven NL Dordrecht. Commissie Kunst & Architectuur, Dordrecht, The Netherlands. Introduction by Gabi Prechtl, interview with the artist by Ellen de Bruijne, 1993.
A New Necessity: First Tyne International. Newcastle, England. Introduction by Declan McGonagle, essays by John Bird, Simon Herbert, Thomas McEvilley and Annelie Pohlen, 1990.
Allocaties/Allocation. Floriadepark, Zoetermeer, the Netherlands. Introduction by A. Groot, 1992.
Argusauge. Städtische Galerie im Lenbachhaus, Munich. Essays by Werner Fenz and Patricia C. Phillips, 1991.
Artists of Conscience: 16 Years of Social and Political Commentary. Alternative Museum, New York. Introduction by Geno Rodriguez, essays by Lucy Lippard, Margot Lovejoy, Keith Morrison, Lowery Stokes Sims and Luis Camnitzer, 1991.
Art is Life/Project '93-'94. Velan, Torino. Introduction by Vezio Tomasinelli, 1994.
Art Meets Ads: Avantgarde & Kampagne. Kunsthalle Düsseldorf, Düsseldorf. Essays by Jürgen Harten and Michael Schirner, 1992.
Atlantic Sculpture. Art Center College of Design, Pasadena, California. Introduction by Stephen Nowlin, essays by Steven Beyer, Eleanor Heartney, Joseph Masheck and Wade Saunders, 1987.
Bezugspunkte 38/88. Steirischer Herbst, Graz, Austria. Essays by Nena Dimitrijevic and Werner Fenz, 1988.
Billboard: Art on the Road. MASS MoCa, North Adams, Massachusetts. Introduction by Joseph Thompson, essays by Laura Steward Heon, Harriet Senie, Peggy Diggs, Laura Steward Heon, Lisa Dorin, 1999
Blickmaschinen. Musem für Gegenwartskunst Siegen, Germany. Forward by Nike Bätzner, Werner Nekes,
Miklós Peternák, Eva Schmidt, José Lebrero Stals, essays by Nike Bätzner, Peter Bexte, Roberto Casati, Heinz-Werner Lawo, Hanne Loeck, Helga Lutz, Micheal Mayer, Miklós Peternák, Jean-Christophe Royoux and Eva Schmidt, 2008.
C'est pas la fin du monde / un point de vue sur l'art des années 80. Centre d'histoire de l'art contemporain, Rennes. Introduction by Jean-Marc Poinsot, texts by Yves Aupetitallot, Philippe Cazal, Catherine David, Chris Dercon, Catherine Elkar, Gary Hill, Barbara Kruger, Werner Lippert, Yannick Miloux, Craig Owens, David Perreau, Catherine Quéloz, Patrick Van Caeckenbergh and James Welling, 1992.
Conspicuous Display. Stedman Art Gallery, Rutgers University, Camden, New Jersey. Essay by Sid Sachs, 1989.
Constitution. Temple Gallery, Temple University, Philadelphia. Introduction by Julie Courtney and Group Material, essays by Donald Kuspit, Michael Ratner, Margaret Ratner and Bruce Mc.M. Wright, 1987.
Constructions: Between Sculpture and Architecture. Sculpture Center, New York. Essay by Frederieke Taylor, 1988.
Contemporary Perspectives 1984. Center Gallery, Bucknell University, Lewisburg, Pennsylvania. Essays by Barry Blinderman, Thomas Lawson and Susan Morgan, 1984.
.cremers.haufen./.alltag.prozesse.handlungen: kunst der 60er jahre und heute., 2004. Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. Forwards by Klaus Bussmann and Maïté Vissault, texts by Erich Franz, Sabine Röder, Johannes Cladders, Maité Vissault, Martin Hellmold, Amine Haase, Micheal Hirsch, interviews with Siegfried Cremer, René Block and Klaus Staeck, 2004.
Das Gedächtnis Öffnet Seine Tore / Die Kunst der Gegenwart im Lenbachhaus. Städtische Galerie im
Lenbachhaus, München. Introduction by Helmut Friedel, essays by Marion Ackermann, Helmut Friedel, Susanne Gaensheimer, Annegret Hoberg, Irene Netta, Ulrich Wilmes and Armin Zweite, 1999.
D & S Ausstellung. Kunstverein Hamburg. Essays by Frank Barth, Thomas Wulffen, Michael Haerdter, Dietmas Kamper, Michael Lingner, S. D. Sauerbier, Jürgen Schwienebraden and Freiherr von Wichman-Eichhorn, 1989.
Departures, Photography 1923-1990. Independent Curators, Inc., New York. Introduction by Edmund Yankov, essay by Andy Grundberg, 1991.
Diez Anos. Galería Moisés Pérez de Albéniz, Pamplona. Introduction by Moisés Pérez de Albéniz, 2007.
Disinformation: The Manufacture of Consent. Alternative Museum, New York. Introduction by Geno Rodriguez, essays by Noam Chomsky and Edward S. Herman, 1985.
Do All Oceans Have Walls ?. Gesellschaft für Aktuelle Kunst, Bremen. Introduction by Horst Griese and Eva Schmidt, 1998.
Double Vision / photographs from the Strauss Collection. University Art Museum, California State University, Long Beach. Prelude by Janet Fitch, essays by Constance W. Glenn, Mary-Kay Lombino and Arthur Ollman, 2000.
Enclosures and Encounters: Architectural Aspects of Recent Sculpture. Storm King Art Center,
Mountainville, N.Y. Essay by Maureen Megerian, 1991.
Entre Chien et Loup. Kent Gallery, New York. 2008.
Exclusiones/Censorship. Galería Moisés Pérez de Albéniz, Pamplona. Essay by Carlos Jiménez, 2008.
For Real Now. Korte Achterstraat, Hoorn, The Netherlands. Introduction by Ijsbrand van Veeland, 1990.
Fotografie als Kunst im öffentlichen Raum München 1991. Foto-Projekt München, Munich, Germany. Essays by Daniela Goldmann, Gerald Domenig, Jan Thorn Prikker and Vilem Flusser, 1991.
FRACorse, Une Collection Pour La Corse. FRAC Fonds Régional d'art contemporain, France. Essays by Dominique Pasqualini, Jean-Marc Olivesi, and Madeleine Santandréa-Toussaint, 1989.
Hamburg Projekt 1989. Kulturbehörde Hamburg, 1989.
Historias: VII Edición del Festival International de Fotografia y Artes Visuales PhotoEspaña 2004, Madrid. Introduction by Horacio Fernández, essays by Dennis Adams, Juan Bonilla, Rogelio López Cuenca, Francis Fukuyama, Frits Giersberg, Juan José Lahuerta, Pablo Llorca, Basilio Martín Patino, Pedro G. Romero, Oliver Sachs, Dubravka Ugresic/B. Shehu, James E. Young, 2004.
If Walls Had Ears. De Appel, Amsterdam. Introduction by Saskis Bos, essays by Gavin Jantjes, Micheal Archer, Jörg Heiser, Hou Hanru, Luk Lambrecht, Annelie Pholen, Charles Esche, Edna van Duyn, 2005.
Image World: Art and Media Culture. Whitney Museum of American Art, New York. Essays by Lisa Phillips, Marvin Heiferman, and John Hanhardt, 1989.
Images Critiques: Adams, Jaar, Jammes, Wall. L'ARC, Musée d'Art Moderne de la Ville de Paris. Introduction by Suzanne Pagé, essays by Béatrice Parent and Ariélle Pelenc, 1989.
Images in Transition: Photographic Representation in the Eighties. National Museum of Modern Art, Kyoto and National Museum of Modern Art, Tokyo. Introduction by Shinji Kohmoto, essay by Alain Sayag, 1990.
Images pour la lutte contre le sida. Artis and the Centre Georges Pompidou, Paris. Essays by Jacques Toubon, Philippe Douste-Blazy, Jean de Savigny, François Barré and Bruno Ughetto, 1993.
Insect Politics: Body Horror/Social Order. Hallwalls, Buffalo. Essay by Stephen Derrickson, 1990.
Insight/On Site. Hillwood Art Gallery, C. W. Post Campus of Long Island University, Brookville, New York. Essay by Tiffany Bell, 1988.
Internationale Künstlerplakate Saarbrücken. Hochschule der Bildenden Künste Saar, Saarbrücken, Germany. Essays by Oskar Lafontaine, Walter Grasskamp, and Ernest W. Uthemann, 1992.
Intervenciones: Proyecto de arte público del Pabellón de Andalucía. Plus Ultra, Andalucía, Spain. Essays by Mar Villaespesa, Mariano Maresca, Fernando Mendoza, David Lévi-Strauss, Cándida Martínez López, Carmen Africa Vidal, Pepa Bueno, Angel González, Diego Ropero-Regidor, Maurice Berger, Luis García Montero, Vicenç Altaió, Vicente Ruiz Fuentes, Kevin Power and Miguel Benlloch, 1992.
Konstruktion Zitat: Kollektive Bilder in der Fotografie. Sprengel Museum Hannover. Essays by Thomas Weski and Stefan Iglhaut, 1993.
L'art renouvelle la ville/ urbanisme et art contemporain. Musée national des monuments français. Introduction by François Barré, essays by Gilles Carrez, Guy Cogeval, Rémy Guinard, Jean-Luc Daval, Georges Duby, Monique Faux, Francis Lacloche, Pierre Restany and Germain Viatte, 1992.
Les Figures de la Marche. Musée Picasso, Antibes, France. Essays by Daniel Arasse, Lionel Bourg, Thierry Davila, Patricia Falguieres, Maurice Fréchuret, Éric Michaud and Gilles A. Tiberghien, 2000.
L'inventaire/Les dimensions ordinaires. Manufrance, Sainte-Etienne, France. Essay by Frederic Migayrou, 1988.
La fondation anon. Published by L'observatiore, Marseille. Edition number two, 1992.
La Grande Arche. Beaux Arts, Paris, 1991.
Le Monde Après la Photographie. Villeneuve d'Ascq, Musée d'art moderne. Essay by Régis Durand, 1995.
Liberty and Justice. Alternative Museum, New York. Essays by Alexander Cockburn, Jayne Cortez, Edmund Desnoes, Benjamin R. Ringer, and Geno Rodriguez, 1986.
Licht-Räume. Museum Folkwang Essen, Essen, Germany. Introduction by Lutz Schöbe and Dr. Gerhard Finckh, essay by Dr. Gerhard Finckh, 1993.
Life Size: A Sense of the Real in Recent Art. Israel Museum, Jerusalem. Essays by Suzanne Landau, Douglas Crimp, Carolyn Christov-Bakargiev, Germano Celant, Robert Storr, and Christian Leigh, 1990.
Light Construction. The Museum of Modern Art, New York. Essay by Terence Riley, 1995.
Magiciens de la Terre. Centre Georges Pompidou and La Grande Halle, Parc La Villette, Paris. Essays by Jean-Hubert Martin, Aline Luque, Mark Francis, André Magnin, Pierre Gaudibert, Thomas McEvilley, Homi Bhabda, Jacques Soulillou, and Bernard Marcarde, 1989.
Maintenenant. Images du Temps Présent. Le Mois de la Photo á Montréal. Edited and Introduction by Vincent Lavoie, essays by Guy Bellavance, Anne Bénichou, Anne Boime, Malcolm Foley and J. John Lennon, John Taylor, Robert Graham, Ariella Azoulay, and Edgar Roskis, 2003.
Mettlesome Meddlesome, Selections from the Collection of Robert J. Shiffler. The Contemporary Arts Center, Cincinatti. Essays by Elaine King, Jan Riley, Robert Schiffler, and Marsh Tucker, 1993.
Monument & Modernité à Paris: Art, espace public et enjeux de mémoire 1891/1996. Paris musées, Fondation électricité de France. Introduction by Thierry Dufrêne, essay by Chemin Faisant, 1996.
Newberger Museum of Art 1997 Biennial Exhibition of Public Art. Forward by Lucinda H. Gedeon, essay by Judy Collischan, 1997.
New Works For Different Places: Derry, Glascow, Newcastle, Plymouth. TSWA, Four Cities Project, England. Introduction by Tony Foster, Jonathan Harvey and James Lingwood, 1990.
Panorama 2000: Art in Utrecht seen from the Dom tower. Centraal Museum, Utrecht, The Netherlands. Preface by Sjarel Ex, introduction by Dirk van Weelden, 1999
Passages de l'image. Centre Georges Pompidou, Paris and Centre Cultural de la Fundació Caixa de Pensions, Barcelona. Essays by Pascal Bonitzer, Jean-François Chevrier, Catherine David, Raymond Bellour, Serge Daney, Jacques Aumont, Christine van Assche, Peter Wollen and Jean-Louis Schefer, 1990.
Photography on the Edge. Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin. Essays by Noel Carroll and Curtis L. Carter, 1988.
Points of Departure: Art on the Line. Main Line Art Center, Philadelphia, Forward by Judy Herman, essays by Julie Courtney, Janet Greenstein Potter and Harriet F. Senie, 2001
Politically Charged. First Street Forum, Saint Louis, Missouri. Essay by Judy Van Wagner, 1988.
Post Human. FAE Musée d'art contemporain. Pully Lausanne; Castello di Rivoli, Museo d'Arte Contemporanea, Rivoli (Torino); Deste Foundation for Contemporary Art, Athens; Deichtorhallen Hamburg, Hamburg. Essay by Jeffrey Deitch, 1992.
Pour la suite du monde. Musée d'art contemporain de Montréal. Essays by Marie-Andrée Bertrand, Manon Blanchette, Marcel Brisebois, Douglas Crimp, Gilles Godmer, Félix Guattari, Thierry Hentsch, Albert Jacquard, Johanne Lamoureux, Réal Lussier, Patricia C. Phillips, Elénore Jiconsasseh Sioui and Jacques Testart, 1992.
Pour la suite du monde: Cahier Propos et projets. Musée d'art contemporain de Montréal. Introduction by Gilles Godmer and Réal Lussier, 1992.
Power: Its Myths and Mores in American Art 1961-1991. Indianapolis Museum of Art. Essays by Holliday T. Day, Catsou Roberts, Brian Wallis, Anna C. Chave and George E. Marcus, 1991.
Presi x incantamento: La nuova fotografia internazionale. Padiglione d'Arte Contemporanea, Milan. Introduction by Gregorio Magnani, essays by Daniela Salvioni and Giorgio Verzotti, 1988.
Public Art Fund Inc.1989-1990. New York. Introduction by Susan Freedman, 1990.
Public Art Program 1985–1988. Brookville, New York: Hillwood Art Gallery, C. W. Post Campus of Long Island University. Essay by Judy Collischan Van Wagner, 1989.
Reality of Illusion. University of Southern California at Los Angeles and Denver Art Museum. Introduction by Donald Brewer, 1979.
Reprises de vues. Halle Sud, Geneva. Introduction by Renate Cornu, essay by Corinne Diserens, 1988.
Rhetorical Image. The New Museum of Contemporary Art, New York. Preface by Marcia Tucker, introduction by Milena Kalinovska, essays by Friedrich Dürrenmatt, Deirdre Summerbell and Nena Dimitrijecvic, interviews by Bruce Ferguson, 1990.
Sequence (Con)Sequence: (Sub)Versions of Photography in the 80s. Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York. Essays by Julia Ballerini, William S. Wilson and Lori Zippay, 1989.
Skulptur Projekte in Münster 1987. Westfälisches Landesmuseum, Münster, Germany. Introduction by Klaus Bussmann and Kasper König, monographs by Klaus Bussmann, Edith Decker, Kasper König, Friedrich Meschede, Susan Weirich and Ulrich Wilmes, essays by Thomas Kellein, Veit Loers, Christoph Schreier, Benjamin H. D. Buchloh, Hannelore Kersting, Antje von Graevenitz, Marianne Brouwer and Gundolf Winter, 1987.
Special Collections: The Photographic Order from Pop to Now. International Center of Photography, New York. Essay by Charles Stainback, 1992.
Temporarily Possessed: The Semi-Permanent Collection. The New Museum, New York. Essay by Brian Goldfarb, John Hatfield, Laura Trippi and Mimi Young, 1995.
Tenir l'image à distance. Musée d'art contemporain, Montréal. Essay by Réal Lussier, 1989.
The Camera Politic. Carlo Frua and Joyce Nereaux, New York. Essay by Robert A. Sobieszek, 1993.
The Luminous Image. The Alternative Museum, New York. Essay by A.D. Coleman, CD-Rom, 1996.
The New Urban Landscape. Olympia and York, Co., USA. Richard Martin, editor, 1989.
The Photography of Invention: American Pictures of the 1980s. National Museum of American Art, Smithsonian Institution, Washington, D.C. Introduction by Merry Foresta, essay by Joshua Smith, 1989.
The Political Arm. John Weber Gallery, New York, 1991.
The Power of the City/ The City of Power. The Whitney Museum of American Art, New York. Essays by Timothy Nye, Christel Hollevoet and Karen Jones, 1992.
The Readymade Boomerang: Certain Relations in 20th Century Art. Biennale of Sydney and Museum of Contemporary Art, Sydney. Introduction by René Block, essays by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg and Dick Higgins, 1990.
The Whole World Is Still Watching. Randolph Street Gallery, Chicago. Essays by Dan Mills and Maureen Sherlock, 1988.
This is My Body: This is My Blood. Herter Art Gallery, University of Massachusetts, Amherst. Essays by Robert Blake, Susan Jahoda, Lucy Lippard, May Stevens and Judith Wilson, 1992.
Uplifted Atmospheres/Borrowed Taste. Hallwalls, Buffalo, New York. Essay by Howard Halle, 1986.
Vidéo Topiques. Les Musées de Strasbourg. Essays by Patrick Javault, Georges Heck, Maurizo Lazzarato, Sandra Lischi, Philippe Dubois, Francoise Parfait, Anna Marx, 2002.
Warum. Martin-Gropius-Bau, Berlin. Introduction by Matthias Flügge and Friedrich Meschede, 2003.
Whitney Biennial 2000. Whitney Museum of American Art, New York. Forward by Maxwell Anderson, Curators’Introduction by Michael Auping, Valerie Cassel, Hugh M.Davies, Jane Farver, Andrea Miller-Keller and Lawerence R. Rinder, 2000.
SELECTED PERIODICAL AND NEWSPAPER ARTICLES
Abramovic, Marina. “Dennis Adams: Franck & Schulte.” Flash Art, Summer 1992, pp. 122–23.
Adamopoulus, Konstantin. “Was ist aktuelle Kunst? Ein Interview mit Kasper König am Beispiel der Arbeit von Dennis Adams.” Das Kunst-Bulletin, October 1993, pp. 20–23.
Adler, Sabine. "Alphabet für wache Augen." TZ (Munich), July 10, 1991.
Agboton-Jumeau, Jean-Charles. “‘L’art en Belgique depuis 1980’ & Co.” Art Présence, May– June 1993, pp. 2–9.
______.“Dennis Adams at Galerie Gabrielle Maubrie.” Forum International, January–February 1991, pp. 77, 84.
Ardenne, Paul. “Un Art Léger Faute Que Le Monde Puisse L’étre.” l’art même,
no. 25, 2004, pp. 2-4.
Alberro, Alexander. "Dennis Adams: Kent Gallery." Artforum, May 1999, p. 178.
Baqué, Dominique. “L’image fixe pour repenser le monde.” Artpress, November, 2008, pp. 52-59.
Bauwelinck, Bert. "Dennis Adams in het MUHKA: Kunst vind je ook op straat." Gazet van Antwerpen, March 24, 1994, p. 9.
Becker, Jochen. "Dennis Adams: Trans/Actions." Kunstforum, October-December, 1994, pp. 414-416.
______.“Trinkhalle, Pissecke, Wartenhäuschen.” Die Tageszeitung, May 17, 1994, p.13.
Bierens, Cornel. "De spiegel van Dennis Adams." Archis, February, 1996, pp. 14-16.
Bobka, Vivian. “Dennis Adams: Christine Burgin.” Flash Art, Summer 1989, pp. 148–49.
Boyer, Charles-Arthur. “Dennis Adams: Galerie Gabrielle Maubrie.” Artpress, January 1994, p. 84.
Bradley, Kim. "El arte y la ciudad." Rekarte (Spain), March, 1996, pp. 20-21.
Braet, Jan. "Ze Dronken een Glas..'Site specific Installations' en 'Transacties' van Dennis Adams." Knack, (Belgium), April 20, 1994, pp. 93, 95.
Brenson, Michael. “Dennis Adams: Building Against Image 1979–1987.” New York Times, January 23, 1987, p. C23.
______.“Dennis Adams: John Weber Gallery." New York Times, January 27, 1989, p. C17.
______.“Dennis Adams at Nature Morte." New York Times, October 10, 1986, P. C32.
______.“He Challenges a Privileged Point of View.” New York Times, March 13, 1988, sec. 2, pp. 35, 38.
Brill, Rob. "Too Hot for Hearst to Handle." Village Voice, November 27, 1978, p. 102.
Brown, Ellen. "Dennis Adams: Finding the Common Denominator." Cincinnati Post, May 3, 1975, p. 22.
Chirchietti, Léo. "Le petit cabanon de Dennis Adams." Le Provençal (Marseille), September 11, 1992, p. 11.
Clerc, Jocelyne. “L’homme qui dérange les villes.” La femme d’aujourd’hui, July 1988, pp. 19, 21.
Cooke, Lynne. “Dennis Adams.” Galeries Magazine, February–March 1991, pp. 88–91, 144.
Cotter, Holland. "Outtake. A Public Project by Dennis Adams." New York Times, January 15, 1999, p. E 42.
Cullinan, Helen. "Metaphor of Paranoia Caps CSU Art Season." Plain Dealer (Cleveland), May 14, 1988.
Decter, Joshua. “Review: Dennis Adams.” Arts Magazine, December 1986, p. 124.
Deitcher, David. "When Worlds Collide." Art in America, February, 1990, pp. 120-126, 189, 191.
"Dennis Adams." Critique Politique. La Recherche photographic, number 19, Autumn, 1995, pp. 59-63, back cover.
"Die Stadt als Leerstelle?" Frankfurter Rundschau, May 22, 1993, p. 21.
Dewar, Heather. "Coming to Grips with Art," The Baltimore Sun, November 5, 2001, pp.1B-2B
Dosogne, Ludo. "Melancholie van het brein." Gazet van Antwerpen, March 12, 1994, p. 46, Cultuur.
Douthat, Anita. “Transforming with Light.” Art New England, June 1989, pp. 10–11, 29.
Durand, Régis. “Dennis Adams: Une repolitisation fragile du signe.” Halle Sud, no. 18, 1988, cover and pp. 4–5.
______."Politiques de l'image" Beaux arts, January 1989, pp. 44-49.
Faust, Gretchen. “Dennis Adams.” Arts Magazine, September 1990, p. 102.
______.“Dennis Adams: MOMA.” Arts Magazine, April 1991, pp. 97–98.
Fenz, Werner. "Von der Dunklen Höhle zur Hellen Kammer--From the Dark Cave to the Camera Lucida." Camera Austria, No. 41, 1992, pp. 23-32,.
Findsen, Owen. "Visual Words and Music." Cincinnati Enquirer, May 11, 1976, p. 6F.
Funken, Peter. "Strategie & Rhetorik: Dennis Adams, John Baldessari und Jochen Gerz." Artefactum, April-May, 1990, pp. 49-50.
Furio, Maria Jose. “Historias Visuales.” Cultura/s La Vanguardia, June 23, 2004, cover and pp. 18-19.
Gattinoni, Christian. “Les fictions critiques de la photographie.” Artension, March 1989, pp. 42–43.
Geibel, Victoria. "Capitalist Clash." Metropolis, September, 1987, p. 26.
Gerbracht, Grady and Susan Jahoda, eds. "Dennis Adams/Recovered." Rethinking Maxism, July 2003. pp. 350, 351.
“Goings on About Town: Museum of Modern Art.” New Yorker, February 18, 1991, p. 8.
Greben, Deidre Stein. "Dennis Adams/Kent." Art News, September, 2002, p.152.
Griffen, Nora. “Entre Chien et Loup.” The Brookln Rail, October, 2008.
Guardia, María Asunción. "El 'antipabellón' del Este que la Expo rechazó, en Barcelona." La Vanguardia, June 19, 1992, p. 52.
Guasch, Anna Maria. “Dialogo con Van der Rohe.” Blanco y Negro Cultural, Numero 660, Septmber 18, 2004, pp. 25-26.
Guerrin Michel. “A Madrid, les photographes face á l’histoire.” Le Monde, June 15, 2004, p.30.
______. “Plan large/sur histoire proche.” Le Monde 2, July 11-12, 2004.
______."A Villeneuve d'Ascq, le métossage des images." Le Monde, August 3, 1995.
______."Le développement de la photographie 'plasticienne' désoriente le public." Le Monde, August 3, 1995.
Hapgood, Susan. "Dennis Adams at Kent." Art in America, April 1998, pp.117-118.
Hardin, Terri. "Sheltering the Rosenbergs." New York Magazine, July 14, 1986, p. 26.
Heartney, Eleanor. “Street Scenes.” Art in America, April 1989, pp. 230–37, 277.
______.“Studio: Dennis Adams.” Artnews, October 1986, pp. 71, 72.
______.“The New Social Sculpture.” Sculpture, July–August 1989, pp. 24–27, 49.
Hegman, William R. "Looking at Art." Minneapolis Tribune, September 30, 1987.
Heck, Sandy. "Light Construction." The Architectural Review, 1995.
Henry, Gerrit. “Dennis Adams.” Contemporanea, September 1990, p. 99.
Hettig, Frank-Alexander. “Amsterdam: Dennis Adams: Galerie Lumen Travo.” Artforum, May 1992, p. 131.
______."51˚ 48' -04˚ 40' Dordrecht." Kunstforum International, no. 124, 1993, pp. 452-453.
Hoffmann, Justin. “Dennis Adams in München.” Texte zur Kunst, no. 4, Fall–Winter 1991, pp. 187–89.
Indiana, Gary. “Dennis Adams at Nature Morte.” Art in America, January 1987, pp. 133–34.
Johnson, Ken. “Dennis Adams/Make Down.” The New York Times, September 16, 2005. p. E40.
Johnson, Patricia C. "'Selling History' sells on the street." Houston Chronicle, December 12, 1994, pp. 1C & 6C.
Kalil, Susie. "Going Public: Dennis Adams' bus shelters try to move art into the arena of the city." Houston Press, December 15-21 1994, p. 40.
Koelemeijer, Judith. "Reageren op de ruimte." de Voorkant, May 31, 1995, p. 13.
Kozloff, Max. “Through the Narrative Portal.” Artforum, April 1986, pp. 86–97.
Kuspit, Donald. “The Critic’s Way: Review of Bus Shelter IV, Münster.” Artforum, September 1987, pp. 109–20.
Lambrecht, Luk. “Images Critiques.” Artefactum, April–May 1989, pp. 44–45.
Larcade, Franck. "Arpentage, contours d'un projet." Journal de l'Institut Français de Bilbao, (Spain), April-May-June 1996, pp. pp. 14-21.
Ledes, Richard C. “Dennis Adams, Alfredo Jaar, Jeff Wall: Tomoko Liguori Gallery.” Artforum, January. 1989, pp. 113–14.
Magnani, Gregorio. "Second Generation Post-Photography." Flash Art, March-April, 1988, pp. 84-87.
Mahoney, Robert. “Dennis Adams.” Tema Celeste, July–October 1990, p. 58.
______., "Airborne." Timeout, June 6-13, 2002.
Mandelbaum, Audry. "Staking a Common Ground/Sculpture Chicago's: Reinventing the Garden City." New Art Examiner, October, 1996. pp. 14-19.
Mangaliman, Jessie. "Homelessness the Theme of Artists' Show." New York Newsday, January 21, 1988, p. 31.
Manor, Dalia. "Dennis Adams Bus-Stop." Ha-aretz (Tel Aviv), August 1989, pp. 28-29.
Meeks, Fleming. “Dennis Adams at Broadway and 66th Street.” Art in America, September 1984, p. 207.
Melkisethian, Angela. "Dennis Adams/Seize Baltimore MD." Sculpture, June, 2002, pp. 20-21.
Melrod, George. “Luminous Noir: The Shades of a Scary Era.” Eye, December 1986, p. 35.
Mendiry, Ruperto. “El artista Dennis Adams trae a Pamplona los mensajes que dejo en el cielo el 11-S.”
Diario De Navarra, May 14, 2004, Diario 2, p. 75.
Moorman, Margaret. “Dennis Adams: Christine Burgin.” Artnews, October 1989, p. 197.
Muschamp, Herbert. "Buildings That Hide and Reveal." The New York Times, September 22, 1995, pp. C1 & C28.
Nesbitt, Lois E. “Dennis Adams.” Artforum, September 1990, pp. 158–59.
Oleksijczuk, Denise. “Publics Art.” File Magazine (Toronto), no. 29, 1989, pp. 49–61.
Oliveras, Jaume Vidal.“Dennis Adams.” El Mundo, September 16 2004, p. 33.
Ollman, Leah. “Street Structures Make Public Do Double Take.” Los Angeles Times, January 8, 1990, pp. F1, F8.
Pelenc, Ariélle. “Dennis Adams: Paris, Galerie Gabrielle Maubrie.” Artefactum, April–May 1988, p. 48.
Phillips, Christopher. "Between Pictures." Art in America, November, 1991, pp. 104-114.
Phillips, Patricia C. “Adams, Jaar, Wodiczko des images parasites.” Artpress, March 1988, pp. 17–20.
______.“Dennis Adams: Christine Burgin Gallery.” Artforum, September 1989, pp. 142–43.
______.“Dennis Adams: Gallery Nature Morte.” Artforum, January 1987, p. 116.
______."Temporality and Public Art." Art Journal, Winter, 1989, pp. 331-335.
______."Making Memories." Sculpture Magazine. March, 1997.pp.22-27.
Pins, Kenneth. “Art goes underground.” The Des Moines Register, May 3, 1990, pp. 1T–2T.
Poiatti, Myriam. "Genève 'retravaillée.'" Tribune de Genève, June 17, 1988.
Richard, Paul. “‘Archive’ of a Hidden Washington, at Hirshhorn.” The Washington Post, April 25, 1990, pp. B1, B10.
Roos, Robert. "Adams als collectief geheugen." Utrechts Nieuwsblad, November 22, 1991.
Rosen, Miriam. "Adams, pour faire ralentir les gens." Libération, October 12, 1994.
Saint-Pierre, Adrienne E. “A Red, White, and Blue Movie.” Dialogue, July–August 1980, pp. 10–11.
Sans, Jérôme. "Dennis Adams: Houston Museum of Contemporary Art." Artforum, March, 1995, p. 95.
Schmitz, Rudolf. “Rettet Das Archiv!” Artis, July–August 1990, pp. 30–35.
Schwartz, Ineke. "Stukjes gestolde geschiedenis." de Volkskrant, January 12, 1996, p.21.
Schwartzman, Allan. "Public Art: Corporate Trophies." Art in America, February, 1989, pp. 34–43.
Serra, Catalina. “Adams exhibe en Barcelona ‘El pabellón del Este’ que rechazó la Expo.” El País, June 19, 1992, p. 47.
Sherlock, Maureen. "Sculpture's Phantoms in the Public Sphere." Sculpture Magazine, April 1998, pp. 40-45.
Smith, Roberta. "Exploring the World's-Fair Mentality." The New York Times, June 28, 1996, p. C33.
Smith, Roberta. “Sculpture in the City, From Blankets to Bronze.” The New York Times, April 20, 1990, pp. C1, C28.
Sonna, Birgit. “Dennis Adams in der Orangerie.” Süddeutsche Zeitung (Munich), July 12, 1991.
______."Der geheime Reiz vertrauter Orte: Wie der amerikanische Konzeptkünstler Dennis Adams seine Münchner Gastprofessur nutzte." Süddeutsche Zeitung Nr. 239, October 17 1994, p. 17.
Staniszewski, Mary Anne. "Dennis Adams: The Architecture of Amnesia." Arts, International Directory of Exhibition Catalogues: Directory Issue 1991-1992, pp. 9, 17-20.
Steenbergen, Renée. “De ideële reclame van Dennis Adams: Gemaakt voor het stadsoog.” NRC Handelsblad (The Netherlands), March 25, 1994, p. 4.
Tamir, Tali. “The Present Station of Dennis Adams.” Kol-Hair (Jerusalem), July 7, 1989, pp. 58–59, 71.
Terras, Lucien. “New World Invaders: Dennis Adams at Galerie Gabrielle Maubrie.” Art International, Summer 1988, p. 70.
Tilroe, Anna. “Tralies van onbehagen.” de Volkskrant, March 25, 1988.
van Duyn, Edna. “Dennis Adams: Kunst van de straat.” Vrij Nederland, December 14, 1991, pp. 56–57.
______.“Between Innocence and Amnesia.” de Appel, no. 2, 1988, pp. 23–26.
van Giersbergen, Marieke. "Dennis Adams in Zaandam." Archis, February, 1991, p. 7.
van Stralen, Mariëtte. “Dennis Adams: Galerie Lumen Travo.” Metropolis M,
February 1992, p. 47.
Velasco, David. “Dennis Adams/New York.” Art Papers, Jan./Feb. 2006, pp. 63
& 64.
Verwoert, Jan. "do all oceans have walls?." Springerin, June-August, 1998, pp. 65-66
Vogel, Sabine. B. "Marseille: Interventionen." Kunst-Bulletin, November, 1992, pp. 53-55.
Wijers, Louwrien. "DennisAdams gaat schuil in zijn wachthuisjes." Financieel Dagblad, March 25, 1988.
Wilson, Andrew. “Dennis Adams: Galerie Meert-Rihoux.” Artscribe, September–October 1989, pp. 91–92.
Winzen, Matthias. “The Need for Public Representation and the Burden of the German Past.” Art Journal, Winter 1989, pp. 309–14.
Wutz, Andreas. "Schaltstellen für Interventionen: Dennis Adams Trans/Actions in München." Neue Bildende Kunst, No. 5, 1994, p. 79.
COLLECTIONS
Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio
Centre National d'Art Contemporain, Paris
Dayton Art Institute, Dayton, Ohio
Denver Art Museum, Denver, Colorado
DZ Bank, Frankfurt a. M.
EPAD Etablissement Public pour l'Amanagement de la Défense, Paris
Fonds National d'Art Contemporain, Corsica
Fonds National d'Art Contemporain, Paris
Fonds Régional d'Art Contemporain, Bretagne, Châteaugiron
Fonds Régional d'Art Contemporain, de Basse-Normandie, Caen
Fonds Régional d'Art Contemporain-Pas de Calais, Dunkerque
Fonds Régional d'Art Contemporain Franche-Comté
Gemeentemuseum, Helmond, The Netherlands
Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin
Getty Research Institute, Los Angeles
Israel Museum, Jerusalem
Dakis Joannou Collection, Athens, Greece
Lenbachhaus Städtische Galerie, Munich
Martin Margulies Collection, Miami
Ministère de l'education national et de la culture -- direction régionale des affaires culturelles d'ile-de-france, Paris
Mission Mécénat-Caisse des dépôts et consignations, Paris
MontmArtFund., Paris
Musée d’art Moderne et Contemporain, Geneva
Museum of Contemporary Art, Chicago
Museum of Modern Art, New York
Muzej suvremene umjetnosti, Zagreb
National Gallery of Victoria, Melbourne
Neuberger Museum of Art, State University of New York at Purchase
Neue Galerie am Landesmuseum Joanneum, Graz, Austria
New School of Social Research, New York
New Museum, New York
Ohio State Building Collection, Columbus, Ohio
Progressive Corporation, Cleveland
Strauss Collection, La Jolla, California
Walker Art Center, Minneapolis
Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany
Whitney Museum of American Art, New York
Wright State University, Dayton, Ohio
Queens Museum of Art, New York
