“Defining Experiences: Feminist Exhibitions in the 1990s.”
ln September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? In n.paradoxa: international feminist art journal, issue 13, September 2000.
“Gender, Nationalism, and Internationalism in Japanese Contemporary Art: Some Recent Writings and Work.”
In n.paradoxa: international feminist art journal, vol. 5 (London, England, 2000): 35-43.
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“Rosie at Home: Life Magazine and the Remaking of the American Nation-State During World War II.”
“Rosie at Home: Life Magazine and the Remaking of the American Nation-State During World War II.” Rim: Pacific Rim Women's Studies Association Journal, vol. 1, no.7. March 1999: 32-46.
“Contests for Meaning in Body Politics and Feminist Art Discourses of the 1970s: The Work of Eleanor Antin.”
Performing the Body/Performing the Text, eds., Amelia Jones and Andrew Stephenson. London: Routledge, 1999: 153-169.
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“Writing Your Own Script: Revisioning the 1970s and the 1980s Through the Work of Eleanor Antin.”
In Eleanor Antin, Eds. Howard N. Fox, Lisa E. Bloom, and Eleanor Antin. (New York and Los Angeles: Distributed Art Publishers in Conjunction with the Los Angeles County Museum, 1999):159-189.
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“Gender, Race, and Nation in Japanese Contemporary Art Criticism.”
The Bulletin of the Graduate School of Josai International University. No. 4, March 2000, 87-99.
“Gender, Jewish Identity and Representation: U.S. Photographer and Feminist Martha Rosler Reconsidered.”
The Bulletin of the Graduate School of Josai International University Issue 2, March 1998: 31-43.
“A Sixties/ Eighties Comparison of Two Feminist Texts: Monique Wittig’s Les Guérillères and Lizzie Borden’s Born in Flames.”
The Barnard Occasional Papers on Women's Issues, 2:2, Spring 1987.