Alloys: American Sculpture and Architecture at Midcentury, In progress.
“Lynn Chadwick in the United States,” in Lynn Chadwick. The Artist Revealed in his Work. Zurich: Scheidegger & Speiss, 2019 (Forthcoming, Amazon).
“The Weakness of Lead: Materiality and Modern American Sculpture,” in Toxic Transformations. Lead in Modern and Contemporary Art, co-edited by Silvia Bottinelli and Sharon Hecker. Forthcoming, 2020 from Bloomsbury.
“Materializing Modernism in Postwar Italy: Fausto Melotti, Gio Ponti, and the 1961 Esposizione Internazionale del Lavoro,” in Material Imaginations: Art in Europe, 1946-72, eds. Natalie Adamson and Steven Harris. Chichester: Wiley-Blackwell, 2017.
“Synergizing Space: Sculpture, Architecture, and Richard Lippold at Lincoln Center,” American Art (Forthcoming, Summer 2019).
“Sculpture and Sound in the Windy City: Harry Bertoia’s Standard Oil Commission,” Public Art Dialogue (Forthcoming, 2019).
“Sublimating Sculpture: Robert Smithson, Photography, and the Transformation of Matter at the End of the 1960s,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, (Forthcoming, Summer 2019).
“Alloyed Screens: Harry Bertoia and the Manufacturers Hanover Trust Building – 510 Fifth Avenue.” Sculpture Journal 25, no. 3 special issue on Sculpture and Architecture (2016): 361-380.
“Materializing Modernism in Postwar Italy: Fausto Melotti, Gio Ponti, and the 1961 Esposizione Internazionale del Lavoro,” Art History, Special Issue: Material Practice and Critical Consciousness in Postwar European Art, 1946-1971, 39, no. 4 (September 2016): 720-743.
“Reflective Acts: Yayoi Kusama’s Narcissus Garden,” History of Photography, 39, no. 4 (December 2015): 405-423.
“Considering the Fuller Life Beneath in Alberto Burri’s Combustioni,” NOIT 2 (May 2014): 52-59.
“Activating Sculpture: The Curatorial Program of Sculture nella città,” Journal of Curatorial Studies 2, no.3 (2013): 356-382.
“The Matter of Landscape in Jules Olitski’s Late Paintings,” in Jules Olitski: Landscapes. Keene: Thorne-Sagendorph Gallery, Keene State College, 2015.
“Divergent but Parallel: The Ceramic Sculpture of Lucio Fontana and Fausto Melotti in Postwar Italy,” in Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Picasso, and Noguchi, 1943–1963. Dallas: Nasher Sculpture Center, 2013.
Review of Sculpture Vertical, Horizontal, Open Closed (New Haven: Yale University Press, 2017) for caareviews.org. (Forthcoming)
Review of Sergio Ariotti and Beatriz Merz, Arte Povera. DVD (Turin: Hopefulmonster, 2012) and Ugo Nespolo: Films & Visions, 1967-2010 (Rome: Rarovideo, 2011) for Sculpture Journal 23.2 (2014): 264-265.
Review of Christopher Marshall, Sculpture and the Museum (London: Ashgate, 2011) for Sculpture Journal 21, no. 2 (2012): 194-196.
“Time in the Space in Between: Richard Serra’s Te Tuhirangi Contour,” Sculpture 27, no. 9 (November 2008): 48-50.