Alloys: American Sculpture and Architecture at Midcentury. Princeton University Press (Forthcoming, 2022).

Sculptural Materiality in the Age of Conceptualism: International Experiments in Italy, New York: Routledge, 2017. [Amazon; Routledge]

Edited Volumes
Postwar Italian Art History Today: Untying ‘the Knot,’ Co-edited with Sharon Hecker. London: Bloomsbury, 2018. [Amazon; Bloomsbury]

Book Chapters
“Response to ‘Press Release Statement,’ Dwan Gallery, 1968,” in Nature after Art (Art after Nature series) University of Minnesota Press (Forthcoming, 2022).

“Sculpture in the (Ancient City): Calder, Smith, and Smithson in Italy,” A Complex Tapestry:  Visual Connections between Italy and the United States since 1800, edited by Melissa Dabakis and Paul Kaplan (Under review, Penn State University Press).

“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).

“Lynn Chadwick in the United States,” in Lynn Chadwick. The Artist Revealed in his Work. Zurich: Scheidegger & Spiess, 2019 [Amazon; Scheidegger & Spiess]

“Sublimating Sculpture: Robert Smithson, Photography, and the Transformation of Matter at the End of the 1960s,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, (Forthcoming, 2021).

“Synergizing Space: Sculpture, Architecture, and Richard Lippold at Lincoln Center,” American Art 33, no. 2 (Summer 2019): 38-61.

“Sculpture and Sound in the Windy City: Harry Bertoia’s Standard Oil Commission,” Public Art Dialogue , Special Issue: Soundsites: Experiments in Sound and Place 9, no. 1 (2019): 31-52.

“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.

Commissioned Essays
“Tombstones, Garden Ornaments, and Stonework,” in William Edmondson: Tombstones, Garden Ornaments, and Stonework, ed. Marin R. Sullivan. Vanderbilt University Press (Forthcoming, 2021).

“Irascible Sculpture,” in The Irascibles: Painters Against the Museum, New York, 1950. Madrid: Fundación Juan March, 2020.

“Henry Moore’s Photographic Identity,” in Anne Wagner, Robert Sutton, eds. Henry Moore: Sculptural Process and Public Identity, Tate, 2015. 

“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.

Review of Fiber Sculpture: 1960 to the Present (exhibition and catalogue) for caareviews.org. May 21, 2015. 

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.

Other Texts
“Time in the Space in Between: Richard Serra’s Te Tuhirangi Contour,” Sculpture 27, no. 9 (November 2008): 48-50.