Alloys: American Sculpture and Architecture at Midcentury. Princeton University Press (Forthcoming, 2022).
Harry Bertoia: Sculpting Mid-Century Modern Life. Co-editor. Nasher Sculpture Center, in association with Scheidegger & Spiess (Forthcoming, 2022).
“The Moment of Sharing’: Harry Bertoia’s Large-Scale Commissions,” in Harry Bertoia: Sculpting Mid-Century Modern Life. Nasher Sculpture Center, in association with Scheidegger & Spiess (Forthcoming, 2022).
“Tombstones, Garden Ornaments, and Stonework,” in William Edmondson: Tombstones, Garden Ornaments, and Stonework, Vanderbilt University Press, 2021.
“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,” Republics and Empires: Italian and American art in transnational perspective, 1840-1970, edited by Melissa Dabakis and Paul Kaplan Manchester University Press, 2021. [MUP]
“The Weakness of Lead: Materiality and Modern American Sculpture,” in Lead in Modern and Contemporary Art, co-edited by Silvia Bottinelli and Sharon Hecker, Bloomsbury, 2021. [Bloomsbury]
“Sublimating Sculpture: Robert Smithson, Photography, and the Transformation of Matter at the End of the 1960s,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 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.
“Irascible Sculpture,” in The Irascibles: Painters Against the Museum, New York, 1950. Madrid: Fundación Juan March, 2020.
“Transient Materiality: Robert Smithson’s ‘Cayuga Salt Mine Project’,” Scholarly Text, Holt/ Smithson Foundation, published November 2019.
“Lynn Chadwick in the United States,” in Lynn Chadwick: A Sculptor on the International Stage. Scheidegger & Spiess, 2019.
“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 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.