1970-80 1980-90 1990-00 2000-2010

“David Deitcher on the International Center of Photography’s David Wojnarowicz Panel, 12.16.2010,” ICP-Bard Blog (December 22, 2010).

“Alternate Realities,” Artforum.com (Summer 2010).

David Deitcher, "The Other Way," in Ian Berry, ed., Tim Rollins and K.O.S. (Cambridge, Massachusetts / London, England, MIT Press, 2009), pp. 165-170.

“David Deitcher on Paul Graham,” Artforum, (May 2009), p. 227.

“Unsentimental Education,” in Graham Bader, ed., RoyLichtenstein (October Files, 7, Cambridge, The MIT Press, 2008), pp. 73-102.

“Contents in Response to the Ministrations of the Woman in Charge,” 2008.

“Unsentimental Education,” in Graham Bader, ed., Roy Lichtenstein (October Files, 7, Cambridge, The MIT Press, 2008), pp. 73-102.

“Alan B. Stone and the Senses of Place,” Alan B. Stone and the Senses of Place, International Center of Photography, New York. (June 2008 revised 2010).

“The Missing: Pierre Dorion and the Art of Emptiness,” in Canadian Art (September 2007).

“Contradictions and Containment,” in Julie Ault, ed., Felix Gonzalez-Torres (Göttingen, Germany, Steidldangen Publishers), pp. 317-329.

“How Do You Memorialize a Movement that Isn’t Dead?” in Julie Ault, ed., Felix Gonzalez-Torres (Göttingen, Germany, Steidldangen Publishers), pp. 201-203.

“Vitruvian Woman: Louise Fishman,” in Louise Fishman (New York, Cheim & Read, 2006), n.p.

“Round About VFF0302,” in Vincent Fecteau (New York, Feature, 2005), n.p.

“How Do We Want to be Governed,” Artforum (April 2005), pp. 182, 215.

“Against Interpretation,” in Carte grise à Geneviève Cadieux (Montreal, Dazibao 2005), n.p.

“Spiritual America,” Artforum (October 2004), pp. 89-90, 278, 281.

“The Last Picture Show,” Artforum (February 2003), pp. 144.

“Mything Person: MoMA Fails to Unlock Beckmann’s Symbol-laded Art” Time Out New York (July 31-August 7, 2003), p. 52.

“Arnold Odermatt,” Time Out New York (May 29-June 5, 2003), p. 67.

“Get Real: Two Contemporary Israeli Artists Subvert the Documentary Tradition, “Time Out New York (April 10-17, 2003), p. 54.

“Tim Rollins Talks to David Deitcher,” Artforum (April 2003), pp. 78-79, 237-238.

“What Are We Selling Here?” Artforum (March 2003), p. 48.

“Stacked,” Time Out New York (March 13-20, 2003), p. 73.

“Polarity Rules: Reviewing the Whitney Annual/Biennial,” in Julie Ault, ed.,Alternate Art New York, 1965-1985 (Minneapolis, University of Minnesota Press, 2002), pp. 201-246.

“On the Occasion of the Gerhard Richter Exhibition at the Museum of Modern Art,” Documents (Fall 2002), pp. 14-26.

Charles Henri Ford, Time Out New York (Jan. 23-30, 2003), p. 48.

David Hammons, Time Out New York (Jan. 16-23, 2003), p. 54.

John O’Reilly, Time Out New York (October 31-Nov. 7, 2002), p. 53.

Dear Friends: American Photographs of Men together, 1840-1918  (New York, Harry N. Abrams, 2001).

Selected reviews:

Vince Aletti, “Between Friends,” Village Voice (April 24, 2001), p. 71.

Clifford Chase, “We Two Boys Together Clinging,” Newsday, July 8, 2001, pp. B13-14.

Holland Cotter, “When Men Could Touch Without Embarrassment,” New York Tzyimes (May 6, 2001), Arts and Leisure, p. 42.

Jeff Weinstein, “Touching Portraits,” Philadelphia Inquirer (June 10, 2001).

1970-80 1980-90 1990-00 2000-2010

“A Lovesome Thing: The Film Art of Isaac Julien” (catalogue essay), The Film Art of Isaac Julien  (Anandale-on-Hudson, NY, The Center for Curatorial Studies, Bard College, 2000), pp. 11-23.

“Mary Lum,” in Drawing Papers, II (catalogue essay), (New York, NY: The Drawing Center, Summer 2000), p. 8.

“What Does Silence Equal Now?” Brian Wallis et al. eds. Art Matters: How the Culture Wars Changed America  (New York, New York University Press, 1999), pp. 92-125.

Robert Bordo at Alexander and Bonin, Texte zur Kunst, Spring, 1999.

“Nayland Blake: ‘Feeder 2 and Corollary’,” Texte zur Kunst, (March 1999), pp. 167-171.

“Lost and Found,” Wolfgang Tillmans Burg  (Cologne, Benedikt Taschen Verlag, 1998), n.p.

“Looking at a Photograph, Looking for a History,” in Deborah Bright, ed., The Passionate Camera: Photography and Bodies of Desire (New York, London, Routledge, 1998), pp. 22-36.

American Interregnum: Notes on Art, Life and Politics Late in the Age of AIDS” (catalogue essay), AIDS Worlds: Between Resignation and Hope, ed. Frank Wagner (Geneva, Switzerland, Centre d’Art Contemporain, 1998), pp. 35-42.

“Art, Activism, and Everyday Life,” Documents (Winter 1998), pp. 30-38.

“Eviction Notice,” (review of Rosalyn Deutsche, Evictions: Art and Spatial Politics), Documents (Winter 1998), pp. 46-54.

“Robert Flynt,” Contact Sheet, 94, 1998.

“Contradictions and Containment,” in Dietmar Elger, ed., Felix  Gonzalez-Torres: Catalogue Raisonné  (Ostfildern-Ruit, Cantz Verlag, 1997), Vol. I, pp.95-110.

“ACT UP: 1987:1997: A Conversation Between Gregg Bordowitz and David Deitcher,” Springerin, Fall, 1997.

“Death and the Marketplace,” Frieze, 29 (July/August 1996), pp. 40-45.

“No Exit: Richard Artschwager, Cady Noland, Hiroshi Sugimoto,” Parkett, 47 (May 1996), pp. 18-24.

“Lari Pitman,” Out (August  1996), p. 58.

“A Frank Depiction,” (Frank Moore),Out  (November, 1995), p. 60.

The Question of Equality: Lesbian and Gay Politics in America Since Stonewall  (New York, Scribner, 1995).

“Sense and Sentimentality,” Parkett, No. 44 (1995), pp. 212-216.

“Trust in Doubt,” in Robert Flynt and Chris Packard, Blind Trust  (New York, 1994) n.p.

“The Gay Agenda,” Art in America, Vol. 82, No. 4 (April 1994), pp. 27-35.

“Of Two Minds,” Purple Prose 4 (Autumn 1993), pp. 84-87. Reprinted in Suspension of the Law: Rene Santos: A Retrospective (New York, Grey Art Gallery, 1994), pp.11-16.

“Queens in the Reading Room,” Artforum, vol. 31, no. 9 (May 1993), pp. 14-15.

“Sites of Criticism: A Symposium,” Acme Journal, vol. 1, no. 2 (1992), pp. 6-36.

“Unsentimental Education: The Professionalization of the American Artist,” in Russell Ferguson, ed. Hand-Painted Pop: American Art in Transition 1955-62  (New York, Rizzoli International Publications, 1992), pp. 95-118.

“The Library in Your Good Hands: Raymond Pettibon,” Artforum  vol. 31, no. 2 (October 1992), pp. 74-79.

“The Everyday Art of Felix Gonzalez-Torres” (catalogue essay), Felix Gonzalez-Torres (Stockholm, Magasin 3 Konsthall, 1992), np.

“The Story that Won’t Go Away,” (review of Oliver Stone’s JFK), Artforum, vol. 30, no. 8 (April 1992), p. 17.

“Art on the Installation Plan,” Artforum, vol. 30, no. 5 (January 1992), pp. 78-84.

“Out of the Past: The Photography of James Welling” (catalogue essay), James Welling (Oslo, Norway, Kunstnernes Hus, 1992), pp. 26-28.

“The Birth of the Viewer” (catalogue essay), Oeuvres Originales  (Clisson, France, FRAC Garenne Lemot, 1991).

“Sherrie Levine: Rules of the Game” (catalogue essay), Sherrie Levine  (Kunsthalle Zurich et al., 1991).

“A Newer Frontier: The Smithsonian Revises the Old West,” Village Voice, June 25, 1991, pp. 39-40.

“Sherrie Levine,” Art + Text, 39 (May 1991), p. 44.

“Artifacts of the Abyss: Degenerate Art Comes to America,” Village Voice, March 26, 1991, pp. 47,79.

“Barbara Kruger: Resisting Arrest,” Artforum, vol. 29, no. 6, (February 1991), pp. 84-91.

1970-80 1980-90 1990-00 2000-2010

Felix Gonzalez-Torres: Blue Jeans and Death by Gun” (catalogue essay), Cady Noland/Felix Gonzalez-Torres (Berlin, Neue Gesellschaft für Bildende Kunst, 1990), n.p.

“A Fine Disregard: High and Low Keeps the Faith at the Modern,” Village Voice, October 16, 1990, pp. 99-100.

“Commentary,” Art Issues (Fall 1990), pp. 18-19.

“Craig Owens: 1950-90,” Village Voice, July 24, 1990, p. 99.

“Crossover Dreams: Sexuality, Politics and the Keith Haring Line,” Village Voice, May 15, 1990, pp. 107-111. (Also: “Letters,” May 23, 1990, p. 4.)

“Taking Control: Art and Activism” (catalogue essay), The Decade Show: Frameworks of Identity in the 1980s (New York, The New Museum of Contemporary Art et al., 1990), pp. 180-197.

“Social Aesthetics,” in Brian Wallis, ed., Democracy: A Project by Group Material (Seattle, Bay Press, 1990), pp. 13-46.

“Gran Fury,” in Russell Ferguson ed., Discourses: Conversations in Postmodern Art and Theory (Cambridge, MIT Press, 1990), pp. 196-208.

“Art History Against the Grain: A Conversation with Linda Nochlin,” Eau de Cologne, 3 (1990), p. 95.

“When Worlds Collide” (review of Image World: Art and Media Culture, Whitney Museum of American Art), Art in America , vol. 78, no. 2 (February 1990), pp. 120 127.

“The United Colors of Benetton,” Artforum, vol. 28, no. 5 (January 1990), pp. 19-21.

“A Day Without Art,” Village Voice, December 5, 1989, pp. 125-126.

“Ronald Jones: Metro Pictures,” Artforum, vol. 28, no. 4 (December 1989), p. 134.

“Artists on a Train” (Andres Serrano),Village Voice, October 31, 1989, p. 110.

“Cumulus From America,” Parkett, No. 21 (September 1989), pp. 140-142.

“1989 Biennial: Whitney Museum of American Art,” Artforum, vol. 28, no. 1 (September 1989), pp. 143-144.

“How Do Your Memorialize a Movement that Isn’t Dead?” (Felix Gonzalez-Torres’ Untitled, 1989),Village Voice,  June 27, 1989, p. 93.

“Ideas and Emotions” (David Wojnarowicz), Artforum, vol. 27, no. 9 (May1989), pp. 122-127.

“William Olander, 1950-1989,” Village Voice , April 4, 1989, p. 77.

“The Handmade Readymade,” Paul Taylor, ed., Post-Pop Art  (Cambridge, MIT Press, 1989), pp. 139-157.

“Angola to Vietnam: Unnatural Selection” (Christopher Williams),Visions, (Winter 1988), pp. 24-25.

“Wild History” (catalogue essay), Comic Iconoclasm (London, Institute of Contemporary Art, 1987), pp. 82-87.

“The Best of Both Worlds” (catalogue essay), in Elizabeth Shepherd, ed., Picture Taking: Weegee, Walker Evans, Sherrie Levine, Robert Mapplethorpe  (Evanston, Ill., Block Gallery, 1985), n.p.

“Drawing from Memory” (catalogue essay), William Olander, ed., The Art of Memory/The Loss of History (New York, The New Museum of Contemporary Art, 1985), pp. 15-21.

“Comic Connoisseurs,” Art in America, vol. 72, no. 2 (February 1984), pp. 100-107.

“Questioning Authority: Sarah Charlesworth’s Photographs,” Afterimage, vol. 12, nos. 1&2, pp. 14-17.

“Public Works” (catalogue essay), Art and Social Change (Oberlin, Ohio, Allen Museum, 1983), pp. 77-81.

“Roy Lichtenstein’s Expressionist ‘Takes’,” Art in America, vol. 71, no. 1 (January 1983), pp. 84-89.

“Richard Prince at Metro Pictures,” Art in America, vol. 70, no. 6 (Summer 1982), p. 144.

“Jennifer Bartlett at Paula Cooper,” Art in America, vol. 69, no. 4 (April 1981), p.146.

“Fantin Latour’s Un Coin de Table,” Arts Magazine, vol. 52, no. 8 (April 1978), pp. 134-141.

1970-80 1980-90 1990-00 2000-2010