Allan McCollum
Lost Objects

Curated by Piper Marshall
In cooperation with Petzel Gallery
4 March to 29 April 2017
541 West 24 Street

ALLAN MCCOLLUM
Born in Los Angeles, California, 1944.


SELECTED SOLO SHOWS

2017
Mary Boone Gallery, NYC, NY.
Petzel Gallery, NYC, NY. 1969-1980.

2016
Galerie Mitterand, Paris, France. The Shapes Project: Perfect Couples and Spinoffs.
Michele Didier Gallery, Paris, France. A VENDRE, EXPOSITION. (with Claude Rutault)

2014
Petzel Gallery, NYC, NY. The Shapes Project: Perfect Couples.

2013
Petzel Gallery, NYC, NY. Plaster Surrogates Colored and Organized by Andrea Zittel.
JGM Galerie, Paris, France. The Shapes Project and The Natural Copies of the Coal Mines of Central Utah.
mfc-michèle didier, Paris, France. The Book of Shapes.

2012
Barbara Krakow Gallery, Boston, Massachusetts. The Shapes Project: Perfect Couples.

2011
JGM Galerie, Paris, France. Drawings.
Art & Public, Geneva, Switzerland. Perfect Vehicles.
Galerie Thomas Schulte, Berlin, Germany. Each and Every One of You.

2010
La Salle de Bains, Lyon, France. Each and Every One of You.
Armand Bartos Fine Art, NYC, NY. Seriality: Sol Lewitt and Allan McCollum. (two person exhibition)
Petzel Gallery, NYC, NY. Stop Motion. (with Keith Edmier)
Clifford Gallery, Hamilton, New York. The Shapes Project: Shapes for Hamilton.

2009
Luciana Brito Galeria, São Paulo, Brazil. Allan McCollum: Works 1980-2008 – A Selection.
Petzel Gallery, NYC, NY. Shapes from Maine.

2008
Galeria Pelaires, Mallorca, Spain. Allan McCollum: Drawings.
Barbara Krakow Gallery, Boston, Massachusetts. Allan McCollum: The Shapes Project.
Studio Guenzani, Milan, Italy. Sets and Situations. (with Allen Ruppersberg)

2007
Galerie Thomas Schulte, Berlin, Germany. Shapes.
Petzel Gallery, NYC, NY. The Shapes Project.

2006
Musée d’art moderne et contemporain, Geneva, Switzerland. Allan McCollum, Solo 8.

2005
Southeastern Center for Contemporary Art, Winston-Salem, North Carolina. Each and Every One of You.

2004
Texas Gallery, Houston, Texas. (with Matt Mullican)
Petzel Gallery, NYC, NY. Perpetual Photos.
Doris Friedman Plaza, NYC, NY. Three Perfect Vehicles.
Barbara Krakow Gallery, Boston, Massachusetts. Each and Every One of You.
Christine Burgin Gallery, NYC, NY. Your Fate. (with Matt Mullican)

2003
Grand Arts, Kansas City, Missouri. The Kansas and Missouri Topographical Model Project.

2001
University Art Gallery, San Diego, California. Signs of the Imperial Valley: Sand Spikes from Mount Signal.

2000
Petzel Gallery, NYC, NY. THE EVENT: Petrified Lightning from Central Florida (with supplemental didactics).
The Imperial Valley Historical Society Pioneers Museum, Imperial, California. The Return of the Sand Spikes.
Museo Universitario, Mexicali, Mexico. El Cerro Imposible.
Steppling Art Gallery, Calexico, California. Signs of Mount Signal.
Susan Inglett Gallery, NYC, NY. Visible Markers.
Barbara Krakow Gallery, Boston, Massachusetts. Small World Drawings.

1999
Borås Konstmuseum, Borås, Sweden. Allan McCollum: Visible Markers (TACK).
Galeria Massimo de Carlo, Milan, Italy. Visible Markers.

1998
Xavier Hufkens, Brussels, Belgium. Visible Markers.
Contemporary Art Museum, Tampa, Florida. THE EVENT: Petrified Lightning from Central Florida (with supplemental didactics).
Petzel Gallery, NYC, NY.
Musée d’art moderne, Villeneuve d’Ascq, France.

1997
Susan Inglett Gallery, NYC, NY. Visible Markers.

1996
Kunstraum, Munich, Germany. Actual Photos. (with Laurie Simmons)
S.L. Simpson Gallery, Toronto, Canada. Fixed Intervals. (with Louise Lawler)
John Weber Gallery, NYC, NY. Fixed Intervals. (with Louise Lawler)

1995
Sprengel Museum, Hanover, Germany. Actual Photos.
Sprengel Museum, Hanover, Germany. Allan McCollum: Natural Copies.
Metro Pictures Gallery, NYC, NY. Actual Photos.
Xavier Hufkens, Brussels, Belgium. Natural Copies from the Coal Mines of Central Utah.
John Weber Gallery, NYC, NY. Natural Copies from the Coal Mines of Central Utah.

1994
S.L. Simpson Gallery, Toronto, Canada. Drawings.
Museum Haus Esters, Krefeld, Germany. Drawings.

1993
Shiraishi Contemporary Art Inc., Tokyo, Japan. Two Hundred and Forty Plaster Surrogates.
Studio Trisorio, Naples, Italy. The Dog From Pompei.
Galerie Franck + Schulte, Berlin, Germany. Drawings.
Kohji Ogura Gallery, Nagoya, Japan. Plaster Surrogates.
Modulo Centro Difusor De Arte, Lisbon, Portugal. Perpetual Photos.
Castello Di Rivara, Turin, Italy.
Centre d’Art Contemporain, Geneva, Switzerland. Drawings.

1992
John Weber Gallery, NYC, NY. The Dog from Pompei.
Galería Weber, Alexander y Cobo, Madrid, Spain. The Dog from Pompei.
John Weber Gallery, NYC, NY. Lost Objects.

1991
Galerie Franck + Schulte, Berlin, Germany. Plaster Surrogates.
American Fine Arts Co., NYC, NY. May I Help You?. (with Andrea Fraser)
Lisson Gallery, London, England. More Drawings.

1990
Richard Kuhlenschmidt Gallery, Los Angeles, California. Perpetual Photos.
The Denver Art Museum, Denver, Colorado. Perpetual Photos.
John Weber Gallery, NYC, NY. Drawings.
Julian Pretto Gallery, NYC, NY.
Galerie Fahnemann, Berlin, Germany. Perfect Vehicles.
Galerie Yvon Lambert, Paris, France. Plaster Surrogates.
Rooseum Center for Contemporary Art, Malmö, Sweden.
IVAM Centre del Carme, Valencia, Spain.
Serpentine Gallery, London, England.

1989
Stedelijk Van Abbemuseum, Eindhoven, The Netherlands.
Julian Pretto Gallery, NYC, NY. Surrogate Paintings.
Richard Kuhlenschmidt Gallery, Los Angeles, California. Perfect Vehicles.
Galeria 57, Madrid, Spain. Plaster Surrogates.
John Weber Gallery, NYC, NY. Perpetual Photos.
Urbi et Orbi Gallery, Paris, France. Actual Photos. (with Laurie Simmons)
Rhona Hoffman Gallery, Chicago, Illinois. Perfect Vehicles.
Studio Trisorio, Naples, Italy. Perfect Vehicles.
Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany. Individual Works, Perpetual Photos.

1988
Kunsthalle, Zürich, Switzerland. (with Richard Prince)
Stichting De Appel, Amsterdam, The Netherlands.
The John and Mable Ringling Museum of Art, Sarasota, Florida. Perfect Vehicles.
Centre d’Art Contemporain, Dijon, France. Allan McCollum and Louise Lawler. (two person show)
Brooke Alexander, NYC, NY. Perfect Vehicles, 1988.
Musee d’Art Contemporain, Nimes, France. Individual Works.
Julian Pretto Gallery, NYC, NY. Glossies.
Annina Nosei Gallery, NYC, NY. Plaster Surrogates.
Galerie Yvon Lambert, Paris, France. Perfect Vehicles.
John Weber Gallery, NYC, NY. Individual Works.
Portikus, Frankfurt, Germany.

1987
Diane Brown Gallery, NYC, NY. Perfect Vehicles.
Julian Pretto Gallery, NYC, NY.
Lisson Gallery, London, England. Perfect Vehicles.

1986
Rhona Hoffman Gallery, Chicago, Illinois. Perfect Vehicles.
Diane Brown Gallery, NYC, NY. Perpetual Photos.
Kuhlenschmidt/Simon Gallery, Los Angeles, California. Perfect Vehicles.
Institute of Contemporary Art, Philadelphia, Pennsylvania. Investigations 1986: Allan McCollum.
Guttenbergstrasse 62, Stuttgart, Germany. Plaster Surrogates.
Cash/Newhouse, NYC, NY. Perfect Vehicles.

1985
Kuhlenschmidt/Simon Gallery, Los Angeles, California. Actual Photos. (with Laurie Simmons)
Rhona Hoffman Gallery, Chicago, Illinois. Actual Photos. (with Laurie Simmons)
Texas Gallery, Houston, Texas. Actual Photos. (with Laurie Simmons)
Heath Gallery, Atlanta, Georgia. Actual Photos. (with Laurie Simmons)
Gallery Nature Morte, NYC, NY. Actual Photos. (with Laurie Simmons)
Cash/Newhouse Gallery, NYC, NY. Plaster Surrogates.
Lisson Gallery, London, England. Plaster Surrogates.

1984
Diane Brown Gallery, NYC, NY. For Presentation and Display: Ideal Settings. (with Louise Lawler)
Richard Kuhlenschmidt Gallery, Los Angeles, California. Plaster Surrogates.
Rhona Hoffman Gallery, Chicago, Illinois. Plaster Surrogates.

1983
Douglas Drake Gallery, Kansas City, Kansas. Plaster Surrogates.
Marian Goodman Gallery, NYC, NY. Plaster Surrogates.

1982
Ben Shahn Galleries, Wayne, New Jersey.
Heath Gallery, Atlanta, Georgia. Surrogate Paintings.
Galerie Nicole Gonet, Lausanne, Switzerland. Surrogate Paintings.

1981
Hal Bromm Gallery, NYC, NY. Surrogate Paintings.
Dioptre, Geneva, Switzerland. Glossies.

1980
Galerie Yvon Lambert, Paris, France. Surrogate Paintings.

1979
112 Workshop, NYC, NY. Surrogate Paintings.
Artists Space, NYC, NY. Surrogate Paintings.
Douglas Drake Gallery, Kansas City, Kansas. Surrogate Paintings.
Julian Pretto and Co., NYC, NY. Surrogate Paintings.

1977
Claire S. Copley Gallery, Los Angeles, California.

1975
Douglas Drake Gallery, Kansas City, Kansas.

1974
Nicholas Wilder Gallery, Los Angeles, California.

1973
Cusack Gallery, Houston, Texas.
Nicholas Wilder Gallery, Los Angeles, California.

1972
Jack Glenn Gallery, Corona Del Mar, California.

1971
Jack Glenn Gallery, Corona Del Mar, California.


SELECTED GROUP SHOWS

2016
Cirrus Gallery, Los Angeles, California. Allan McCollum and Robert Thrill; Ghosting the Screen.
High Desert Museum, Bend, Oregon. Art for a Nation: Inspiration from the Great Depression.
Swiss Institute/Contemporary Art, NYC, NY. Fade In: Int. Art Gallery - Day.
Dickinson Roundell, NYC, NY. The Coveter.
Miguel Abreu Gallery, NYC, NY. In Place Of.

2015
The Museum of Contemporary Art, Los Angeles, California. The Art of Our Time.

2014
Modern Art Museum of Fort Worth, Fort Worth, Texas. NEW YORK IN THE 1980s: URBAN THEATER.
Löwenbräukunst, Zürich, Switzerland. In the Crack of Dawn.
Sun Valley Center for the Arts, Ketchum, Idaho. Creativity at Work.
Tampa Museum of Art, Tampa, Florida. Graphicstudio: Uncommon Practice at USF.
Hammer Museum, Los Angeles, California. Take It or Leave It: Institution, Image, Ideology.

2013
Museum of Arts and Design, NYC, NY. Out of Hand: Materializing the Postdigital.
La Biennale di Venezia, Venice, Italy. The 55th International Art Exhibition: The Encyclopedic Palace.
9th Bienal do Mercosul, Porto Alegre, Brazil.

2012
J. Paul Getty Museum, Malibu, California. The Last Days of Pompeii: Decadence, Apocalypse, Resurrection.
Museum of Contemporary Art, Chicago, Illinois. This Will Have Been: Art, Love, & Politics in the 1980s.
Galeria Luisa Strina, São Paulo, Brazil. Parque Industrial.
BFAS Blondeau Fine Art Services, Geneva, Switzerland. Last Exit: Pictures.
Hirshhorn Museum of Art, Washington, D.C. Dark Matters: Selections from the Collection.
Martin-Gropius-Bau, Berlin, Germany. Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970.

2011
Art & Public, Geneva, Switzerland. Situation New York 1986.
Museu d’Art Contemporani de Barcelona, Barcelona, Spain. Volume!.
ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany. Hirschfaktor – Die Kunst des Zitierens.
Palais de Tokyo, Paris, France. All of the Above: carte blanche à John M. Armleder.
J. Paul Getty Museum, Los Angeles, California. Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970.
Galeria Luciana Brito, São Paulo, Brazil. Estratégias para Luzes Acidentais.
Dallas Museum of Art, Dallas, Texas. Silence and Time.
Carriage Trade, NYC, NY. PICTURE NO PICTURE.
Hessel Museum of Art, Annandale-on-Hudson, New York. CLAP.
Miami Art Museum, Miami, Florida. The Wilderness.
Ludwig Forum für Internationale Kunst, Aachen, Germany. Hyper Real – Kunst und Amerika um 1970.
Stadtgalerie Kiel, Kiel, Germany. Gehen Blühen Fließen — Naturverhältnisse in der Kunst.

2010
Fondation Baur, Geneva, Switzerland. le principe monochrome.
The Tang Museum, Saratoga Springs, New York. The Jewel Thief.
Mildred Lane Kemper Art Museum, St. Louis, Missouri. Gesture, Scrape, Combine, Calculate.
Bass Museum of Art, Miami, Florida. Human Rites.
Le Fonds Régional d’Art Contemporain du Limousin, Limoges, France. Néo Géo & Cie: L’image de l’abstraction à la fin du XXe siècle.
Solomon R. Guggenheim Museum, NYC, NY. Haunted: Contemporary Photography/Video/Performance.
Bâtiment d’art contemporain, Geneva, Switzerland. CLIMAX REDVX.
Frac des Pays de la Loire, Carquefou, France. Le sourire du chat.
Whitney Museum of American Art, NYC, NY. Collecting Biennials.

2009
Le Magasin – Centre National d’Art Contemporain, Grenoble, France. Portrait of the artist as a biker.
Air de Paris, Paris, France. LA SUITE.
Cabinet, Brooklyn, New York. Specials.
Metropolitan Museum of Art, NYC, NY. The Pictures Generation, 1974-1984.
Kunsthalle Emden, Emden, Germany. Highlights from the Collection of Foundación La Caixa.
KZM | Zentrum für Künst und Medientechnologie, Karlsruhe, Germany. Notation: Calculus and Shape in the Arts.
Pavilhão Ciccillo Matarazzo, São Paulo, Brazil. 28th Bienal de São Paulo: In Living Contact.

2008
Princeton University Museum of Art, Princeton, New Jersey. Body Memory.
Akademie der Künste, Berlin, Germany. Notation: Calculus and Shape in the Arts.
Espacio 1414, Santurce, Puerto Rico. Art and context III: beyond the white cube.
Musée-école de la Perrine, Ville de Laval, France. Biennale de Sculpture.
Le Musée des beaux-arts et de la dentelle, Calais, France. Alice, son miroir et ses merveilles.
Museo d’arte moderna e contemporanea, Bolzano, Italy. Peripheral Vision and Collective Body.
Metropolitan Museum of Art, NYC, NY. Photography on Photography: Reflections on the Medium since 1960.
Museum Morsbroich, Leverkusen, Germany. Flying Start – 1978-1982.
Casino Luxembourg - Forum d’art contemporain, Luxembourg City, Luxembourg. P2P.
Katonah Museum of Art, Katonah, New York. Here’s The Thing: The Single Object Still Life.
Proyecto de Arte Contemporáneo Murcia, Murcia, Spain. Estratos.

2007
Museum of Modern Art, NYC, NY. Multiplex: Directions in Art, 1970 to Now.
Hessel Museum of Art, Annandale-on-Hudson, New York. Art as Idea.
Center of Curatorial Studies, Annandale-on-Hudson, New York. Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection.
Musée des Arts Contemporains – Site du Grand-Hornu, Boussu, Belgium. Des Fantômes et des Anges.
Allen Memorial Art Museum, Oberlin, Ohio. Repeat Performances: Seriality and Systems Art since 1960.
Museum of Modern Art, NYC, NY. What Is Painting?.
ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany. Klio – Eine kurze Geschichte der Kunst in Euramerika nach 1945.
Museo d’arte moderna e contemporanea, Bolzano, Italy. Ironie der Objekte.

2006
Cisneros Fontanals Art Foundation, Miami, Florida. Forms of Classification: Alternative Knowledge and Contemporary Art.
Museu Serralves - Museu de Arte Contemporânea, Porto, Portugal. The 1980s – a Topology.
Institut Valencià d’Art Modern, Valencia, Spain. Espacio, Tiempo, Espectador.
ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany. Faster! Bigger! Better!.
Baden-Württembergisch Bank Vorstand, Stuttgart, Germany. Konkretismus: Material/sprache und abstraktion seit 1955.
Tampa Museum of Art, Tampa, Florida. Minimal to the Max: The Brownstone Collection.
Fondation Maeght, Saint-Paul-de-Vence, France. Le noir est une couleur.
Musée Magnin, Dijon, France. Discussions dans le Boudoir.
Centre Pompidou, Paris, France. Los Angeles 1955-1985.

2005
Le centre national d’art et de culture Georges Pompidou, Paris, France. Big Bang: Destruction and creation in 20th century art.
Wexner Center for the Arts, Columbus, Ohio. Part Object/Part Sculpture.
Museum für Gegenwartskunst, Basel, Switzerland. Flashback: Revisiting the Art of the Eighties.
Ludwig Forum für internationale Kunst, Aachen, Germany. Public Passion.
Musée Goupil, Bordeaux, France. Une image sur un mur: Images et decoration intérieure au XIXe siècle.
Princeton University Art Museum, Princeton, New Jersey. For Presentation and Display: Some Art of the ‘80s.
Center for Curatorial Studies, Annandale-on-Hudson, New York. Estranged Objects.

2004
Cleveland Museum of Art, Cleveland, Ohio. Needful Things.
Museo de Arte Contemporánea de Vigo, Vigo, Spain. O Estados das cousas: O obxecto na arte contemporánea 1960-2000.
BE-PART, Waregem, Belgium. Schöner Wohnen.
FRAC Franche-Comté, Besançon, France. La Lettre Volee: The Purloined Letter.
Musée des beaux-arts de Dole, Dole, France. La Lettre Volee: The Purloined Letter.
The France Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York. About Painting.
Wexner Center for the Arts, Columbus, Ohio. Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001.
Institute for Contemporary Art, Philadelphia, Pennsylvania. The Big Nothing.
Mori Art Museum, Tokyo, Japan. Modern Means: Continuity and Change in Art, 1880 to the Present.
Solomon R. Guggenheim Museum, NYC, NY. Singular Forms (Sometimes Repeated): Art from 1951 to the Present.

2003
Contemporary Arts Center, Cincinnati, Ohio. Crimes and Misdemeanors: Politics in U.S. Art of the 1980s.
Norton Museum of Art, West Palm Beach, Florida. Minimal to the Max: The Brownstone Collection.
The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York. Living with Duchamp.
Collection Lambert, Avignon, France. Coollustre.
New York State Museum, Albany, New York. Strangely Familiar: Approaches to Scale in the Collection of The Museum of Modern Art.
Denver Art Museum, Denver, Colorado. Retrospectacle: 25 Years of Collecting Modern and Contemporary Art.
Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Structures of Difference.

2002
Fundació “La Caixa,” Madrid, Spain. Malevich, Cinema, and Beyond.
Whitney Museum of American Art, NYC, NY. Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001.
Portland Art Museum, Portland, Oregon. Embracing the Present.
Henry Moore Institute, Leeds, England. The Object Sculpture.
Centro Cultural de Belém, Lisbon, Portugal. Malevich, Cinema, and Beyond.
ZKM | Center for Art and Media, Karlsruhe, Germany. Iconoclash: Beyond the Image Wars in Science, Religion and Art.
Onassis Foundation, NYC, NY. Re-Cast: Postmodern Classicism.
Center for Curatorial Studies, Annandale-on-Hudson, New York. Space Matters.
Athens School of Fine Arts, Athens, Greece. Conversation? Recent Acquisitions of the Van Abbemuseum.
Hirshhorn Museum and Sculpture Garden, Washington, D.C. Minimal Art and Its Legacy.

2001
Musée d’art moderne et contemporain, Geneva, Switzerland. Paso Doble 2: Claude Rutault avec Allan McCollum et Stephen Prina.
Hamburg Kunsthalle, Hamburg, Germany. Monet’s Legacy: Series – Order and Obsession.
Kunsthalle Wien, Vienna, Austria. Televisions.
Museo Rufino Tamayo, Mexico City, Mexico. Algo con que tropezar.
John and Mable Ringling Museum of Art, Sarasota, Florida. Conceptual Diversity: Selections from the Ringling Museum of Art Post-War Permanent Collection.
New Museum of Contemporary Art, NYC, NY. A Work in Progress: Selections from the New Museum Collection.
Laguna Art Museum, Laguna Beach, California. Fuzzy Logic.
Newark Museum, Newark, New Jersey. Picturing America.
Museum of Contemporary Art, Miami, Florida. Mythic Proportions: Painting in the Eighties.

2000
Whitney Museum of American Art, NYC, NY. Pollock to Today: Highlights from the Permanent Collection.
Metropolitan Museum of Art, NYC, NY. Picturing Media: Photographs from the Permanent Collection.
Kunstbunker-Forum für Zeitgenössische Kunst, Nürnberg, Germany. Nobodies Home.
Rooseum Center for Contemporary Art. Malmö, Sweden. The Century of Innocence: the History of the White Monochrome.
Museum of Modern Art, NYC, NY. Sets and Situations.
Museum of Modern Art, NYC, NY. Actual Size.
Museum of Modern Art, NYC, NY. Anatomically Incorrect.

1999
Center for Curatorial Studies, Annandale-on-Hudson, New York. Positioning.
Momenta Art, Brooklyn, New York. Nobodies Home.
Whitney Museum of American Art, NYC, NY. The American Century: Art and Culture: 1950-2000.
Museum of Contemporary Art, San Diego, California. The Museum as Muse: Artists Reflect.
Museum of Modern Art, NYC, NY. The Museum as Muse: Artists Reflect.

1998
Kunsthallen Brandts Klædefabrik, Odense, Denmark. The Mass Ornament: the mass phenomenon at the turn of the millennium.
Center for Curatorial Studies, Annandale-on-Hudson, New York. Stills.
Le centre national d’art et de culture Georges Pompidou, Paris, France. Dijon/Le Consortium.coll: tout contre l’art contemporain.
Museu de Arte Moderna, São Paulo, Brazil. Fotogramas: art e cinema na colecão Marieluise Hessel.
Wanås Foundation, Knislinge, Sweden. Wanås 98.
Kunstverein in Hamburg, Hamburg, Germany. Fast Forward.
Museu d’Art Contemporani de Barcelona, Barcelona, Spain. Artificial.
Musée d’art moderne et contemporain, Geneva, Switzerland. L’Hypothèse du tableau vole.

1997
Centro Cultural Light, Rio de Janeiro, Brazil. Fotogramas: art e cinema na colecão Marieluise Hessel.
Le Magasin Centre National d’Art Contemporain, Grenoble, France. Dramatically Different.
Rooseum Center for Contemporary Art, Malmö, Sweden. A House is Not a Home: Everyday Objects in Contemporary Sculpture.
Neues Museum Weserburg Bremen, Bremen, Germany. Produkt: Kunst! wo bleibt das Original?.

1996
Museum of Modern Art, NYC, NY. Objects of Desire: The Modern Still Life.
Gracie Mansion/Fred Dorfman Projects, NYC, NY. Bringing It All Back Home.
The Jaqueline Kennedy Garden, Washington, D.C. Twentieth Century American Sculpture at the White House: Exhibition IV.
Centre national d’art et de culture Georges Pompidou, Paris, France. L’Informe: Mode d’Emploi.

1995
Lehman College Art Gallery, Bronx, New York. Fact, Fiction and Truth: Contemporary Portraits.
Museum van Hedendaagse Kunst, Gent, Belgium. Corpus Delicti.
New Museum of Contemporary Art, NYC, NY. Temporarily Possessed: The Semi-Permanent Collection.
Mělník Castle, Mělník, Czech Republic. Articircolo Mělník 95.
Luigi Pecci Museum for Contemporary Art, Prato, Italy. The Reflected Image: A Selection of Contemporary Photography from the LAC Collection, Switzerland.
Neue Galerie am Landesmuseum Joanneum und Kunstlerhaus, Graz, Austria. Pittura/Immedia: malerei in den 90er Jahren.

1994
Museum of Fine Arts, Boston, Massachusetts. The Label Show: Contemporary Art and the Museum.
Wiener Secession, Vienna, Austria. AURA: The Reality of the Artwork between Autonomy, Reproduction and Context.
Kunstmuseum Wolfsburg, Wolfsburg, Germany. Tuning Up.

1993
Lillehammer Kunstmuseum, Lillehammer, Norway. Pirouettes.
Sprengel Museum, Hannover, Germany. Am Beispiel Plastik. Konzeption und Form.
Sprengel Museum, Hannover, Germany. Kunstruktionzitat.
Moderner Kunst, Vienna, Austria. Internationale Fotografie aus der Sammlung Museum.

1992
Museo Nacional de Arte Reina Sofia, Madrid, Spain. Repetition/Transformation.
Museum of Modern Art, NYC, NY. Allegories of Modernism: Contemporary Drawings.

1991
Carnegie Museum of Art, Pittsburgh, Pennsylvania. 1991 Carnegie International.
Stichting De Appel, Amsterdam, The Netherlands. Inscapes.
The Oakland Museum, Oakland, California. de-Persona.
Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. Zomeropstelling eigen collectie: nieuwe aanwinsten.
Setagaya Art Museum, Tokyo, Japan. Beyond the Frame: The Transition From Modernism to Postmodernism in American Art 1960-1990.
The National Museum of Art, Osaka, Japan. Beyond the Frame: The Transition From Modernism to Postmodernism in American Art 1960-1990.

1990
Museum of Contemporary Art, Chicago, Illinois. Three Decades.
Leo Castelli Gallery, Milan, Italy. Taking the Picture: Photography and Appropriation.
Musée de la Roche-sur-Yon, La Roche-sur-Yon, France. La Collection Del Oeuvres Photographiques Du Musée De La Roche-sur-Yon.
Israel Museum, Jerusalem, Israel. Life-Size: A Sense of the Real in Recent Art.
Sydney Biennale, Sydney, Australia. The Readymade Boomerang; Certain Relations in 20th Century Art.

1989
Whitney Museum of American Art, NYC, NY. Image World: Art and Media Culture.
University Art Museum, Binghamton, New York. Art Collected: Private, Corporate and Museum Contexts.
Rooseum Center for Contemporary Art, Malmö, Sweden. Art at the End of The Social.
Whitney Museum of American Art, NYC, NY. The Desire of the Museum.
The National Museum of American Art, Washington, D.C. The Photography of Invention: American Pictures of the 1980’s.
Whitney Museum of American Art, NYC, NY. 1989 Whitney Biennial Exhibition.
Museum Ludwig, Cologne, Germany. Bilderstreit: Wiederspruch, Einheit und Fragment in der Kunst seit 1960.
Museum of Contemporary Art, Los Angeles, California. A Forest of Signs: Art in the Crisis of Representation.

1988
Malmö Konsthall, Malmö, Sweden. Matris.
Leo Castelli Gallery, NYC, NY. Richard Artschwager: His Peers and Persuasion 1963-1988.
Kunstverein München, Munich, Germany. New York in View.
Kunsthalle Zurich, Zurich, Switzerland. Allan McCollum / Richard Prince.
Musée St. Pierre d’Art Contemporain, Lyon, France. The Color Alone: The Monochrome Experiment.
La Biennale di Venezia, Venice, Italy.

1987
Milwaukee Art Museum, Milwaukee, Wisconsin. Currents 12: Simulations New American Conceptualism.
MoMA PS1, Long Island City, New York. The Hallucination of Truth.
Israel Museum, Jerusalem, Israel. New York Now.
Documenta 8, Kassel, West Germany. The Castle.
Los Angeles County Museum of Art, Los Angeles, California. Avant-Garde in the Eighties.
Musée Saint-Pierre Art Contemporain, Lyon, France. Contemporary Photographic Portraiture.
Los Angeles County Museum of Art, Los Angeles, California. Photography and Art: Interactions Since 1946.
Moderna Museet, Stockholm, Sweden. Implosion: et postmodernt perspektiv.

1986
Padiglione d’Arte Contemporanea, Milan, Italy. Il Cagiante.
Queens Museum, Queens, New York. Television’s Impact on Contemporary Art.
Queens Museum, Queens, New York. The Real Big Picture.
New Museum of Contemporary Art, NYC, NY. MASS.
Institute of Contemporary Art, Boston, Massachusetts. Dissent: The Issue of Modern Art in Boston, Part III, “As Found”.
New Museum of Contemporary Art, NYC, NY. Damaged Goods: Desire and the Economy of the Object.

1985
Nexus Contemporary Art Center, Atlanta, Georgia. The Public Art Show.
Whitney Museum of American Art, NYC, NY. Americana.

1984
Stadische Kunsthalle, Dusseldorf, Germany. A Different Climate: Aspects of Beauty in Contemporary Art.
Musée d’Art Moderne de la Ville de Paris, Paris, France. Ailleurs et Autrement.

1983
Museum of New Mexico, Santa Fe, New Mexico. The California Collection: Sixteen Paintings from the Gifford and Joann Phillips Collection.

1980
Leo Castelli Gallery, NYC, NY. Drawings.

1978
Artists Space, NYC, NY. Group Exhibition.

1977
Los Angeles Institute of Contemporary Art, Los Angeles, California. Unstretched Surfaces: Los Angeles-Paris.

1975
Whitney Museum of American Art, NYC, NY. Biennial Exhibition.

1974
Santa Barbara Museum of Art, Santa Barbara, California. 15 Abstract Artists, Los Angeles.
Krannert Art Museum, Champaign, Illinois. Contemporary American Painting and Sculpture.

1973
The Detroit Institute of Arts, Detroit, Michigan. Twelve Statements Beyond the Sixties.

1972
Seattle Art Museum, Seattle, Washington. Art of the Seventies.
Pasadena Art Museum, Pasadena, California. Fifteen Los Angeles Artists.

1971
Oakland Museum, Oakland, California. Off the Stretcher.
Newport Harbor Art Museum, Balboa, California. New Painting in Los Angeles.
Los Angeles County Museum of Art, Los Angeles, California. 24 Young Los Angeles Artists.

1970
Long Beach Museum of Art, Long Beach, California. Eighth Annual Southern California Exhibition.


SELECTED BIBLIOGRAPHY

Stamler, Hannah, Critics’ Picks: Allan McCollum, ARTFORUM, April 2017.

Bui, Phong, In Conversation: Allan McCollum with Phong Bui, THE BROOKLYN RAIL, April 2017, pp. 76-79.

Bronner, Julian Elias, Allan McCollum: JGM. Galerie, ARTFORUM, June 2013.

Dellinger, Jade, A Conversation with Allan McCollum: Mass-Producing Individual Works, SCULPTURE MAGAZINE, March 2013, pp. 356-361.

McQuaid, Cate, Twos of a Kind, Frayed Knots, and Double Takes, THE BOSTON GLOBE, 6 November 2012.

Joselit, David, Signal Processing: Abstraction Then and Now, ARTFORUM, Summer 2011.

Bernard, Paul, Interview with Allan McCollum, on Each and Every One of You, FROG MAGAZINE, Summer 2011.

Daniel, Marion, Allan McCollum, LE RÉPETITION, Fall-Winter 2010.

Denave, Jean-Emmauel, Un bain de multitude: Each and Every One of You, LE PETIT BULLETIN, 2010.

Wheatley, Charmaine, Allan McCollum, BORDER CROSSINGS, May 2009, pp. 83-84.

Yablonsky, Linda, Photo Play, ART IN AMERICA, April 2009.

Saunders, Matt, Notation: Calculation and Form in the Arts, ARTFORUM, February 2009, pp. 184-185.

Plagens, Peter, The New Real, ART IN AMERICA, February 2009, pp. 67-72.

Daraktchieva, Iavora, Allan McCollum, “Shapes from Maine”, TIMEOUT NEW YORK, 5-11 February 2009, p. 55.

Gopnik, Blake, It’s the Thought That Counts, WASHINGTON POST ONLINE, 25 January 2009.

Polsinelli, Michael, Nicholas Bourriaud’s “Estratos” in Murcia, FLASH ART, March-April 2008.

Mesquita, Ivo, Bienal de São Paulo, ARTNEXUS, 2009, pp. 78-83.

Staff, 28th Biennal de São Paulo começa no domingo, METRO, 23 October 2008, p. 16.

Staff, Allan McCollum, ELLE DECO, February 2008, p. 108.

Hoffman, Jens, 28th São Paulo Biennal, FRIEZE, January/February 2008, pp. 144-145.

Gasparina, Jill, L’art á une Échelle de Masse: Sur The Shapes Project d’Allan McCollum, January 2008, pp. 4-19.

Gasparina, Jill, Le cauchemar de Greenberg: Sur la massification de l’art contemporain, LES CAHIERS DU MUSÉE NATIONAL D’ART MODERNE, Fall 2007.

Keegan, Matt, Erratic Systems and Irregular Cycles, MODERN PAINTERS, February 2007.

Jana, Reena, 31,000,000,000: A Monoprint for Every Human on Earth, ART ON PAPER, March/April 2007.

Princenthal, Nancy, Shape Shifter, ART IN AMERICA, February 2007, pp. 106-109.

Schlagel, Andreas, Allan McCollum, Galerie Thomas Schulte, FLASH ART, January/February 2007, pp. 122-123.

Grosz, David, Light & Shapes, Enough for Everyone, NEW YORK SUN, 14 December 2006, p. 13.

Rao, Shailesh, Shape of Things to Come, SURFACE MAGAZINE, November 2006.

Robertson, Rebecca, Cast of Billions, ARTNEWS, October 2006, p. 48.

Spears, Dorothy, Artists Under the Influence, ART & ANTIQUES, Summer 2006, pp. 86-93.

Lefcourt, Daniel, An Array of 10 Questions Alternating Between Profound and Mundane, NORTH DRIVE PRESS, 2006.

Dwyer, Eugene, From Fragments to Icons: Stages in the Making and Exhibiting of the Casts of Pompeian Victims, 1863-1888, INTERPRETING CERAMICS, 2005.

Burton, Johanna, Allan McCollum: Perpetual Photos and The Recognizable Image Drawings, ARTFORUM, November 2004.

Deitcher, David, On Spiritual America, ARTFORUM, October 2004.

Rosenthal, Barbara, Allan McCollum is Not Locked In, NEW YORK ARTS NEWSLETTER, 8 October 2004.

Smith, Roberta, Allan McCollum: Perpetual Photos and The Recognizable Image Drawings, THE NEW YORK TIMES, 10 September 2004.

Cateforis, David, A Map of the Divide, REVIEW, December 2003-January 2004.

Berlowitz, Jo-Anne, inSITE, SCULPTURE MAGAZINE, July/August 2001, pp. 78-79.

Pincus, Robert L., inSITE2000 Isn’t Over Yet, Take a New Look, THE SAN DIEGO UNION-TRIBUNE, 25 January 2001.

Lovelace, Carey, Review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics)”, ART IN AMERICA, February 2001.

Richard, Frances, Review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics)”, ARTFORUM INTERNATIONAL, January 2001.

Menu, Michael, Coups d’foudre: les fulgurites d’Allan McCollum, TECHNE: LA SCIENCE AU SERVICE DE L’HISTOIRE DE L’ART ET DES CIVILISATIONS, 2000.

Meinhardt, Johannus, Allan McCollum: Zeichen, Kopien, Stellvertreter, Abdrücke, Spuren, KUNSTFORUM, January/March 2000.

Shottenkirk, Dena, Review of “THE EVENT: Petrified Lightning from Central Florida”, C MAGAZINE, Winter 2000, p. 63.

Belasco, Daniel, Spike Punch, ARTNEWS, October 2000, p. 36.

Molesworth, Helen, Impossible Object: Man-Made Fulgurites by Allan McCollum, DOCUMENTS, Winter/Spring 2000, pp. 40-49.

Meron, Aya, Concrete Fossils, MISHKAFAYIM, 1999, pp. 24-27.

Gauthier, Michel, Port compris, toutes destinations: (sur les Containers de Stephen Hughes), ART PRESENCE, July/August/September 1996, pp. 3-17.

Taplin, Robert, Allan McCollum at John Weber, ART IN AMERICA, October 1995, p. 120.

Lambrecht, Luk, Dinosaurussporen in Elsene, DI MORGEU, 3 October 1995, p. 25.

Rey, Stephanie, Allan McCollum; Dinosaur Footprints, L’ECHO, 23-25 September 1995.

Purcell, Rosamond W., The Problematics of Collecting and Display, part 2, THE ART BULLETIN, June 1995.

Melrod, George, Reviews: New York, SCULPTURE MAGAZINE, July-August 1995, p. 40.

Decter, Joshua, Allan McCollum: Natural Copies, ARTFORUM, Summer 1995, p. 104.

Adamopoulos, Konstantin, Allan McCollum, ARTIST KUNSTMAGAZIN, September 1993, pp. 24-27.

Rorimer, Anne, Allan McCollum: Systeme aesthetischer und (Massen-) Produktion, KUNSTFORUM, January-February 1994, pp. 136-140.

Papineau, June, Review, C MAGAZINE, Fall 1993, pp 58-59.

Janus, Elizabeth, Review, ARTI, Fall 1993, pp. 204-205.

Vitiello, Maurizio, Allan McCollum, ART LEADER, July-August 1993, p. 28.

Melo, Alexandre, Allan McCollum, EXPRESSO, 17 July 1993.

Rosengarten, Ruth, Perpetual Photographs, VISÜO, 8 July 1993, p. 91.

Bartels, Daghild, Allan McCollum, Pieter Laurens Mol, Centre d’Art Contemporain, Genf, ARTIS, July 1993, pp. 53-54.

Perretta, Gabriele, Allan McCollum, FLASH ART, Summer 1993, p. 95.

Mollica, Franco, Allan McCollum, TEMA CELESTE, Summer 1993, p. 72.

Kastner, Jeffrey, Allan McCollum, Centre d’Art Contemporain, FRIEZE, May 1993, p.52.

Tager, Alexandra, Geneva Opens Its Doors, ART AND AUCTION, March 1993, pp. 24-26.

Masséra, Jean-Charles, Allan McCollum: The Dog From Pompei, ARTPRESS, February 1993, p. 86.

Cooke, Lynne, Natural Casts: Recent Works by Allan McCollum, ARCHIS, February 1993, pp. 26-33.

Saunders, Wade, Making Art Making Artists, ART IN AMERICA, January 1993, pp. 93-95.

Meinhardt, Johannes, Allan McCollum, KUNSTFORUM 123, 1993, pp. 184-187.

Jinker-Lloyd, Amy, Musing on Museology, ART IN AMERICA, June 1992, pp. 47-51.

Kalina, Richard, Lost and Found, ART IN AMERICA, June 1992, pp. 99-101.

Wetzel, Michael, Dealing With Things, CAMERA AUSTRIA, 1991-1992, pp. 23-40.

Rimanelli, David, Openings: Andrea Fraser, ARTFORUM, Summer 1991, p. 106.

Morsiani, Paola, Review, JULIET, October/November 1990, pp. 58-59.

Kimmelman, Michael, At Carnegie 1991, Sincerity Edges Out Irony, THE NEW YORK TIMES, 27 October 1991, p. 31, 34.

Ward, Frazer, Allan McCollum, Drawings, ART AND TEXT, August 1990.

Gillick, Liam, Allan McCollum, Serpentine, ARTSCRIBE, Summer 1990, pp. 73-74.

Spears, Dorothy, Allan McCollum, ARTS MAGAZINE, Summer 1990, p. 79.

Shottenkirk, Dena, Allan McCollum, ARTFORUM, Summer 1990, pp. 164-165.

Pietsch, Hans, London: Allan McCollum, ART DAS KUNSTMAGAZINE, April 1990.

Vogel, Sabine B., Allan McCollum a Stedelijk Van Abbemuseum, CONTEMPORANEA, April 1990, p. 99.

Kent, Sarah, Art or Artefact?, TIME OUT LONDON, 21-28 March 1990.

Grundberg, Andy, Allan McCollum, THE NEW YORK TIMES, 23 March 1990.

Power, Kevin, Interview with Allan McCollum, ARTES AND LEILOES, February/March 1990, pp. 75-80.

Quéloz, Catherine, Allan McCollum, BEAUX ARTS, February 1990, pp. 106-107.

Roskam, Mathilde, Allan McCollum at the Van Abbemuseum, Eindhoven, FLASH ART, January/February 1990, pp. 143-144.

Collins, Tricia and Richard Milazzo, Quantity and Immanence: Allan McCollum, TEMA CELESTE, October/December 1989, pp. 54-56.

Kandel, Susan, Allan McCollum, ARTISSUES, September/October 1989, p. 21.

Sterckx, Pierre, Les vehicules parfaits d’Allan McCollum, ARTPRESS, July/August 1989.

Knight, Christopher, McCollum’s “Perfect Vehicle” Shifts to High Gear, LOS ANGELES HERALD-EXAMINER, 25 May 1989.

Durand, Regis, Allan McCollum and Laurie Simmons, ARTPRESS, May 1989, p. 66.

Meinhardt, Johannes, Ersatzobjeckte und bedeutende Rahmen: Allan McCollum, Louise Lawler, Barbara Bloom, KUNSTFORUM, March/April 1989, pp. 200-220.

Stals, J. Lebrero, Allan McCollum, LAPIZ INTERNATIONAL, March 1989, p. 69.

Vogel, Sabine B., Allan McCollum: Individual Works, WOLKENKRATZER ART MAGAZINE, March 1989, pp. 78-81.

Ball, Edward, The Beautiful Language of My Century, ARTS MAGAZINE, January 1989, pp. 65-72.

Pelenc, Arielle, La Consommation de l’Art ou l’Art de la Consommation, ARTPRESS, 1988, pp. 26-30.

Bourriaud, Nicolas, L’Aura de McCollum, NEW ART INTERNATIONAL, October/November 1988, pp. 68-72.

Schenker, Christoph, Allan McCollum/Richard Prince, NOEMA ART MAGAZINE, September/October 1988, pp. 82-83.

Handy, Ellen, Allan McCollum, ARTS MAGAZINE, Summer 1988, p. 111.

Gablik, Suzi, Dancing with Baudrillard, ART IN AMERICA, June 1988, p. 27.

Salvioni, Daniela, Allan McCollum, FLASH ART, May/June 1988, p. 127.

Miller, John, Allan McCollum. John Weber Gallery, ARTFORUM, May 1988, p. 139.

Heartney, Eleanor, Allan McCollum, ARTNEWS, May 1988, pp. 164-165.

Cotter, Holland, Allan McCollum at Julian Pretto, Annina Nosei and John Weber, ART IN AMERICA, April 1988, pp. 203-204.

Quéloz, Catherine, Comment ennumerer les vertus d’une oeuvre d’art n’importe qui pourrait posseder?, FACES, Spring 1988, pp. 29-33.

Fraser, Andrea, Individual Works, FACES, Spring 1988, pp. 26-29.

Gintz, Claude, Allan McCollum: Perfect Vehicles, ARTPRESS 123, March 1988, p. 70.

McGill, Douglas C., Allan McCollum. Repetitive Sculptures, THE NEW YORK TIMES, 26 February 1988.

Smith, Roberta, Allan McCollum, THE NEW YORK TIMES, 19 February 1988.

Staff, Perfect Vehicles, SPAZIO UMANO/HUMAN SPACE, January 1987, pp. 90-94.

Zaunschirm, Thomas and Alexander Puhringer, Neokonzeptionalismus Szene New York, NOEMA ART MAGAZINE, 1987, pp. 18-38.

Griffiths, John, American Art After 1945: Abstraction to Post-Modernism, ART AND DESIGN, 1987, pp. 37-44.

Cameron, Dan, The Art of the Real, TEMA CELESTE, November 1987, pp. 80, 97-98.

Brollo, Boris, Allan McCollum, JULIET ART MAGAZINE, October-November 1987, p. 37.

Collins, Tricia and Richard Milazzo, Radical Consumption and the New Poverty: A Discourse on Irony and Superfluity, NEW OBSERVATIONS, October 1987, pp. 7, 12-13.

Cooke, Lynne, Object Lessons, ARTSCRIBE, September/October 1987, pp. 55-60.

Jones, Ronald, As Though We Knew What To Do, C MAGAZINE, Summer 1987, pp. 35-37.

Kent, Sarah, Allan McCollum, Art and Language, TIME OUT LONDON, 13 May 1987, p. 40.

Brooks, Rosetta, Art and Its Double: A New York Perspective, FLASH ART, May 1987, pp. 57-72.

Cameron, Dan, New American Art, ART AND DESIGN, 1987, pp. 33-36.

Miller, John, What You See is What You Don’t Get: Allan McCollum’s Surrogates, Perpetual Photos, and Perfect Vehicles, ARTSCRIBE, January/February 1987, pp. 32-36.

Heartney, Eleanor, Simulationism, ARTNEWS, January 1987, pp. 130-137.

Brooks, Rosetta, Space Fictions, FLASH ART, December 1986/January 1987, pp. 78-80.

Salvioni, Daniela, Interview with McCollum and Koons, FLASH ART, December 1986/January 1987, pp. 66-68.

Jones, Ronald, Damaged Goods, FLASH ART, October/November 1986, pp. 75-76.

Indiana, Gary, Rooted Rhetoric, FLASH ART, October/November 1986, pp. 83-84.

Collins, Tricia and Richard Milazzo, Szene New York. Tropical Codes: Allan McCollum: The Blank Spectacle, KUNSTFORUM, June-August 1986, pp. 314-416.

Jones, Ronald, Six Artists at the End of the Line: Gretchen Bender, Ashley Bickerton, Peter Halley, Louise Lawler, Allan McCollum and Peter Nagy, ARTS MAGAZINE, May 1986, pp. 49-51.

Meinhardt, Johannes, Allan McCollum: Surrogates, KUNSTFORUM, March/April 1986, pp. 278-279.

Mahoney, Robert, Review at Diane Brown Gallery, ARTS MAGAZINE, March 1986, p. 138.

Collum, J.W., Actual Photos: Allan McCollum and Laurie Simmons, ART PAPERS, January/February 1986, pp. 63-64.

Smith, Roberta, Allan McCollum and Laurie Simmons at Nature Morte, ART IN AMERICA, January 1986, p. 139.

Biegler, Beth, Surrogates and Stereotypes, EAST VILLAGE EYE, December/January 1986, pp. 43, 64.

Rinder, Larry, Laurie Simmons and Allan McCollum: Nature Morte, FLASH ART, December 1985/January 1986.

Morgan, Susan, Allan McCollum and Laurie Simmons, ARTSCRIBE, December 1985/January 1986, pp. 82-83.

Watson, Gray, Interview with Allan McCollum, ARTSCRIBE, December 1985/January 1986, pp. 65-67.

Godfrey, T., Allan McCollum, BURLINGTON MAGAZINE, December 1985, p. 925.

Heartney, Eleanor, New York Review: Allan McCollum and Laurie Simmons, ARTNEWS, December 1985, p. 127.

Staniszewski, Mary Anne, Fixing Prices, MANHATTAN INC., December 1985, pp. 145-149.

Levin, Kim, Allan McCollum and Laurie Simmons, VILLAGE VOICE, 22 October 1985.

Robbins, D.A., An Interview with Allan McCollum, ARTS MAGAZINE, October 1985, pp. 40-44.

Durand, Regis, New York Ailleurs et Autrement: Interview with Claude Gintz, ARTPRESS 88, January 1985, pp. 20-22.

Linker, Kate, Reviews: New York, ARTFORUM, January 1985, p. 87.

Owens, Craig, Herhaling and Verschil, THE MUSEUM JOURNAL, 1985, pp. 291-294.

Collins, Tricia and Richard Milazzo, Total Effect, ZIEN MAGAZINE, 1985, pp. 21-22.

Lichtenstein, Therese, Allan McCollum and Louise Lawler, ARTS MAGAZINE, December 1984, p. 34.

Lichtenstein, Therese, Reviews: Allan McCollum/James Welling, ARTS MAGAZINE, Summer 1984, p. 44.

Lawson, Thomas, Reviews: New York, ARTFORUM, September 1983, pp. 70-71.

Owens, Craig, Allan McCollum: Repetition and Difference, ART IN AMERICA, September 1983, pp. 130-132.

McMahon, Paul, From the Permanent Collection, REAL LIFE MAGAZINE, Summer 1983, pp. 12-15.

Smith, Valerie, Review: Marian Goodman Gallery Exhibit, FLASH ART, Summer 1983, p. 65.

Lawson, Thomas, Review: Marian Goodman Gallery Exhibition, ARTFORUM, March 1983, pp. 82-83.

Lawson, Thomas, Further Furniture, ARTFORUM, March 1981, pp. 82-83.

Bell, Jane, Review, ARTNEWS, September 1980, p. 252.

Cornu, Daniel, Review: Galerie Yvon Lambert Exhibition, ARTPRESS, June 1980, p. 35.

Zimmer, Bill, Jenny Snider, Jeff Balsmeyer, Allan McCollum, Silvia Kolbowski, Richard Prince, SOHO WEEKLY NEWS, 12 March 1980, p. 50.

Masheck, Joseph, Iconicity, ARTFORUM, January 1979, pp. 30-41.

Goodman, Judy, Allan McCollum, ARTS MAGAZINE, April 1975.

Montgomery, Cara, Review, ARTS MAGAZINE, April 1973.

Plagens, Peter, From School Painting to a School of Painting in Los Angeles, ART IN AMERICA, March/April 1973, pp. 36-41.

Plagens, Peter, The Decline and Rise of Younger Los Angeles Art, ARTFORUM, May 1972, pp. 72-81.

Plagens, Peter, Los Angeles: New Painting in Los Angeles, ARTFORUM, October 1971, pp. 86-90.

Garver, Thomas, Review, ARTFORUM, December 1970.

Beaulieu, Bob, Artist’s View: Interview With Allan McCollum, THE FREE VENICE BEACHHEAD, November 1970, pp. 4-6.

Sharp, Willoughby, New Directions in Southern California Sculpture, ARTS MAGAZINE, September 1970, pp. 35-38.


For a full biography please contact the gallery.