Sarah Lucas

Nancy Spector, Róisín Tapponi, Rose Eastwood (ed.), Reuben Charters-Bastide (ed.), Bunny Book (London: Sadie Coles HQ; New York (NY): Gladstone Gallery; Koln: Verlag der Buchhandlung Walther und Franz König)

Dominique Heyse-Moore, Sarah Lucas: HAPPY GAS (London: Tate Publishing, 2023) (exh. cat.) 

Deborah Levy, SEX LIFE (London: The Perimeter, 2021) (exh. cat.) 

Massimiliano Gioni and Margot Norton (eds.), Au Naturel (New York (NY): Phaidon Press Limited, 2018) (exh. cat.) 

Sarah Lucas and Julian Simmons, I SCREAM DADDIO (London: British Council, 2015) (exh. cat.)

Manuela Ribadeneira, Sarah Lucas Drawing Room Confessions Issue 8 (Milan: Mousse Publishing, 2013) 

Julian Simmons, TITTIPUSSIDAD (London: Sadie Coles HQ, 2013) 

Quinn Latimer, Sarah Lucas: Describe this Distance (Milan: Mousse Publishing, 2013) 

Sarah Lucas, Jeanette Pacher, Julian Simmons, András Pálffy, Sarah Lucas, Julian Simmons: NOB (London: Sadie Coles HQ; Vienna: Secession, 2013) (exh. cat.) 

Sarah Lucas, SITUATION (London: Sadie Coles HQ, 2013) (exh. cat) 

Iwona Blazwick, Situation Absolute Beach Man Rubble (London: Whitechapel Gallery 2013) (exh. cat.) 

Sarah Lucas and Angus Fairhurst, After 2005, Before 2012 (London: Sadie Coles HQ; Cologne: Buchhandlung Walther König, 2012) (exh. cat) 

Lisa Le Feuvre, Deborah Orr, Anne Wagner, Gilda Williams, Ordinary Things (Leeds: Henry Moore Institute, 2012) (exh. cat.) 

Brigitte Borchhardt-Birbaumer and Hans-Peter Wipplinger, LUCAS, BOSCH, GELATIN (Krems: Kunsthalle Krems, 2011), colour illus., (p. 20) (exh. cat.)

Amna Malik, Sarah Lucas, Au Naturel (London: Afterall, 2009) 

Sarah Lucas and Olivier Garbay, The Mug (London: Other Criteria, 2009) 

Francesco Bonami (ed.), Michele Robecchi, Supercontemporary: Sarah Lucas (Milan: Electa, 2007) 

Yilmaz Dziewior and Beatrix Ruf (eds.), Sarah Lucas: Exhibitions and Catalogue Raisonné 1989 – 2005 (Osfildern: Hatje Cantz Verlag; London: Tate Publishing, 2005) 

Sarah Lucas and Olivier Garbay, God is Dad (New York (NY): Barbara Gladstone Gallery; London: Sadie Coles HQ; Cologne: Buchhandlung Walther König, 2005) (exh. cat.) 

Sarah Lucas, In-A-Gadda-Da-Vida (London: Tate Publishing, 2004) (exh. cat)

Matthew Collings, Sarah Lucas (London: Tate Publishing, 2002) 

Victoria Combalia and Angus Cook, Sarah Lucas: Autoretrats I mess exe (Barcelona: Tecla Sala, 2000) (exh. cat.) 

Yilmaz Dwiezior (ed.), Car Park (Cologne: Museum Ludwig, 1997) 

Jan van Adrichem, ‘Things That Have To Come About’, Angus Fairhurst, ‘Concrete Dreams’, Karel Schampers (eds.), Sarah Lucas (Rotterdam: Museum Boymans-van Beuningen, 1996) (exh. cat.)

Robert Evren, Sarah Lucas, Steven Pippin: projects 44 (New York (NY): Museum of Modern Art, 1993) (exh. cat.) 

Kathryn Johnson (ed.), Surrealism and Design Now: From Dali to AI (London: The Design Museum, 2022) (exh. cat.) 

Hilary Ericksen (ed.), Sculptural Matter (Victoria: ACCA Australian Centre for Contemporary Art, 2021) (exh. cat.) 

Anne-Mariken Raukema (ed.), Art Zuid: Amsterdam Sculpture Biennale 2021 (Amsterdam: Stichting Art Zuid Foundation, 2021) 

Maria Basagianni and Aphrodite Gonou (eds.), Contemporary Art at the Museum of Cycladic Art 2007-2021 (Athens: Nicholas and Dolly Goulandris Foundation-Museum of Cycladic Art, 2021) 

David Lane and Marina Tweed (eds), The Gourmand’s Egg: A Collection of Stories & Recipes (Cologne: Taschen, 2022) 

Ole Schultz Larsen, Grete Ravn Nielsen, Håndbog Til Dansk: Litteratur, Sprog, Medier (Aarhus: Systime; Danish Teachers' Association, 2022) 

Johny Pitts, Look Again: Visibility (London: Tate Publishing, 2022) 

Pierre Passebon, Man to Man: An Obsession (Paris: Flammarion, 2022) 

Melanie Bühler (ed.), The Art of Critique (Milan: Lenz Press; Haarlem: Franz Hals Museum, 2022) 

Elizabeth Burke, Dan Franklin, John and Mary James (eds.), A New Suffolk Garland: An Anthology of Suffolk Writing and Art (Woodbridge: The Boydell Press, 2022) 

Ferren Gipson, Women’s Work: From feminine arts to feminist art (London: Frances Lincoln Publishing, 2022) 

Chiara Parisi and Anne Horvath (eds.), Le Musée sentimental d’Eva Aeppli (Metz: Éditions du Centre Pompidou-Metz, 2022)

Sofie Van de Velde, Expeditie Kunst: Start Je Eigen Kunstcollectie met (Antwerp/Amsterdam: Houtekiet, 2021) 

Charlie Porter, What Artists Wear (London: Penguin Books, 2021)

Anya Harrison, Cranford Collection: the 2000s (Montpellier: MocO Montpellier Contemporain, 2020) 

Julian Simmons and Sarah Lucas, Dream Fourteen: Print Portfolio (London: Paul Stolper Gallery, 2020) (exh. cat.) 

Thomas D. Trummer, Bilder in der Pandemie (Bregenz: Kunsthaus Bregenz, 2020) 

Uta Ruhkamp, On Everyone's Lips: The Oral Cavity in Art and Culture (Berlin: Hatje Cantz, 2020) 

Alice Chasey (ed.), Five Hundred Years of British Art (London: Tate Enterprises LTD, 2020) 

Hattie Spires, Summer (London: Tate Publishing, 2020) 

William S Burroughs, Reason Gives No Answers, Selected Works From The Collection (London: Other Criteria Books, 2020) 

Clemens Meyer, 6 U L – Lust and Desire in Art and Design (Berlin: DCV, 2020) 

Amy Corry and Jason Beard (eds.), Reason Gives No Answers (London: Other Criteria Books, 2019) (exh. cat.)

Erlend G. Hoyersten, Pernille Taagaard Dinesen, Daniel Slater, Lise Skyte Jakobsen, Kjeld Fredens, Object of Wonder – from Pedestal to Interaction (Aarhus: ARoS Aarhus Kunstmuseum, 2019) (exh. cat.) 

Caroline Collier, ‘YBAs and Beyond’, Objects of Wonder: British Sculpture from the Tate Collection 1950s–Present (Berlin: PalaisPopulaire, 2019) (exh. cat.) 

Erlend G. Hoyersten (ed.), Art and Porn (Aarhus: ARoS Aarhus Kunstmuseum, 2019) (exh. cat.) 

Delfina Jalowik and Maria Anna Potocka (eds.), Nautre in Art (Krakow: MOCK Museum of Contemporary Art in Krakow, 2019) 

Anne Hardy (ed.), The Weather Garden (Eastbourne: Towner Art Gallery, 2019) 

Adriano Pedrosa, Amanda Carneiro and Andre Mesquita (eds.), Historias Dad Mulheres, Historias Feministas: Vol. 2 Antologia (Sao Paulo: MASP Museu de Arte de Sao Paulo Assis Chateaubriand, 2019) 

Julia Kelly and Jon Wood, Contemporary Sculpture - Artists Writings and Interviews (Berlin: Hatje Cantz, 2019) 

Louisa Lee, ‘Sarah Lucas’, Rebecca Morrill et. al. (eds.), Great Women Artists (London/New York (NY): Phaidon Press Limited, 2019) 

Charlotte Mullins, A Little Feminist History of Art (London: Tate Publishing, 2019) 

René Lüchinger, ‘II. Vier Köpfe und ein ausbruch’, Ringen um Ringier: über die kunst der digitalisierung in einem schweizer medienkonzern (Göttingen: Steidl, 2019) 

Cristina Garrido, ‘Andrea Rossetti’, The (Invisible) Art of Documenting Art (Madrid: Caniche Editorial, 2019) 

Mathieu Cenac, Pierre-Edouard Couton, Lea Lamy (eds.), La Source (Paris: David Desrimais Editeur, 2019)

Emily Yih-Wen Lin, Fangling Tseng, Nita Lo, Yuan-Shuen Chang, Sofia Chen, Lyn-Lee Ren, Meifen Chu, Tsyng-you Kuo (eds.), Nude: Masterpieces from Tate (Kaohsiung City: Kaohsiung Museum of Fine Arts, 2018) (exh. cat.) 

Katerina Panterlides, SARTORIAL: The Art of Looking Like an Artist (London: Laurence King Publishing, 2018) 

Jonathan Jones, ‘Memo from Turner’, Sensations: The Story of British Art from Hogarth to Banksy (London: Laurence King Publishing, 2018) 

Martha Gnyp, YOU ME AND ART: Artists in the 21st Century (Milan: Skira, 2018) 

Rosalind Ormiston, 50 Art Movements You Should Know (London: Prestel, 2018)

Andrew Marr, Short Book About Painting (London: Quadrille, 2017) 

Karen Gron (ed.), Eat Me (Kolding: Trapholt, 2017) (exh. cat.) 

Marta Herford, Die innere Haut – Kunst und Scham: The Inner Skin – Art and Shame (Bonn: Druckverlag Kettler, 2017) (exh. cat.) 

Jonathan Anderson and Andrew Bonacina (eds.), Disobedient Bodies: JW Anderson at The Hepworth Wakefield (London: InOtherWords; Wakefield: The Hepworth Wakefield, 2017) (exh. cat.) 

Leigh Robb, Versus Rodin: bodies across space and time (Adelaide: Art Gallery of South Australia, 2017) (exh. cat.) 

Judith Blackall (ed.), EuroVisions: Contemporary Art from the Goldberg Collection (Sydney: National Art School, 2017) (exh. cat.) 

Emily Butler and Candy Stobbs (eds.), Creating Ourselves: The Self in Art (London: Whitechapel Gallery, 2017)

Sophie Orlando, ‘Artistic Tactics and New Internationalism’, British Black Art: Debates on Western Art History (Paris: Dis Voir, 2016) 

Bruce Boucher, ‘A Memoir and a Monument’, Thomas Pongsathorn (ed.), Sir John Soane’s Museum, Annual Review 2015 / 16 (London: Cultureshock Media, 2016) 

Justine Moeckli and Merel van Tilburg (eds.), Nightfall – Gothic Imagination Since Frankenstein (Los Angeles (CA): DoPe Press, 2016)

Denyse Beaulieu, Marco Constantini, Susanna Kumschick, Luca Marchetti, Joel Vacheron, Nirvana (Gollion Courvoisier: INFOLIO, 2015), colour illus., (p.25) (exh. cat.) 

Deborah Aaronson, Body of Art (London: Phaidon Press Limited, 2015)

Thomas Howells and Leanne Hayman (eds.), Experimental Eating (London: Black Dog Publishing, 2014)

Marek Goździewski and Tom Morton, BRITISH BRITISH POLISH POLISH: Art from Europe's Edges in the Long '90s and Today (Warsaw: Centre of Contemporary Art Ujazdowski Zamek; London: British Council, 2013) (exh. cat.) 

Dobrila Denegri, Dreams of Reason: Highlights of the Sandretto Re Rebaudengo Collection (Torun: Centre of Contemporary Art; Turin: Sandretto Re Rebaudengo Collection, 2013) (exh. cat.) 

Joanna Mykowska, In the Heart of the Country (Warsaw: Museum of Modern Art, 2013) (exh. cat.) 

Daniel Baumann, Dan Byers, Tina Kukielski, 2013 Carnegie International (Pittsburgh (PA): Carnegie Museum of Art, 2013) (exh. cat.) 

Kathleen Bühler and Amy Klement, The Weak Sex—How Art Pictures the New Male (Bern: Kunstmuseum Bern, 2013) (exh. cat.) 

Clarissa Dalrymple, Group Exhibition (St-Jorisstraat: Xavier Hufkens, 2013) (exh. cat.) 

Massimiliano Gioni, Gary Carrion-Murayari, Jenny Moore, Margot Norton (eds.), NYC 1993: Experimental Jet Set, Trash and No Star (New York (NY): Museum of Modern Art, 2013) (exh. cat.) 

Anna Moszynska, World of Art: Sculpture Now (London: Thames & Hudson, 2013) 

Michael Petry, Nature Morte (London: Thames & Hudson, London, 2013)

Massimiliano Gioni and Natalie Bell (eds.), Il Palazzo Enciclopedico (The Encyclopedic Palace) – 55th International Art Exhibition (Milan: Skira, 2013) (exh. cat.) 

Caroline Smulders, UNLIMITED BODIES: Corps sans Limite (Paris: Corlet a Conde-sur-Noireau, Palais D'Iena, 2012), colour illus., (p.28) (exh. cat.) 

Miguel Amado and Sara Matson, The Far and the Near: St Ives and International Art (St Ives: Tate Publishing, 2012) (exh. cat.) 

Nuno Crespo, Riso, (Lisbon: Fundacao EDP, 2012), b&w illus., (p.170) (exh. cat.) 

Jeremy Cooper, Growing Up: The Young British Artists at 50 (London: Prestel, 2012) 

Michelle Cotton (ed.), Camulodunum (Colchester: Firstsite, 2011) (exh. cat.) 

El Arte de Comer (Barcelona: Fundacio Caixa Catalunya, Sala de Exposiciones de la Pedrera, 2011) (exh. cat.) 

Louisa Buck, Women Make Sculpture (London: Pangolin London, 2011)

Achim Borchardt-Hume, ‘The Corporeal Act 1’, Dimitris Daskalopoulos and Iwona Blazwick (eds), Keeping it Real: An Exhibition in Four Acts from the D. Daskalopoulos Collection (London: Whitechapel Gallery, 2010), colour illus., (p.23, p.49) (exh. cat.)

Lisa Le Feuvre and Tom Morton, British Art Show 7: In the Days of the Comet (London: Hayward Gallery, 2010) (exh. cat.) 

Crucible (Chalford: Pangolin Editions, 2010) (exh. cat.) 

Stephen Chambers (ed.), The Royal Academy Illustrated 2010 (London: Royal Academy of Arts, 2010) (exh. cat.) 

Ralph Rugoff and Kirsty Bell, The New Décor (London: Hayward Gallery, 2010) (exh. cat.) 

Michael Craig-Martin, Art: curated by Michael Craig-Martin (Berlin: Galerie Haas & Fuchs, 2010) (exh. cat.) 

Martin Myrone (ed.), Rude Britannia (London: Tate Publishing, 2010) (exh. cat.) 

Michael Spens, Studio International: Yearbook Special, Issue 2007, Volume 206, Number 1029 (New York (NY): The Studio Trust, 2010) 

Jane Alison (ed.), The Surreal House: Architecture of Desire (London: Yale University Press, 2010) 

Gill Saunders, Walls Are Talking: Wallpaper, Art and Culture (Manchester: Whitworth Art Gallery; London/Chicago: KWS Publishers, 2010)

Sivan Raveh and Omry Kaplan-Feuereisen, Sommer Contemporary Art Ten, 1999-2009 (Tel-Aviv: Sommer Contemporary Art, 2009) (exh. cat.) 

David Lamas and Anna Dezeuze, Subversive Spaces: Surrealism and Contemporary Art (Manchester: The Whitworth Art Gallery, 2009) (exh. cat.) 

Araki Natsumi, The Kaleidoscopic Eye: Thyssen-Bornemisza Art Contemporary Collection (Tokyo: Mori Art Museum, 2009) (exh. cat.) 

Charlotte Bonham-Carter and David Hodge, The Contemporary Art Book (London: Goodman Books, 2009) 

Christian Rattemeyer, The Judith Rothschild Foundation Contemporary Drawings Collection, Catalogue Raisonné (New York (NY): MoMA Museum of Modern Art, 2009) 

Chris Harrald and Fletcher Watkins, The Cigarette Book (London: Quartet, 2009) 

Hans Werner Holzwarth (ed.), 100 Contemporary Artists (Cologne: Taschen, 2009)

Jörg Heiser, ‘Sarah Lucas: Kebabs and Corny Puns’, All of a Sudden: Things That Matter in Contemporary Art (Berlin: Sternberg Press, 2008) (exh. cat.) 

Tiddy Rowan, ‘Sarah Lucas’, London: a guide to modern + contemporary ART in the city (London: Quadrille, 2008), colour illus., (p.66) (exh. cat.) 

Beate Söntegen, ‘Oh Boy it’s a Girl’, Female Trouble, Die Kamera als Spiegel und Bühne weiblicher Inszenierungen (Ostfildern: Hatje Cantz, 2008) (exh. cat.) 

Francesco Bonami (ed.), God & Goods: Spirituality and Mass Confusion (Udine: Villa Manin Centro d’Arte Contemporanea, 2008) (exh. cat.) 

Andrew Renton, Cranford Collection 01 (Guernsey: Cranford Collection, 2008) (exh. cat.) 

Mary-Kay Lombino, Excerpt: Selections from the Jeanne Greenberg Rohatyn Collection (Poughskeepie (NY): The Frances Lehman Loeb Art Center, 2008) 

Gabriele Knapstein, “I can’t just slice off an ear every day”: Deconstructing the Myth of the Artist (Berlin: Hamburger Bahnhof Museum für Gegenwart, 2008) 

Francesco Bonami, Arte Contemporanea, Volume Sei. Duemila (Milan: La Biblioteca di Repubblica-l’Espresso; Electa, 2008) 

Silke Hohmann, Stations: 100 Meisterwerke Zeitgenössischer Kunst (Cologne: Dumont Buchverlag, 2008)

Beatrix Ruf, Blasted Allegories: Works from the Ringier Collection (Zürich: JRP Ringier, 2008)

Emily Butler, Aftershock: Contemporary British Art 1990-2006 (London: The British Council, 2007) (exh. cat.) 

Franz West (cur.), Stefan Bidner, Veit Loers (eds.), Soufflé, eine Massenausstellung (Austria: Kunstraum Innsbruck, Kunsterlnnen und Autoren; Cologne: Buchhandlung Walther König), colour illus., (p.48) (exh. cat.) 

Gabriele Schor, Held Together With Water: Art from the Sammlung Verbund (Ostifildern: Hatje Cantz, 2007)

Damien Hirst, In the darkest hour there may be light: Works from Damien Hirst’s murderme collection (London: Serpentine Gallery; Other Criteria, 2006) (exh. cat.) 

S. Brent Plate, Blasphemy Art That Offends (London: Black Dog Publishing, 2006) 

David Hopkins, Dada’s Boys (Edinburgh: The Fruitmarket Gallery, 2006) 

Elisabeth Leopold, Body Face Soul: The Female Image from the 16th to the 21st Century (Wien: Leopold Museum-Privatstiftung, 2006) 

Luigi Settembrini, Claudia Gian Ferrari, Francesca Sorace, Il diavolo del focolare: The Devil of Hearth and Home (Milan: La Triennale di Milano, 2006) 

Adam Lindeman, Collecting Contemporary, (Cologne: Taschen, 2006)

Bruce Grenville, Body: New art from the UK (Vancouver: Vancouver Art Gallery; London: British Council, 2005) (exh. cat.) 

Nicholas Thornton, Breaking the Mould: 20th Century British Sculpture from Tate (Norwich: Norwich Castle Museum and Art Gallery; London: Tate Publishing, 2005) (exh. cat.) 

Sarah Kent, Ina Johannesen, Marianne Holtermann, Y[oung] B[ritish] A[rtists] Criss-Crossed (Oslo: Kaare Bernsten Galleri, 2005) (exh. cat.) 

Shaun O’L. Higgins and Colleen Striegel (eds.), Press Gallery (Spokane (WA): New Media Ventures, 2005) 

Phillipe Segalot, Empreinte Moi (Paris: Galerie Emmanuel Perrotin, 2005) 

Marijke Cieraad, Theo Lenders, Ying-Fu Li, Pascalle Mansvelders, LAT (Venray: Odapark, 2005) 

Alyce Mahon, Eroticism & Art (Oxford: Oxford University Press, 2005) 

Markus Mittringer, Sculpture (Innsbruck: Galerie Elisabeth & Klaus Thoman, 2005) 

Mario Testino, Stephen Gan, Cecilia Dean, James Kaliardos, Visionaire 46: Uncensored by Mario Testino (New York (NY): Visionaire Publishing, 2005) 

Shaun O’L.Higgins and Colleen Striegel, Press Gallery: The Newspaper in Modern Art (Spokane (WA): New Media Ventures, 2005)

Laurence Dreyfus, Central Station: la collection Harold Falckenberg (Paris: la maison rouge et Fage editions, 2004) (exh. cat.) 

Florian Illies and Silke Immenga, Werke Aus Der Sammlung Boros (Karlsruhe: Museum für Neue Kunst, 2004) (exh. cat.) 

The Place To Be (Alsace: CRAC Centre Rhenan d’art contemporain d’Alsace, Alsace, 2004) (exh. cat.) 

Gifted (London: University of the Arts; The Arts Gallery, 2004) (exh. cat.) 

Rainald Schumacher and Matthew Barney, Just Love Me. Post-Feminist Art of the 1990’s from the Goetz Collection (Bergen: Bergen Art Museum, 2004) (exh. cat.) 

Sabine Folie, Skulptur: Prekarer Realismus zwischen Melancholie und Komik (Vienna: Kunstalle Wien, 2004) (exh. cat.) 

Charlotte Cotton, The Photograph as Contemporary Art (London: Thames & Hudson, 2004)

Briony Fer, The Infinite Line (New Haven (CT)/London: Yale University Press, 2004) 

Marianne Karabelnik, Stripped Bare: The Body Revealed in Contemporary Art (London: Merrell Publishers, 2004) 

Fabrice Bousteau, Sexes: images- pratiques et pensées contemporaines (Paris: Beaux-Arts Magazine, 2004) 

Antje Majewski, Atomkrieg (New York (NY): Lukas and Sternberg, 2004) 

Brandon Taylor, Collage: The Making of Modern Art (London: Thames & Hudson, 2004)

Bad Behaviour (London: Hayward Gallery Publishing, 2003) (exh. cat.) 

Manuela Barrero, BIDA 2003 – Bienal Internacional del Deporte en el Arte (Salamanca: BIDA, 2003) (exh. cat.) 

Francesco Bonami and Maria Luisa Frisa, La Biennale di Venezia 50th International Art Exhibition “Dreams and conflicts: The Dictatorship of the Viewer” (Venice: Giardini della Biennale – Arsenale, 2003) (exh. cat.) 

Benno Tempel, Roken in de kunst (Rotterdam: Kunsthal Rotterdam; Amsterdam: Ludion, 2003) 

Robert Outeiro, A Bigger Splash: Uma Seleção de Arte Britânica da Coleção da Tate 1960-2003 / A Bigger Splash: A Selection of British Art from Tate Collection 1960-2003 (São Paulo: Connects, 2003)

M. Falconer, Face Off: A Portrait of the Artist (Cambridge: Kettle’s Yard, 2002) (exh. cat.) 

Bice Curiger, Kunst Expansiv – Zwischen Gegenkultur und Museum (Regensburg: Lindinger + Schmid Verlag GdbR, 2002) (exh. cat.) 

Virginia Button, The Rowan Collection – Contemporary British and Irish Art (Dublin: Irish Museum of Modern Art, 2002) (exh. cat.) 

Andrew Renton, No World Without You – Reflections of Identity in New British Art (Tel Aviv: Herzliya Museum of Art, 2002) (exh. cat.) 

Marcos Farinha and Erika Verzutti, PoT: The Liverpool Biennial of Contemporary Art (Cologne: Buchhandlung Walther König, 2002) (exh. cat.) 

Chris Townsend, Rapture: Art’s Seduction by Fashion since 1970 (London: Thames & Hudson; Barbican Centre Art Galleries, 2002) (exh. cat.) 

Gill Saunders, Wallpaper in Interior Decoration (London: V&A Publications, 2002) 

Tim Marlow, Tim Marlow on Tate Modern (London: Spafax Publishing, 2002) 

Burkhardt Riemschneider, Art Now (Cologne: Taschen, 2002) 

Stefan Schmidt-Wulffen, Perfektimperfekt (Freiburg: Modo, 2002) 

Stephen Feeke, Second Skin (Leeds: Henry Moore Institute, 2002) 

Louisa Buck, Art Work of the Month – February (London: Tate Publishing, 2002) 

Alice Dewey (ed.), New – Recent Acquisitions of Contemporary British Art (Edinburgh: National Galleries of Scotland, 2002) 

Comer o no Comer o las relaciones del arte con la comida en el siglo XX (Salamanca: Centro de Arte Salamanca, 2002) 

Mónica Amor, Carlos Basualdo, Charles Merewether, Archivio Alfonso Pons (Donostia San Sebastian: Koldo Mitxelena Kulturunea, 2002)

Lewis Biggs and Fang-wei Chang, Field Day Sculpture from Britain (Taipei: Taipei Fine Arts Museum; London: British Council, 2001) (exh. cat.)

Dr. Gerhard Finckh, Freestyle: Werke aus der Sammlung Boros (Leverkusen: Museum Morsbroich, 2001) (exh. cat.) 

Paul Schimmel, Public Offerings (Los Angeles (CA): MOCA Museum of Contemporary Art; London: Thames & Hudson, 2001) (exh. cat.) 

Matthew Higgs, City Racing 1988-1998: a partial account (London: ICA Institute of Contemporary Arts, 2001) (exh. cat.) 

Nicholas Thornton, Breaking the Mould: 20th Century British Sculpture from Tate, A Tate Partnership Exhibition (Norwich: Norwich Castle Museum and Art Gallery, 2001) (exh. cat.) 

Dr. Thomas Kellein, The Surreal Woman: Femaleness and the Uncanny in Surrealism (Bielefeld: Kunsthalle Bielefeld, 2001) 

Louisa Buck, The Colony Room Club - 2001 A Space Oddity (London: The Colony Room Club; A22 Projects, 2001) 

Nechama Gottlib and Andrew Renton, British Artists in Israel (Tel Aviv: Hertzliya Museum of Art, 2001) 

Martin Maloney, I am a Camera (London: Saatchi Gallery; Booth Clibborn Editions, 2001) 

Peter Friese, Ohne Zögern – Without Hesitation: views of the Olbricht Collection (Bremen: Neues Museum Weserburg, 2001) 

Fiona Carson and Claire Pajaczkowska, Feminist Visual Culture (Edinburgh: Edinburgh University Press, 2001) 

Francesco Bonami, Uniform: Order and Disorder (Florence: Stazione Leopolda, 2001) 

Sarah Kent, ‘YBA Woman’, Thames & Hudson World of Art: 45th Birthday Issue (London: Thames & Hudson, 2001) 

Uta Grosenick, Women Artists in the 20th and 21st Century (Cologne: Taschen, 2001) 

Angela Lampe, Die unheimliche Frau. Weiblichkeit im Surrealismus (Heidelberg: Kunsthalle Bielefeld, 2001)

Virginia Button and Charles Esche, Intelligence: New British Art (London: Tate Publishing, 2000) (exh. cat.) 

Bice Curiger, Hypermental (Zürich: Kunsthaus Zürich, 2000) (exh. cat.) 

Richard Shone, Puerile 69: Angus Fairhurst, Michael Landy, Sarah Lucas, Gillian Wearing (Reykjavik: The Living Art Museum, 2000) (exh. cat.) 

Matthew Higgs, Pippa Coles, Jacqui Poncelet, The British Art Show 5 (London: Hayward Gallery, 2000) (exh. cat) 

Eva Meyer-Hermann, The Oldest Possible Memory (St Gallen: Hauser & Wirth, 2000) 

Bice Curiger (ed.) Cream 2 (London: Phaidon Press, 2000) 

Norman Rosenthal, Sex and the British (Salzburg: Thaddeaus Ropac Galerie, 2000) David Ross, Nicholas Serota, Ida Giannelli, Giorgio Verzotti, Jonathan Watkins, Quotidiana: Immagini della viat di ogni giorno nell’arte del xx secolo/The Continuity of the Everyday in 20th Century Art (Turin: Castello di Rivoli; Milan: Charta, 2000) 

Helena Cabello and Ana Carceller, Zona F (Castello: Espai d’Art Contemporani de Castello, 2000) 

Julian Stallabrass, High Art Life (London: Verso Books, 2000) 

Anne Faggianato, Psycho, Art and Anatomy (London: Anne Faggianato, 2000)

Burkhard Riemschneider, Uta Grosenick, Lars Bang Larsen, Art at the Turn of the Millennium (Cologne: Taschen, 1999)

Matthew Collings, This Is Modern Art (London: Weidenfeld & Nicholson, 1999) 

Michel van der Mast, Me Myself I, Contemporary Self Images (The Hague: Hagues Historisch Museum, 1999) 

Peter Weibel, The Anagrammatical Body (Graz: Neu Galerie am Landesmuseum Joanneum, 1999)

Tochigi Kenritsu Hakubutsukan, REAL/LIFE: New British Art (Tochigi: Tochigi Prefectural Museum of Fine Arts, 1998) (exh. cat.) 

Nelleke Noordervlie, Self Portraits - A Collection (Rotterdam: Caldic Collection, 1998) 

Renate Wiehager, Photography As Concept-4 Internationale Foto-Triennale Esslingen (Esslingen: Galerien der Stadt Esslingen Villa Merkel, 1998) 

Caoimhin Mac Giolla Leith, Hungry Ghosts (Dublin: Douglas Hyde Gallery, 1998) 

Kungnip Hyŏndae Misulgwan, Contemporary British Art (Seoul: National Museum of Contemporary Art, 1998) 

Elizabeth Janus (ed.), Die Rache der Veronika: Fotosammlung Lambert (Zürich: Scalo; Hamburg: Deichtorhallen Hamburg, 1998) 

Zdenek Felix (ed.) Emotion: Young British and American Art from the Goetz Collection (Hamburg: Deichtorhallen Hamburg, 1998) 

Jerry Saltz (ed.), An Ideal Syllabus: Artists, Critics and Curators Choose the Books We Need to Read (London: Frieze, 1998) 

Gregor Muir (ed.), ‘Sarah Lucas’, New Art From Britain (Innsbruck: Kunstraum Innsbruck, 1998)

Package Holiday: Hydra Workshops (London: Sadie Coles HQ, 1997) (exh. cat.) 

Ingvild Goetz (ed.), Art from the UK (Munich: Sammlung Goetz, 1997) (exh. cat.) 

Norman Rosenthal and Simonetta Fracquelli (eds.) Sensation (London: Royal Academy of Art, 1997) (exh. cat.) 

Kate Bush and Gregor Muir (eds.), Assuming Positions (London: ICA Institute of Contemporary Arts, 1997) (exh. cat.) 

Johnnie Shand Kydd, Spitfire: Young British Artists (London: Thames & Hudson, 1997) 

Gilda Williams (ed.), Strange Days (Milan: Claudia Gian Ferrari Arte Contemporanea, 1997) 

Matthew Collings, Blimey!: From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst (London: 21, 1997) 

Louisa Buck (ed.), Moving Targets: A User’s Guide to British Art Now (London: Tate Publishing, 1997)

Richard Shone, From Figure to Object: A Century of Sculptors’ Drawings (London: Frith Street Gallery; Karsten Schubert Gallery, 1996) (exh. cat.) 

Neville Wakefield, ‘Pretty Vavancy’, Stuart Mogan, ‘Briller A Tawdry Flickwort!’, Richard Flood (ed.), Brilliant! New Art from London (Minneapolis (MI): Walker Art Centre, 1996) 

Godfrey Worsdale, ‘Lucas & Emin’ artists’ statement’, Godfrey Worsdale (ed.), Co-operators (Southampton: Southampton City Art Gallery, 1996) 

Hans Ulrich Obrist and Gregor Muir (ed.), Live/Life (Paris: ARC Musee de la Ville de Paris, 1996)

Carl Freedman (ed.), Minky Manky (London: South London Gallery, 1995) (exh. cat.) 

Helle Behrndt, Torben Christensen, Søren Houmann, Corpus Delicti: London in the 1990’s (Copenhagen: Kunstforeningen, 1995) (exh. cat.)

Marie-Laure Bernadac, Masculin/Feminine (Paris: Musée National d’Art Moderne, Centre Pompidou, 1995) (exh. cat.)

Chris Dercon, ‘Watt’, Chris Dercon (ed.). Cahier 2 (Rotterdam: Witte de With; Dusseldorf: Richter Verlag, 1994) 

Football Karaoke (Frankfurt-am-Main: Portikus, 1994) 

Sarah Kent, ‘Sarah Lucas’, Shark Infested Waters: The Saatchi Collection of British Art in the 90’s (London: Zwemmers, 1994) 

Chris Dercon, ‘Watt’, Chris Dercon (ed.). Cahier 2 (Rotterdam: Witte de With; Dusseldorf: Richter Verlag, 1994) 

Football Karaoke (Frankfurt-am-Main: Portikus, 1994) 

Sarah Kent, ‘Sarah Lucas’, Shark Infested Waters: The Saatchi Collection of British Art in the 90’s (London: Zwemmers, 1994)

Liam Gillick and Andrew Renton (eds.), Technique Anglais: Current trends in British Art (London: Thames & Hudson; One Off Press, 1990)