Lynda Benglis

The 50th Anniversary of the Iconic "Artforum Advertisement"

This November marks 50 years since Lynda Benglis, 33 years old and a rising star in the New York art world, rocked the art establishment with the publication of her famed 1974 Artforum Advertisement. For this provocative work, she commandeered two pages in the front of the magazine with a glossy field of black space and an image of herself naked, wearing white sunglasses and holding a comically large double dildo between her thighs. Five of Artforum's editors denounced Benglis's artwork in the magazine's December 1974 issue. Two subsequently left the staff.

Benglis has stated that her intention was to create a work "ambiguous enough that it couldn’t be said what it was." This embrace of the open-ended gave the work a life far beyond its original context. Pinned to a studio wall, pored over in a library or paraded through the streets during New York's 2017 Women's March, the Artforum Advertisement has resonated with generations of art lovers in the years since its original publication, mirroring major issues in the art world decade by decade.

To mark the 50th anniversary of this iconic artwork, Pace Gallery has collaborated with the artist's studio to create an online educational resource about the work featuring a fact sheet accompanied by archival images and a bibliography of essential reading. A full, downloadable bibliography is available for those interested in delving deeper into the Artforum ad's history and legacy. For the month of November only, every published statement Benglis has made about the work over the past 50 years can be found below.

From November 14 to December 21, as part of this commemorative initiative, Pace will exhibit two copies of Artforum’s November 1974 edition—one closed, showing the magazine’s cover, and one open to Benglis’s advertisement—in a vitrine in the lobby of its 540 West 25th Street location in New York. The artist’s work Ghost of Smile (1974/2016) will also be displayed in the lobby vitrine. This cast phosphorescent pigmented polyurethane sculpture reflects Benglis’s enduring practice of reimagining her work in different materials and scales over the years.

I was still thinking about gender stereotypes and I just wanted to make an image that can never be one thing: not one gender, not one form of sexuality or desire.

—Lynda Benglis

Benglis, Lynda. "Andrew Bonacina in conversation with Lynda Benglis." in Lynda Benglis. Texts by Lynda Benglis, Andrew Bonacina, Nora Lawrence, Bibiana Obler. London: Phaidon, 2022: 8-33.

1970s

It is a rebellious potency that consciously and humorously, with sarcasm and even cynicism, throws this artificial rubber truncheon in the face of the art society…With this illustration, Lynda Benglis has entered the camp of political activists in art. In my opinion, she is one of the critical accusers of the current structure of society, 'after Watergate', in times of universal corruption.

—Picard, Lil. "Brief aus New York: Im Zeichen des Phallus." Kunstforum International, no. 12 (December 1974/January 1975): 195-202.

Mr. Pincus-Witten's erudition notwithstanding, the Benglis poster ["Betty Grable" announcement] is less reminiscent of Redon than it is a virtual duplication of the October cover of a Times Square porno magazine ironically called Gallery.

—Rose, Barbara. "Twilight of the Superstars." Partisan Review 41, no. 4 (1974): 563-572.

She may convince herself and other naives that she is saying "Fuck you" to the men but she is still only using her lovely woman’s body to say "Fuck me" and thereby making herself doubly tantalizing to those who like their sex served up with S&M overtones. Though she has found a new twist, in the end all that comes across is another means of manipulating men through the exploitation of female sexuality.

—Nemser, Cindy. "Lynda Benglis: A Case of Sexual Nostalgia." The Feminist Art Journal 3, no. 4 (Winter 1974/1975): 7, 23.

We admire Lynda Benglis' way of bypassing editorial censorship. –Vito Acconci, Jennifer Bartlett, Germano Celant, Nancy Kitchel.

—Western Union Telegram, 12 December 1974. in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 58.

The critics—we, these little sparrows—should understand that the artist is here to take all the risks of being human in this modern world, and with all the consequences: not only aesthetic, but also moral.

That we already knew from Blake, Baudelaire and Manet.

—Chalupecky, Jindrich. "USA Retour du puritanisme." Chroniques de l'art vivant, no. 55 (February /March 1975): 37.

But I doubt that the shock value of the Benglis photo made any great strides for Women's Lib. It certainly had the reverse reaction to what the artist must have intended in its backfire reportage of her playing upon her sex rather than her art to get notice in the New York and East Coast press.

—Kutner, Janet. "Nude Photo Shocks Artistic Community." Dallas Morning News, 16 February 1975: 6C.

Benglis’ political gesture, (seizing media/esthetic power with dollars) is appropriately ironic, metaphorically ridiculing all parts of our artistic “endeavor,” as well as indirectly questioning the efficacy of political change. The media flash is certainly opportunist, and effects an artistic reputation, but better this than replacing one institution with another and calling it different.

—Robinson, Walter. "The Chorus Line: Role, Style, Media." Art-Rite, no. 10 (Fall 1975): np.

Benglis has simultaneously relegated the display of her "Female Sensibility" to, of all places, The Kitchen on Broome Street! It is here that she also exhibits the Polaroid photos documenting her formalized, frigid, porno-rigidity deal (with the aid of a double-headed dildo and the archetypal "big-name" male artist) that women are infamously known to use if they want to "make-it" in the art world.

—Da Vinci, Mona. "Inside the Mechanical Splendor" (Video Polaroids exhibition review). Soho Weekly News, 13 November 1975: 23, 25.

Warhol elevated the put-on, brainchild of the media, to the status of a minor art form. Benglis turned the put-on into mockery, thereby politicizing it, giving it content. Mockery is posturing which is not neutral, as were Warhol's put-ons. Mockery can be aggressive, hostile, and there is a very thin line between mockery and contradiction.

—Kurtz, Bruce. "Gesture: de Kooning, Benglis, Samaras." ca. 1975-1976. [unpublished]

She's the best gay artist around and she's not even queer.

—Bruce Kurtz, 1975, quoted in Getsy, David J. Queer Behavior: Scott Burton and Performance Art. Chicago: University of Chicago Press, 2022: 210.

The uproar that this last image created proved conclusively that there are still things women may not do.

—Lippard, Lucy. "The Pains and Pleasures of Rebirth: Women's Body Art." Art in America 64, no. 3 (May/June 1976): 47–53.

A woman using her own face and body has a right to do what she will with them, but it is a subtle abyss that separates men’s use of women for sexual titillation from women’s use of women to expose that insult…because women are considered sex objects, it is taken for granted that any woman who presents her nude body in public is doing so because she thinks she is beautiful. She is a narcissist, and Acconci, with his less romantic image and pimply back, is an artist.

—Lippard, Lucy. "The Pains and Pleasures of Rebirth: Women's Body Art." Art in America 64, no. 3 (May/June 1976): 47–53.

At any rate, the Morris-Benglis episode had the effect of underscoring the stale club house atmosphere hovering about the art world, as well as reducing criticism to the level of the gossip column.

—Neher, Ross. "Bathsiderodromophobia." The Fox, no. 3 (1976): 102-110.

This advertisement makes it seem as though the space in the art magazine is for sale to artists and their dealers. Certainly we know that everything in the art world is for sale, including ourselves. But our reputations will suffer if we aren't careful, at least in public. The dildo ad forces us to justify our association with this profit-making art system to you, the readers.

This incident proves that the capitalist system of making, publicizing, and selling art ought to be criticized, by somebody. If the system doesn't watch out, or reform itself, we will have to do the criticizing ourselves. And Lord knows we don't look forward to it.

—Douglas Davis's "translation into plain language" of the Artforum editors' letter. "Douglas Davis on Artpolitics: Thoughts Against the Prevailing Fantasies." New York Arts Journal 1, no. 1 (May 1976): 8-13.

If Manet had covertly paid Louis-Napoleon to attack his Olympia in public, he couldn’t have asked for more than that received by Linda Benglis. But to the more perceptive, it revealed the "age" of the thinking that now goes into creating Artforum.

—Burnham, Jack. "Ten Years Before the Artforum Masthead." The New Art Examiner 4, no. 5 (February 1977): 1, 6-7.

I felt, in a way, her using her body was sexually negative…it didn't really have anything to do with real feminism; and, I really don't even know if it had anything to do with her art, per se…

—Weber, Ernst. "Artist Hannah Wilke Talks with Ernst." Oasis d’Neon 1, no. 2 (1978).

Sherman has a respect for her own beauty that an artist such as Lynda Benglis, who has also used herself in photographic transformations, does not. Even though Benglis’ advertisements are her greatest works of art, it’s unfortunate that she doesn’t take into account, as does Sherman, that aesthetics can transform personal vanity, our desire for glamour, into a shared experience that we call beauty.

—Tatransky, Valentin. "Art Reviews: Cindy Sherman" (Cindy Sherman exhibition review). Arts Magazine 53, no. 5 (January 1979): 19.

It is equally difficult to comprehend why in our time of ubiquitous X-rated material Benglis's self-portrait should have proved so shocking. What taboo had she violated? Even if her intention was only to create a scandal, why had she succeeded so well?

—Sandler, Irving. "Art as Auto-Image." in Images of the Self: 1979 Arts Month (exhibition catalogue). Texts by Irving Sander and Sally Yard. Amherst: Hampshire College, 1979: np.

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1980s

Never invited to join any rituals of the macho Moderns, women artists and feminist critics have been forced to crash the party. Lynda Benglis dons a T-shirt emblazoned with an erect phallus, then thumbs her nose at Willem de Kooning and Vogue. Rosalind Krauss offers Lucy Lippard a Jacques Derrida sandwich stuffed with Roland Barthes, but Lippard prefers a Third World omelet. Now several women artists light a bonfire, into which they toss all known copies of Horst W. Janson's History of Art, which mentions not one woman artist (and not one photographer), bundles of The Story of O, and all issues of Hustler.

—Jussim, Estelle. "The Self-Reflexive Camera." Boston Review (April 1986): 12-14, 26.

A double standard, predictably, exists in the critical reception of works by women who have used their naked bodies in parallel investigations of representation and sexuality. Carolee Schneemann, Hannah Wilke, and others have more often than not had to deal with accusations of narcissism and sluttishness. Instead of phallic validation, they have had to struggle to keep the perception of their work from collapsing into issues of notoriety.

No series of events better documents this than the scandal created by the Lynda Benglis ad in the November 1974 issue of ArtForum.

—Schor, Mira. "Representations of the Penis." M/E/A/N/I/N/G, no. 4 (November 1988): 3-17.

Other artists have borrowed the conventions of pornography in order to expose our culture's unexamined assumptions about gender roles. In 1972 [1974] Linda Benglis made a provocative and highly controversial statement about the art world's continuing fondness for the macho male artist…

—Heartney, Eleanor. "A Necessary Transgression." The New Art Examiner 16, no. 3 (November 1988): 20-23.

Then there are the four full-page art-mag ads, which make a statement as startling as Lynda Benglis's dildo ad once did. In the '70s an artificial sex organ was the shocker. In the '80s it's the manipulative artificiality of everything.

—Levin, Kim. "The Evil of Banality" (Jeff Koons exhibition review). The Village Voice, 20 December 1988: 115.

The most notorious is Linda Benglis' 1974 Artforum page where she posed nude excepting sunglasses and a very large dildo. It was, I think, a protest against the excesses of the feminist movement of the time…

What may have begun in these works as a brave and unpopular stand too easily backfires into the appearance of rampant weirdness and exhibitionism… Repellent as these works are, they represent a somewhat earlier period when artists had guts.

—Wilson, William. "Waffling Over the Media's Influence" (Image World exhibition review). Los Angeles Times, 19 November 1989: 5, 101.

Below a row of signed and airbrushed artworld personality pictures suggesting Sal's Pizzeria's Wall of Fame, a display case offers a batch of the most outrageous of artist-placed Artforum ads, like Ed Ruscha in bed with two babes, Lynda Benglis astride a hyper-gnarly dildo. But who's fucking who? The media hot-wires global consciousness the better to propagate a modernist mythology that inflates art's moral authority even as artists become the most glamorous entrepreneurs in the whole supermarketplace.

—Hoberman, J. "Brave New Image World" (Image World exhibition review). The Village Voice, 28 November 1989.

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1990s

Paradoxically, Benglis depersonalized her image, yet disturbingly personalized the issue by using herself as a model. Her image, and its sexual content, is only partially decontextualized and remains problematical; such confusion and indeterminacy was, in fact, part of her intent.

—Lynda Benglis: Dual Natures (retrospective exhibition catalogue). Text by Susan Krane. Atlanta: High Museum of Art, 1990.

Considering her mixture of post-Minimalism, garish materials, and eroticized self-promotion—notably her infamous nude ads of the mid- ‘70s—Benglis’s activities of 15 and 20 years ago look oddly relevant now, showing her as a precursor to a new generation of scatter-sculptors, as well as a forerunner of Jeff Koons.

—Rubinstein, Raphael Meyer. "Lynda Benglis: Paula Cooper" (exhibition review). Art News 89, no. 10 (November 1990): 161.

“The hostility to the photo was transferred to her work,” Ms. Krane surmises.

—Fox, Catherine. "Pushing the Edges" (retrospective exhibition review). The Atlanta Journal, 3 February 1991: N1, 12.

Many feminists looked upon her very public act of self-objectification as a politically retrogressive, representing the female body as a site not of power, but of exploitation. Others regarded it as a coy but serious intervention into the longstanding discourse linking creativity to male sexuality.

Benglis’ work indeed raises a panoply of questions surrounding the possibilities for feminist art. Is there a proper mode of production? Must it be theoretical? Must "good" feminism work to eradicate its "bad" counterpart?

—Kandel, Susan. "Benglis’ Pointedly Deceptive Pleasures" (exhibition review) Los Angeles Times, 12 September 1991: F12.

This kind of obscene dada gesture is dime-a-dozen today. And after two years of “shocking the bourgeoisie” being simplistically redefined as shocking Sen. Jesse Helms, a similar act would generate no more than a yawn. Benglis’ ad still causes a shock, however, because it has behind it millenniums of rage at women’s disenfranchisement. To make matters worse, Benglis expresses it with good-natured, if, yes, vulgar, wit.

—Bonetti, David. "Provocateur Exhibits the Objects of Her Desire" (retrospective exhibition review). San Francisco Examiner, 1 November 1991: C2.

The scintillating and overt sexuality of these ads proved that, for some artists, sexual impulses can be as valid as creative ones, with the two often feeding on each other. Delivered in a fertile period of woman’s lib and the burgeoning gay rights movement, the gender role reversals in Benglis’s piece and latent homoeroticism in Morris’s set the tone for later cutting-edge body art that would effectively challenge more preconceptions.

—Schwendenwien, Jude. "Body Language." Sculpture 10, no. 6 (November/December 1991): 38–43.

With her precedent-setting dildo, she prepared the American art world for sexually explicit images by artists who flourished in the 1980s—Eric Fischl, Jeff Koons and Cindy Sherman. Pictures of Koons assuming self-consciously erotic poses with the Italian porn star Cicciolina show an obvious debt to Benglis.

—Ratcliff, Carter. "'The Body Electric': The Erotic Dimension in American Art." in American Art in the 20th Century: Painting and Sculpture 1913-1993 (exhibition catalogue). Edited by Christos M. Joachimides and Norman Rosenthal. Munich and London: Prestel-Verlag, Royal Academy of Arts, 1993: 165-170.

Clearly, this world, by accusing women artists like Schneemann, Wilke, and Benglis of narcissism and pornography has preempted a more legitimate association of their work with the abject. Similarly, Kusama, Hesse, Bourgeois, and Benglis again, working in abject materials and imagery that have a bold transgressive force, were often subjected to one-dimensional interpretations that referred to nature and emotional excess.

—Jones, Leslie C. "Transgressive Femininity: Art and Gender in the Sixties and Seventies." in Abject Art: Repulsion and Desire in American Art (exhibition catalogue). New York: Whitney Museum of American Art, 1993: 33-58.

The critical force of the old Artforum was never anything but a lived contradiction between thought and commerce.

—Crow, Thomas. "The Graying of Criticism." Artforum 32, no. 1 (September 1993): 185, 187-188.

Benglis’s image merges masculinity and femininity in a way that society deems incompatible. Patriarchy’s demand for a difference between the sexes assures the inferiority of femininity and of women.

—Frueh, Joanna. "The Body Through Women's Eyes." in The Power of Feminist Art. Edited by Norma Broude and Mary D. Garrard. New York: Harry N. Abrams, 1994: 190-207.

Displaying the sexual excess of the threateningly active female subject in wild abandon, she becomes that which should not be seen: woman as desirable body, woman with penis, woman with phallus, woman as self-producer, woman in control of the critical gaze. As is clear from the response it engendered, with this performative act Benglis successfully inverted the oppositional politics of the gaze. Appropriating the penis to act out its mobility as a sign of gender, in the meanwhile Benglis elicits uncontrollable critical desires that must be rechanneled into critical opprobrium.

—Jones, Amelia. "Postfeminism, Feminist Pleasures, and Embodied Theories of Art." in The New Feminist Criticism. Edited by Joanna Frueh, Cassandra L. Langer, Arlene Raven. New York: Icon Editions, 1994: 16-41.

In carnivalesque mode, the ad also underlined the integrative impulses that inform Benglis’s work. By assuming an androgynous persona in its most extreme physical manifestation, as an exceptionally well-endowed hermaphrodite, Benglis truly advertised the intentions and preoccupations of her art. Naturally the ad offended almost everybody and caused a tremendous brouhaha, just as it was meant to do. Thanks, Mom.

—Tanner, Marcia. "Mother Laughed: The Bad Girl's Avant-Garde." Bad Girls (exhibition catalogue). New York, Los Angeles: New Museum of Contemporary Art, Wight Art Gallery, 1994: 47-80.

While Benglis and other feminist body artists (such as Carolee Schneemann and Hannah Wilke) have been marginalized from histories of contemporary art, Morris, conversely, is incorporated within mainstream art history as a critic of the mastery of the male artist subject and as a Minimalist genius—perhaps because he still remains familiarly (rather than threateningly) phallic in doing so.

—Jones, Amelia. "Dis/playing the phallus: Male Artists Perform Their Masculinities" Art History 17, no. 4 (December 1994): 546-594.

The provocative poses and appearance of Lynda Benglis at this time were part of a spectacular show (and therefore image), but actually served as a facade behind which the artist could continue to create art dealing with her intimate self.

—Witkovsky, Matthew S. "Robert Mapplethorpe." Vytvarne umeni, nos. 1-2 (1995): 148-162.

I find it difficult to comprehend the entrenched heterosexism which refuses to glimpse any suggestion of lesbian possibility in the image of a naked woman wielding a dildo. A case of frantically re-repressing the returned repressed?

—Wilton, Tasmin. Lesbian Studies: Setting An Agenda. New York: Routledge, 1995.

Nudity was not the problem. Sexual display was not the problem. The agency of the body displayed, the authority of the agent—that was the problem with women’s work.

—Schneider, Rebecca. The Explicit Body in Performance. London: Routledge, 1997.

Regardless of what one thinks about these artists’ [Bad Girls] works, it is an art-historical fact that this type of controversy over the problematic of self-exploration by a woman artist has occurred before. In the 1970s, women argued over, and worried about, the political wisdom and the potentially negative repercussions of Lynda Benglis’s 1974 Artforum exhibition ad…

—Schor, Mira. "Patrilineage." in Wet: On Painting, Feminism, and Art Culture. Durham: Duke University Press, 1997.

Whenever Benglis addresses gender issues, her point is not to make an aggressive protest but to point out the ironic and inherent contradictions of reality by making use of brash and witty statements.

—Koroxenidis, Alexandra. "A Female Sensibility Made Tongue-In-Cheek." International Herald Tribune, 11 January 1999.

Lynda Benglis's paid advertisement, published in Artforum in November 1974, proclaimed the message of many young artists coming into their own in the 1970s. The art world, it seemed to say, is being restructured as a star system in which the artist is increasingly a commodity, a personality to be packaged and sold. Warhol had said it all, the ad proclaimed, and hucksterism had replaced aesthetics. Here is my body. Buy me.

—Krauss, Rosalind. "Louise Bourgeois: Portrait of the Artist as Fillette." in Bachelors. Cambridge: MIT Press, 1999: 51-74.

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2000s

Art that represented woman as a sexual subject was almost always created by straight-identified artists and was controversial for that very reason…For example, how would Benglis’s famous piece in Artforum—a full page color photograph of herself sporting a huge double-ended dildo—have been interpreted if she was known to be sleeping with a famous woman artist instead of Robert Morris?

—Hammond, Harmony. Lesbian art in America: A Contemporary History. New York: Rizzoli, 2000.

Two generations later, Lynda Benglis’s revolutionary pose has turned into the sure-fire career path for younger women artists. Under the banner of Bad Girls, artists such as Lisa Yuskavage, Vanessa Beecroft, Tracey Emin, Sarah Lucas, Pipilotti Rist, Anna Gaskell, Justine Kurland and Cecily Brown (to name a few) are showing off in museums, top galleries and international biennials. The work itself—and the pervasive use of nudity—is no longer shocking. What is shocking are the venues. Halls of art history that until recently ignored women artists have opened their doors and welcomed these power babes. But any artist without Alzheimer’s disease knows that this is not the first time women artists have been celebrated for selling the female nude. And many worry that this latest work is merely a replication, rather than a redefinition, of the uncritical commodification of women in popular culture.

—Pollack, Barbara. "Babe Power." Art Monthly, no. 235 (April 2000): 7–10.

In hindsight, it is hard to believe that the signatories did not see Benglis's provocation as a brilliant J'accuse against the growing collusion between commerce and criticism. In fact, though they felt offended to see their magazine compared to porn, some of them, not so long after the affair, at least unconsciously agreed with Benglis's sharp diagnostic.

—Bois, Yves-Alain. "Challenging Art: Artforum 1962-1974" (book review). Artforum 39, no. 2 (October 2000): 21-22.

The ad apparently backfired; because here’s Benglis 25 years later, still having to defend herself against the same charges of sensationalism and self-promotion that she faced at the time. The criticism hasn’t turned to praise. And having to keep rehashing that old scandal simply distracts from the strong sculptural work she is doing right now, as evidenced by her new show at Bryan Ohno Gallery.

—Farr, Sheila. "Material as Message" (exhibition review). The Seattle Times, 20 October 2000: H32.

Naked Lynda Benglis with an enormous dildo, in her infamous Artforum advert (how many student nights did I spend "studying" the semiotics of that particular image?)…

—Searle, Adrian. "Arts: Urban sprawl: Vienna, Paris, Lagos, Rio…Tate Modern's first major show takes us to nine cities at pivotal moments in the last century. Adrian Searle feels lost" (exhibition review). The Guardian 1 February 2001: 12-13.

Opinions still swirl around this flamboyant gesture. Was it a feminist assertion of power, or the opposite? A mocking of the art market, or an act of self-promotion taken to a soft-porn extreme that let loose the Jeff Koonses and Damien Hirsts of the world? For associate editors like Krauss and Michelson, who walked out (in part to found October magazine), the answers seemed clear enough.

—Foster, Hal. "Art Agonistes" (book review). New Left Review, no. 8 (March/April 2001): 140-149.

The key issue, however, is that an artist realized that more could be achieved in the reproduction of an image over which she had complete control, without text, than through the medium of highbrow criticism, in which the choice of image was out of her hands.

—Cohen, David. "Challenging Art: Artforum 1962–1974" (book review). The Art Bulletin 84, no. 3 (September 2002): 535–538.

Most women of my, younger, generation are not willing to risk that kind of exposure, but the fear is of a more psychic than bodily unmasking. The consequences of laying it all on the line can be devastating, as the case of Benglis tells us.

—Dailey, Meghan. "Gloria: Another Look at Feminist Art in the 1970s" (exhibition review). Artforum 41, no. 4 (December 2002): 141–142.

It’s possible, though, to see where feminist tactics have been so totally incorporated and capitalized upon that even while Vanessa Beecroft’s stands as Morris and Schaffner’s prime example of what’s gone wrong, the 1974 image of Lynda Benglis that graces Gloria’s accompanying publication—naked but for her pants dropped around her boots, her thin legs tapering just so—doesn’t look so different when decontextualized in the glare of spectacular culture. We continually need to remind ourselves—and to write specific political histories about—how very different these poses are. Both powerful performances, Benglis’s arguably operated in the service of subversion (of a male-dominated artworld, among other things), while Beecroft’s seems to operate solely in the service of spectacle.

—Burton, Johanna. "Calling Gloria" (exhibition review). X-tra 5, no. 3 (2003): 16–19.

There were many other instances of women wielding sexuality like a well-aimed weapon. Indeed, Wilke and Benglis, both seen as politically incorrect in their day, are the spiritual parents to postfeminist artists such as Tracey Emin, her art tent decorated with the names of Everyone I’ve Ever Slept With, and Vanessa Beecroft, with her humiliated-looking battalions of whippet-thin naked females standing on display.

—Lovelace, Carey. "Art & Politics I: Feminism at 40" (exhibition review). Art in America 91, no. 5 (May 2003): 67–73

Lynda Benglis’s provocative dildo ad in the November ’74 issue was the climax of the drama and led to the ultimate schism (the departure of several longtime editors), which signaled an end to the hermetic, purist position the magazine had occupied.

—Westwater, Angela. "John Coplans." Artforum 42, no. 5 (January 2004): 144.

With the Internet and cable TV making pornography widely available on an anytime-of-day basis, it was probably inevitable that artists would find their own ways to channel it into their work and that galleries would show the results… Artists have covered a lot of ground since Vito Acconci videotaped the monologue he performed in a New York gallery while masturbating under a gangplank (Seedbed, 1972), Carolee Schneemann read from a folded paper she drew from her vagina (Interior Scroll, 1975), and Lynda Benglis caused a rancorous split among the editors of Artforum, in 1974, by publishing an ad in which she appeared nude and gripping a comically large dildo.

—Yablonsky, Linda. "How Far Can You Go?" Art News 103, no. 1 (January 2004): 104–109.

Paula Cooper, one of the first dealers to open there, told me that when Grandma [Vera List] saw Lynda’s Artforum advert, the one in which she sports a huge dildo, she was completely unfazed. ‘I wish I had the guts to do something like that,’ she said with admiration.

—Mack, Joshua. "The Human Touch" (Vera List). Modern Painters 17, no. 2 (Summer 2004): 24–29.

In part because of the controversy it provoked at the time, the ad has resurfaced in recent years as something of a “bad girl” icon, one increasingly shown in museum and gallery exhibitions and reproduced in revisionist accounts of ’70s feminist art and performance. But if the ad is regularly displayed and reprinted, this is not to say that it is closely considered or fully reckoned with.

—Meyer, Richard. "Bone of Contention: Richard Meyer on Lynda Benglis's Controversial Advertisement." Artforum 43, no. 3 (November 2004): 73–74, 249–250.

Far from a one-off publicity stunt, the dildo ad was part of a wider investigation into the visual and material appeal of vulgarity. Whether sculpting polyurethane foam or simulating commercial porn, Benglis was testing the limits of taste and tastelessness within contemporary art.

—Meyer, Richard. "Bone of Contention: Richard Meyer on Lynda Benglis's Controversial Advertisement." Artforum 43, no. 3 (November 2004): 73–74, 249–250.

I have always been drawn to the dildo ad—to its wildly inappropriate, chick-with-a-dick flamboyance, to its refusal to resolve comfortably into either a feminist critique of pornography or a pornographic critique of feminism, to the way it jumps from artist’s project to advertisement to historical artifact and back again.

—Meyer, Richard. "Bone of Contention: Richard Meyer on Lynda Benglis's Controversial Advertisement." Artforum 43, no. 3 (November 2004): 73–74, 249–250.

Like the beauty queens of Miss Chicago and the California Girls, Benglis's pin-up began as a therapeutic project that, having empowered the artist, presents the self-aware, sexualized woman as a kind of wolf in sheep's clothing.

—Buszek, Maria Elena. Pin-up Grrrls: Feminism, Sexuality, Popular Culture. Durham: Duke University Press, 2006.

If you begin in 1974, where does the dildo Lynda Benglis sports in her Artforum ad point? Is it merely back to the homo-macho of Robert Morris's similarly scandalous costuming (a seminal citation in what would soon become a world of cross-referencing collisions) as it has often been read? But that damn thing seems to direct us forward, a phallocentric imposture along the lines of the girly-man art being made by Robert Kushner, Kim MacConnel, and others, toward those signs of power posted down the road by the likes of Barbara Kruger, Jenny Holzer, Mike Glier, and PADD. Perhaps it's rather a surrogate for the proverbial middle finger, for indeed it rendered the feminist movement into a cacophony of divergent feminisms (a litmus test that split the fine hair of a woman's sexuality into what is subjugated/complicit with, or empowering/explicit against, the male gaze), as well as tore apart that uneasy allegiance of Artforum into those who would defend the lofty academic citadel of theory in the bitter cold of October and those who would remain to navigate that incrementally more accurate slippery slope of populism.

—McCormick, Carlo. "A Crack in Time." in The Downtown Book (exhibition catalogue). Texts by Lynn Gumpert, Bernard Gendron, Carlo McCormick, Roselee Goldberg, Matthew Yokobosky, Robert Siegle, Brian Wallis. New York: Princeton University Press, 2006.

Benglis is the guerrilla warrior, who ruthlessly hacks chauvinistic aesthetics to pieces, whereas Bourgeois reinvents those aesthetics slowly, from the ground up, creating an entirely new mythos of abstract form to rival the institutionalized myths of modernism. This difference is demonstrated most blatantly through the pairing of two photographs of the artists: a picture of Bourgeois wearing a dress-like sculpture covered in bulbous forms and the famous Artforum ad in which Benglis, fully nude, strikes a dramatic pose and holds a dildo at her crotch.

—Thompson, Adam. "Circa 70: Lynda Benglis + Louise Bourgeois" (exhibition review). Art Papers 31, no. 6 (2007): 73.

A send-up of a pornographic centerfold, featuring a nude photograph of the artist sporting a dildo positioned as an oversized, plastic phallus, Benglis’s ad shrewdly allegorizes the exploitation of the intellectual labor of artists and critics.

—Allen, Gwen and Cherise Smith. "Publishing Art: Alternative Distribution in Print." Art Journal 66, no. 1 (Spring 2007): 41–45.

Il ya là, sans doute, l'une des images les plus violentes des années 1970, une image de révolte et une image culte dont le but reste avant tout de déstabiliser les configurations classiques entre la différence des sexes. En créant un hiatus entre le sexe biologique et le sexe postiche, en s'exhibant autre que l'on naît, Lynda Benglis faisait écho au discours féminist tentant de miner la sexualité dominante. Elle mettait en scène ce Gender Trouble que Judith Butler s'attachait à formuler dans son essai desormais historique sur la subversion de l'identité.

—Blistène, Bernard. "Une Histoire de l'Art et du Sexe au XXe (et XXIe) Siècle." Beaux Arts Magazine, no. 278 (August 2007): 62–77.

Seeing Lynda Benglis's ad in Artforum in 1974 was one of the most pivotal moments of my career. I was in college in Buffalo & even the Albright-Knox Art Gallery, which was one of the few local places to buy the magazine (and right across from where I went to school), had ripped out that page in the issues they were selling. (I must have bought mine in NYC). She kicked ass!

—Sherman, Cindy. "Statement." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 44.

Arguably this bold demonstration of independence and irreverence towards the establishment and other factions has had a lasting impact on Benglis’s career as it met with widespread incomprehension and little support from her peers. Horror incarnate to some, it obsessively (though not always, of course) overshadows any presentation of her work as a sculptor as if her career had literally frozen still at that particular moment.

—Hancock, Caroline. "Medusa in Ecstasy." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 126-149.

Benglis’s bravura seemed invulnerable to criticism. It wasn’t. It teased a new order of authoritarian art Puritans out of the closet. It sent the remnants of the underground into the wilderness, but it doesn’t mean that Benglis wasn’t right.

—Hickey, Dave. "A House Built in a Body: Lynda Benglis Early Work." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 10-21.

Benglis’s capacity to parade media, images, intimacy, “display”, publicity, actions…on the same horizontal level and not in the vertical axis of career progress, still seems so relevant today. It is the extensive nature of her practice, including her relation to the art world or the media (the series of self-promotional images precedes Jeff Koons by 15 years), that also attracted the interest of Lucy Lippard, for example, and that has perhaps also led other attentive male or female viewers astray.

—Lebovici, Elisabeth. "Lynda Benglis: 'Of All Matters...'" in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 72-94.

Whether the project for Artforum supported women’s rights or exploited sexual stereotypes was difficult to determine. Benglis consciously and explicitly rejected the traditional woman’s wish to please, but she preferred ambiguity to explanation.

—Tannenbaum, Judith. "Lynda Benglis: Clandestine Performer." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 98-118.

The most startling phallus in the picture is perhaps the metaphorical one that results from this fine-tuned perfection: the sense of empowerment, entitlement, aggressiveness and forthrightness so often misunderstood to be the province of men. This more than any object, penile or otherwise, is what Lynda Benglis waved at the art world.

—Smith, Roberta. "Art or Ad or What? It Caused a Lot of Fuss." The New York Times, 25 July 2009: C1, 5.

However, the true point of objection—which by now is no doubt unfamiliar to most readers—was conceived by the writers of this letter as an invasion of editorial policy by commercial fiat.

—Michelson, Annette and Rosalind Krauss. "Plain Choice." Artforum 48, no. 3 (November 2009): 40.

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2010s

I never liked the naked girl with dildo photo, as is well known…because in her work the flesh as a place of excitement and contact with the world is already the whole theme, it doesn’t get helped by being turned into a game about plastic and porn.

—Lynda Benglis: Flow and Flesh (exhibition catalogue). Text by Jeremy Gilbert-Rolfe. Philadelphia: Locks Gallery, 2010.

… it’s somehow still a struggle to get around over-determining (and somewhat dated) issues of gender politics and questions of taste instigated by her nude photograph when writing about Benglis’ work. It’s not necessarily a problem – but if it is, it’s the critic’s rather than the artist’s.

—Rehberg, Vivian. "The Legacy of Lynda Benglis and Her Current Retrospective." Frieze, no. 134 (October 2010): 220–221.

Can criticism, the general idea of criticism, only exist in the parameters of the quick blog, secondhand gossip, or the ‘free for all’ democratic comment-box at the end of the ‘highfalutin’ article? Is criticism, in the form of language, a failed enterprise? Maybe we are better off with criticism wrapped in an image, like Benglis’s ‘dildo’?

—Merrigan, James. "Stupid Judgment." Circa, no. 131 (October 2010): 1–7.

On the surface, it may seem incongruous to equate Benglis to Koons, to compare the gender politics of Benglis's '70s condition to the aura of white, heterosexual male entitlement that surrounds Koons. But in fact, Koons actually owes a huge debt to Benglis. She provides him with a model of politics that draws its empowerment from the deliberate desecration of social and intellectual boundaries—especially those set by the art world's intelligentsia.

—Jeff Koons: Made in Heaven Paintings (exhibition catalogue). Text by Alison Gingeras. New York: Luxembourg & Dayan, 2010.

Benglis’s work seems less important, then, for undermining history than for exploring a more organic and humanist attitude in place of the rigid status quo of America in the 1950s and 60s.

—Mack, Joshua. "Lynda Benglis" (retrospective exhibition review). Art Review, no. 50 (May 2011): 123.

Rail: …I didn’t know that Lynda had that much power.

Bartlett: I don’t think she knew it either, mostly because she’s just sort of a perpetual motion machine. I don’t think she thought much of that ad and what would come after because she’d be onto the next thing that she was thinking about.

—Bui, Phong. "Art In Conversation: Jennifer Bartlett with Phong Bui." The Brooklyn Rail, July/August 2011. https://brooklynrail.org/2011/07/art/jennifer-bartlett-with-phong-bui

In the Benglis ad debate, prostitution becomes a charged metaphor for the relation between criticism and promotion, although it is unclear who here is the prostitute. Is it Benglis, with her outlandish come-on, her offered-up body, and her provocative solicitation? Or is it the magazine writer who hawks her words?

—Bryan-Wilson, Julia. "Dirty Commerce: Art Work and Sex Work since the 1970s." differences: A Journal of Feminist Cultural Studies (Summer 2012): 71–112.

Despite her objections, Benglis comes across as (yet another) female artist whose significance is measured in terms of her relation to a high-profile man. The literature on Morris's career, conversely, never makes mention of Benglis as a potential collaborator or interlocutor in any capacity.

—Richmond, Susan. Lynda Benglis: Beyond Process. London: I.B. Tauris & Co. Ltd, Palgrave MacMillan, 2013.

As an unruly and excessive sexual image, Benglis's ad fosters fantasies that necessarily exceed the artist and the specifics of her project; this is not in question. Yet rooted as they are in gossipy points of view, such fantasies also have concrete implications for an artist's critical reception, for the trajectory of her career, and for her subsequent historical assessment. In this instance, the fantasies repeatedly return to Benglis's personal 'badness' in a way that conflates her private and professional lives.

—Richmond, Susan. Lynda Benglis: Beyond Process. London: I.B. Tauris & Co. Ltd, Palgrave MacMillan, 2013.

Using media as a vehicle as Holzer and Kruger did in the 1980s is not without precedent. In November of 1974, New York's rising art star Lynda Benglis placed a series of "ads" in the most prominent art magazine of the day, Artforum…With a commercialized image, Benglis indicated that male power, authority, and aggression were alive and well in the art world in the '70s; with their works in the guise of media, Holzer and Kruger questioned power and gender constructs in culture-at-large the following decade.

—Karnes, Andrea. "Personality Complex." in Urban Theater: New York in the 1980s (exhibition catalogue). Texts by Michael Auping, Andrea Karnes, Alison Hearst. New York: Skira Rizzoli and Modern Art Museum of Fort Worth, 2014: 161-181.

These seemingly internecine art world problems are mirrored in culture at large, where branded feminism appears in the guise of once-radical gestures: from Lynda Benglis’s phallic woman, to the indiscriminate schlong-wagging of Miley Cyrus; from the mantra “the personal is political,” to countless “lady blogs” microscoping the daily minutiae of celebrities through a “feminist lens”; from the fight for equal pay to the “Lean-In” ideology espoused by Facebook executive and self-styled activist Sheryl Sandberg, which rethinks “revolution” as a greasy ladder that can be scaled through technocratic efficiency and a 24/7 work ethic. In the still-unequal art world, in which artists bear the responsibility of imagining a better future, it is insufficient for feminism to be absorbed as artistic "content."

—Wyma, Chloe. "Lean Back: Resisting Branded Feminism." The Brooklyn Rail (September 2014): 76.

Andrea Dworkin’s writing and the anti-porn crusade of the 1980s, David Wojnarowicz’s battles against the NEA’s censorship in the early 1990s, even the overrated fuss following Kimye’s March 2014 Vogue cover: all in some way echo and call back to Benglis.

—Alvarez, Ana Cecelia. "Bend it Like Benglis." The New Inquiry, 20 October 2014. http://thenewinquiry.com/essays/bend-it-like-benglis/

Female art historians writing about the works of Kusama or Bourgeois, for example, offer thousands of words to “problematize” this feminine thing about the phallus. Analysis leads to analysis, someone will bring up Lacan, and Benglis’s fistful ends up signifying nothing more than an empty hand, played as a bluff in a man’s game. But if the metaphorical dick is so mired in patriarchy or psychoanalysis, why does it feel so good?

—Alvarez, Ana Cecelia. "Bend it Like Benglis." The New Inquiry, 20 October 2014. http://thenewinquiry.com/essays/bend-it-like-benglis/

Using the collage technique favored by the modernist avant-gardes, but applying them to the political anatomy of sexual difference, Benglis sculpted a body that was impossible according to the hegemonic criteria of beauty, health and identity. But her parody pose eroded any possibility of identification and allowed her a degree of political distance (or hygiene) with regard to queer contamination.

—Preciado, Beatriz. "Le Corps Transgenre Comme Objet Dada (The Transgender Body as Dada Object)." Art Press, no. 417 (December 2014): 55–56.

It is in this context that Benglis’s earlier work—not just Centerfold, but her video pieces also—remain groundbreaking. Forty years on it is still unusual to see a nude woman depicted this way: where she is neither relegated to the annals of art history muse-dom as in Manet’s Déjeuner sur l’herbe (1862-63), nor in the pornographic yet ultimately highly conventional poses of a Playboy spread; where she instead so boldly confronts and subsequently unnerves the male gaze, such as in the satirical phallocentricity of Centerfold, the theatrically performative lesbianism of Female Sensibility or the narcissistic autoeroticism of Now (the latter two both 1973). As drag-queen performance moves from the realms of subculture into the mainstream, the perception of female transvestism has yet to progress from November 1974.

—Nagesh, Ashitha. "Lynda Benglis: Le phallus féminin: 40 ans plus tard." Art Press, no. 417 (December 2014): 52–54.

There’s something about the way she frowns down the barrel of the camera lens in those sunglasses like one of those suited secret policemen in the Matrix trilogy, regarding a civilian target. I say it reminds me of a line in a Martin Amis book where a character is distinguishing between two types of magazine models: the type that men stare at lasciviously and the type who seem to be staring back and judging you for daring to look.

—Pavia, Will. "The woman who refused to take her clothes off for Warhol." The Times (London), 2 February 2015: 8–9.

The fact that Benglis's kind of critique may no longer be possible, that political challenges are subsumed into and effectively silenced by the culture industry, is evidence of the fundamental change that the art world has undergone or, as some might say, suffered.

—Brooks, Rosetta, Christina Valentine and Jeanne Marie Wasilik. "Rhetoric and Flow." In Piotr Uklanski: Fatal Attraction(exhibition catalogue). Texts by Rosetta Brooks, Christine Valentine, Jeanne Marie Wasilik, Douglas Eklund, Jamieson Webster. New York: Metropolitan Museum of Art and Rizzoli, 2016: 21-32.

In these cases, gender insults are never about gender. They’re always about talent and sex…The controversy over Benglis’s dildo photograph prefigured the controversy over Robert Mapplethorpe’s X Portfolio a generation later, by which time the damage had already been done.

—Hickey, Dave. "Lynda Benglis: Fire on the Water." in 25 Women: Essays on Their Art. Chicago: University of Chicago Press, 2016: 22–29.

Shinique Smith: We students had the photo hanging on the wall of our studio. It inspired us. For the few women at the art school who had to assert themselves against the male favorites of the teachers, it sent a strong signal: that we could be strong and powerful and had great ambitions.

—Bodin, Claudia. "Die Unbestechlichen (The Incorruptible Ones)." Art: Das Kunstmagazin (October 2016): 44–57.

Lynda Benglis’s 1974 dildo-wielding advert in Artforum can be surveyed as the pinnacle of queer critique of such machismo, avant la letter.

—Vishmidt, Marina. "The Two Reproductions in (Feminist) Art and Theory since the 1970s." Third Text 31, no. 1 (2017): 49-66.

Benglis’s work often addresses the art-world, a place too easily sanctimonious in its self-image as liberal, progressive, experimental. History is not so easily circumnavigated, and so Benglis creates a situation of immanent clarity that provides no answer to its tacit questions: how might an artist represent herself in her own work? Particularly when that work is implicitly regulated by both the culture at large, and the specialised congratulatory onanism of art specifically.

—Atkins, Ed. "Female Sensibility." in Generation Loss: 10 Years Julia Stoschek Collection (exhibition catalogue). Dusseldorf: Kerber Art, 2017.

In a sense, the Artforum ad did its work too well. Whereas in the 1970s critics tended to understand her work in terms of neither strictly female nor male, by the early twenty-first century the emphasis shifted toward touting Benglis as a champion of empowered female sexuality.

—Obler, Bibiana K. "Lynda Benglis Recrafts Abstract Expressionism." American Art 32, no. 1 (Spring 2018): 2–23.

Alternatively read as a feminist statement and as a mockery of the women’s movement, the ad’s impact had as much to do with its detournément of the magazine’s editorial and socio-economic structure—its violation of the separation between advertising and editorial content and its disruption of the hierarchy between artist, critic, publisher, and advertiser— as with the image itself.

—Allen, Gwen. "Making Things Public: Art Magazines, Art Worlds, and the #MeToo Movement." Portable Gray 1, no. 1 (Fall 2018): 5-14.

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2020s

While Benglis wields a plastic dildo, suggestive of the mutability of gender, she uses a mode of white feminist camp that both deconstructs and reinscribes the gender binary. Her sexual mockeries series centers and naturalizes whiteness even through her deployment of camp as a strategy for destabilizing institutional structures.

—Goddard, Maggie Unverzagt. "Poking fun: dildo play and camp aesthetics." Women & Performance: A Journal of Feminist Theory 31, no. 1 (2021): 59-78.

But if then I understood Benglis’s provocation as a brilliantly caustic prank separate from her true, abstract oeuvre—occupying a sidebar to the territorial affront of her blaring plastic pours, et cetera—I later came to understand it as conceptually and even aesthetically continuous with a career-spanning challenge to decorum, broadly defined.

—Fateman, Johanna. "Lynda Benglis" (exhibition review). 4Columns, 28 May 2021. https://4columns.org/fateman-johanna/lynda-benglis

The image is vulgar – loud and slick and tacky. That tan, the oiled skin, the sunglasses! It has all the hue and subtlety of a car-wash calendar. Aesthetically speaking, there is nothing to redeem about it. It just wants to get in your face. But there is a pop queer erotics at work here that is one of the most salient challenges the image levels at the viewer: between the short hair and full pout, she looks like some dude heartthrob in a teen magazine. It is clearly an attempt to wrong-foot people’s expectations about the ‘female’ body, what it should look like, what attributes it should have. And it gives female desire the characteristics that have been attributed to male desire – aggressive, phallic. It turns machismo into a myth, as well as feminine passivity.

—Elkin, Lauren. "Her Body is a Problem." Aeon, 9 June 2022. https://aeon.co/essays/the-female-body-under-the-female-gaze-poses-a-monster-problem

The image is considered one of the most important Pop and feminist artworks of the 20th century — up there with Warhol’s bananas in the change it wrought in art history — but it is an anomaly in Benglis’s career. The rest of her work, though highly charged, is never so explicit. Yet the aura of controversy surrounding her as a result of the ad has never entirely dissipated, and has arguably eclipsed discussion of her enormous body of work, which is, subtly, more radical.

—Weiss, Sasha, "The Greats: Lynda Benglis." T: The New York Times Style Magazine, 16 October 2022: 82-87.

Benglis does not view her act as politically motivated, but her provocative photograph—a challenge to the masculinity of Hustler and H.W. Janson’s History of Art—has become a staple of college feminist art courses.

—Pollack, Barbara. "Lynda Benglis: As the Stories Flow." Plus, no. 6 (Fall 2023): 180-193.

The designer [Jonathan Anderson] said he relates to the way Benglis plays with bad taste, and sexuality, too, urging the journalists clustered around him to Google her sculpture titled “Smile.” (Warning: It’s NSFW.)

—Socha, Miles. "Loewe RTW Spring 2024," Women's Wear Daily, 29 September 2023. https://wwd.com/runway/spring-2024/paris/loewe/review/.

It makes sense, then, that since the rise of social media, when presenting this work (and the controversies it engendered) to art history students, it tends to be compared to young women's self-imaging strategies online. Both Benglis and Sherman used photography to capture and inspire a kind of claimed and performed agency that resonates with Internet forms of visual activism.

—Murray, Derek. "Why is it So Hard to Look the Other in the Eye?: The Selfie and its Discontents." in A Companion to Contemporary Art in a Global Framework. Chichester, UK: John Wiley & Sons, Inc., 2024: 435-449.

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The fact sheet below addresses some of the basic facts about the work's context and creation. For images and information about related artworks, see Sexual Mockeries and Secrets below.

(opens in a new window) View Fact Sheet Document

I want to reproduce the Artforum Advertisement. How do I license it?

Lynda Benglis is represented by the Artists Rights Society. Anyone interested in reproducing this artwork or any other works by Benglis should use the form on their website: (opens in a new window) https://arsny.com/licensing-requests/. Please allow plenty of time for the request to be processed.

—

The official title is Artforum Advertisement. The descriptive Artforum ad is also correct.

Prior to 2019, the work did not have a title. It was given a title for ease of reference.

Benglis has referred to the work variously over the years.

Most often, writers make up their own titles. It is not called Centerfold, Self-Portrait with Dildo or Posed with Instrument.

—

The Artforum Advertisement was not an advertisement for an exhibition.

Benglis did not intend to make an advertisement. She intended to make an artwork. She took out the ad because she was not allowed to reproduce the work as a centerfold within the editorial portion of the magazine.

According to Benglis, Artforum stipulated that a gallery had to place the ad, not the artist. Benglis asked her dealer at the time, Paula Cooper, to help. Benglis has stated that she was required to include the gallery's information, but she tried to make the text as small as possible.

Following her May 1974 show at Paula Cooper Gallery, Benglis's next solo exhibition at the gallery was not until November 1975—over a year later.

—

The Artforum ad is not a centerfold.

Benglis originally intended for the work to be a centerfold, with a fold-out, but it was not possible. Technically, a centerfold would be in the center of a magazine.

The work was published in the first pages of the magazine, on pages 4-5. (The cover counts as page 1.)

—

Who paid for the ad and how much?

Benglis paid for the advertising space, but had to issue the payment through Paula Cooper Gallery.

Benglis normally says that the advertising space cost $3,000, double the standard rate. In 2016, one writer found evidence that the exact cost of the ad was $2,436. (The photographer's fee might have been added to that amount.) We are working to locate the document he referenced to confirm this information.

—

The double-page

The artwork is the full double-page spread, not just the image of Benglis. It is often reproduced incorrectly.

Benglis designed the layout herself with the technical assistance of the advertising agent Roberta Kimmel. The black on both pages is part of an intentional composition. The placement of the picture of Benglis was meant to refer to the fold-out she originally intended.

The Artforum ad exists as an artwork only in the context of the magazine. Technically, it is an offset-printed magazine, not a photographic print. The original color image of Benglis sent to the magazine was a 35mm slide.

—

The dildo

It was made of rubber.

It was purchased on 42nd Street. Robert Morris accompanied Benglis to buy it.

The rubber dildo is no longer extant.

Following the publication of the Artforum ad, the dildo was cast in different metals: bronze, bronze doré (the gold surface was later removed), lead, tin and aluminum. The lead and aluminum casts were paired to create a work called Parenthesis.The others have the title, Smile.

—

Who is Arthur Gordon?

At the time, Arthur Gordon was an up-and-coming fashion photographer living in Brooklyn.

Benglis was introduced to Arthur Gordon by her friend and ex-husband, the artist Gordon Hart.

Benglis is the author and copyright owner of the artwork. She hired Arthur Gordon to take the picture.

—

The copyright

Three different slides were sent to Artforum. One was intended to be the final artwork. The others were meant to give the magazine a sense of the direction of the work.

Artforum considered, against Benglis's wishes, publishing all three images, very small, at the end of Robert Pincus-Witten's article, "The Frozen Gesture."

Upset that the magazine planned on distorting her work by printing the three images without her authorization, Benglis got on a flight from Los Angeles back to New York, enlisted the help of Roberta Kimmel to get all three slides back into her possession and engaged a lawyer to get the artwork copyrighted.

Benglis had Roberta Kimmel draft a photo release to define the terms of the one-time use of the single image and its layout.

Though the process of applying for a copyright began a little earlier, the US Copyright Office stamped the application and fee as "received" on December 16, 1974. On February 11, 1975, the US Copyright Office asked Benglis to add a line to the application because the location of the © on the published artwork did not precede her name.

The copyright registration appears in "Books and Pamphlets Including Serials and Contributions to Periodicals, Current and Renewal Registrations, January-June 1975." Catalog of Copyright Entries: Third Series. 29, pt 1, no. 1, sec. 2 (1976): 3057.
*Thank you to Katharine Wright for this citation.

—

Circulation

On page 82 of the November 1974 issue of Artforum, the "U.S. Postal Service Statement of Ownership, Management and Circulation" states that 17,580 copies of a single issue were in circulation as of September 18, 1974.

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The response at Artforum

A letter from five associate editors at Artforum (Lawrence Alloway, Max Kozloff, Rosalind Krauss, Joseph Masheck and Annette Michelson) disassociating themselves from the Benglis artwork was published in the December 1974 issue of the magazine.

Rosalind Krauss and Annette Michelson eventually left the magazine, though their names appeared on the masthead until December 1975. They went on to found the journal October in 1976.

—

Will the letters to the editor not published in Artforum be available?

Not at this time. A selection of notable unpublished letters to the editor appears in Benglis's 2009 retrospective catalogue: Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 56-62.

Please also see the 1974-1976 portion of the full bibliography which includes several contemporary responses to the work.

—

The image of Robert Morris in a German helmet and chains was not an advertisement in Artforum.

The work was a poster for his exhibition at Castelli-Sonnabend: Robert Morris: Labyrinths-Voice-Blind Time, Castelli-Sonnabend, New York, April 6–27, 1974.

An image of the poster was reproduced as an illustration in Jeremy Gilbert-Rolfe’s article about Morris in the September 1974 issue of Artforum.

Castelli-Sonnabend placed a conventional, text-only advertisement for the show on page 23 of the April 1974 issue of Artforum.

The sale of the poster is mentioned in: Hartman, Rose. “In & Around.” The Soho Weekly News, 18 April 1974: 4.

—

What about Robert Morris?

Benglis recalls that she originally met Morris in Soho, not at Hunter College where she started teaching in the spring 1972 semester.

Benglis and Morris had an ongoing friendship and artistic dialogue which began around 1971-1972 with their collaboration on her video Mumble (1972) and his video Exchange (1973).

The dialogue continued while Benglis lived in Los Angeles. They would occasionally meet up when Benglis came to New York.

Benglis's dialogue with Morris gets a lot of attention, but few writers note that during this time Benglis also worked with other men in her studies of sexual imagery. These include Chuck Arnoldi, with whom she experimented in making photographs with sexual poses (which did not result in a final artwork), Klaus Kertess and Ray Johnson, who struck a "Betty Grable" pose for Benglis in addition to modeling playfully with her dildo. (See Secrets below) She also explored sexual imagery in her video Female Sensibility.

—

Lynda Benglis was not part of the Feminist Art Program at Cal Arts.

Benglis taught at Cal Arts for a portion of the spring 1973 semester as a part of John Baldessari's class. She returned to Cal Arts to teach a class of her own in the spring 1974 semester. She was a visiting artist at Cal Arts in 1976. Benglis also advised students, including those from the Feminist Art Program.

Though she worked and taught separately from the Feminist Art Program, during this period Benglis was interested in the ideas and imagery coming out of the feminist movement.

—

Lynda Benglis has never identified as a feminist.

Benglis supports many of the ideas of the feminist movement, but she has never defined herself as a feminist.

Benglis often refers to herself as a humanist.

—

California v. New York

Benglis’s first sojourn in the Los Angeles area began in the spring of 1973. While teaching at Cal Arts, she lived in artist Gwynn Murrill’s house in Topanga Beach, Malibu as part of a studio trade. Benglis took a filmmaking course at Cal Arts in the summer of 1973.

By January of 1974, Benglis began her second period in Los Angeles. Before finding her own studio on Andalusia Avenue in Venice at the end of June 1974, Benglis lived in Gwynn Murrill's house and subletted Jim Ganzer's studio. She started to shift her center of operations back to New York City by March 1978.

During the year, Benglis would travel to New York and other parts of the country for lectures and shows. She typically spent summers in New York, splitting her time between her Baxter Street studio and East Hampton.

Benglis's social circle in Los Angeles included Peter Alexander, Jim Ganzer, Ron Cooper, Billy Al Bengston, Chuck Arnoldi, Laddie John Dill, Robert Irwin, Larry Bell, Billy Adler and Alexis Smith.

—

A second round of attention

The Artforum Advertisement was still on the art world's mind a year after its publication due in part to shows of Benglis's work in November 1975:

Lynda Benglis: Sculpture, Paula Cooper Gallery, New York, November 8–December 3, 1975. The show focused on recent metallized knots and new cast metal sculptures based on foam forms. A work called Parenthesis, composed of two dildos cast in lead and aluminum, was also included in the show.

Lynda Benglis: Video Polaroids, The Kitchen, New York, November 8–November 15, 1975. Coinciding with the start of the Paula Cooper show above, this exhibition included Benglis's videos Now and Female Sensibility as well as a selection of her Secrets Polaroids.

At least one of the Secrets was included in: Lives, curated by Jeffrey Deitch, Fine Arts Building, New York, November 29–December 20, 1975.

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Sexual Mockeries

The 'sexual mockeries' refers to a category of works in which Benglis used her own image to mock conventions of gender, sex and the image of the artist. Some relate to Benglis's study of the pin-up and pornography. They span from roughly 1972 to 1976.

Though Benglis will not define exactly which works she considers 'sexual mockeries', there are some core works she consistently includes within this category: the announcement for her show at the Clocktower (1973); the "Macharina" ad in Artforum (April 1974) for her May show of metallized knots at Paula Cooper Gallery; the "Betty Grable" announcement for her May show at Paula Cooper Gallery; and the Artforum Advertisement in Artforum (November 1974).

The works below are either referenced as 'sexual mockeries' or related to them.

Document by Lynda Benglis — Lynda Benglis, *Document*, 1972, black and white video with sound © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This video can be licensed through Video Data Bank.

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Collage by Lynda Benglis — Lynda Benglis, *Collage*, 1973, video with color and sound © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This video can be licensed through Video Data Bank

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Now by Lynda Benglis — Lynda Benglis, *Now*, 1973, video with color and sound © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This video can be licensed through Electronic Arts Intermix and Video Data Bank.

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Female Sensibility by Lynda Benglis — Lynda Benglis, *Female Sensibility*, 1973, video with color and sound © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This video can be licensed through Electronic Arts Intermix and Video Data Bank.

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Announcement for Lynda Benglis: Paintings and Videotapes at Hansen-Fuller Gallery — Announcement for *Lynda Benglis: Paintings and Videotapes,* Hansen-Fuller Gallery, San Francisco, May 2–26, 1973. Photo: Elliot Schwartz
Elliot Schwartz was a student at Yale and charged with preparing a catalogue entry on Benglis's work for *Options and Alternatives: Some Directions in Recent Art*, Yale University Art Gallery, New Haven, April 4—May 16, 1973, curated by Klaus Kertess and Annette Michelson. This photograph first appeared in the catalogue for the show.

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Poster for Lynda Benglis: Dimensional Paintings at the Portland Center for the Visual Arts in Oregon — Poster for *Lynda Benglis,* Portland Center for the Visual Arts, Oregon, June 14–July 15, 1973. Photo of poster: Joseph Coscia, Jr. © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This is Benglis's earliest known use of the image of herself dressed in a Greek soldier's evzone or tsoilas uniform. The photograph was taken by a portrait studio during her first trip to Greece with her grandmother in the summer of 1952, a few months before her 11th birthday. Benglis wore the male evzone uniform because the studio's female costume did not fit.

7/20

Announcement for Lynda Benglis: Sparkle Knots at The Clocktower, Institute for Art and Urban Resources in New York — Announcement for *Lynda Benglis: Sparkle Knots,* The Clocktower, Institute for Art and Urban Resources, New York, December 6, 1973–January 20, 1974 © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY

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Advertisement for Lynda Benglis Presents Metallized Knots at Paula Cooper Gallery in New York — Advertisement for *Lynda Benglis Presents Metallized Knots,* Paula Cooper Gallery, New York, May 4–29, 1974. Published in *Artforum*, April 1974, p. 85. Photo: Marcia Resnick. Photo of magazine: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Benglis often refers to this work as the "Macharina ad". According to Benglis, Marcia Resnick took this photograph in 1973. Marcia Resnick was a student of Allan Kaprow and John Baldessari at Cal Arts.

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Announcement for Lynda Benglis Presents Metallized Knots at Paula Cooper Gallery in New York — Announcement for *Lynda Benglis Presents Metallized Knots,* Paula Cooper Gallery, New York, May 4–29, 1974. Photo: Annie Leibovitz © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Benglis refers to this as the "Betty Grable" announcement.
This photograph was taken on April 9, 1974 in Jim Ganzer’s studio in California which Benglis was subletting at the time. The announcement was designed by April 17, 1974.
Benglis met Annie Leibovitz when the photographer was assigned to photograph Benglis for a profile in The *New York Times Magazine*: Raynor, Vivien. “The Art of Survival (and Vice Versa).” *The New York Times Magazine* (17 February 1974): 8–9, 50, 52–55.

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Cover photo Extra (Cologne, West Germany), July 1974 — Cover photo *Extra* (Cologne, West Germany), July 1974. Photo of magazine: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY

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Lynda Benglis Image Credit - Website — Lynda Benglis, *Artforum Advertisement*, published in *Artforum*, November 1974, pp. 4-5. Photo: Arthur Gordon. Photo of magazine: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
The photograph was taken in New York on September 7, 1974

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Artforum T-Shirt by Lynda Benglis — Lynda Benglis, *Artforum T-Shirt*, signed and dated 'Lynda Benglis '74' (lower right), silkscreen ink and airbrush on cotton t-shirt, 30 x 28 in. (76.2 x 71.1 cm.) Executed in 1974. Photo: Christie's Images/Bridgeman Imagess © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Produced with the artist Bill Weege, who did the silkscreening and the airbrushing. The airbrushing on each shirt is different.
Benglis received a t-shirt with the Artforum logo on it from Charles Cowles. In early to mid-October 1974, Benglis worked with Bill Weege on planning the t-shirt while on a visit to Chicago. By the end of October, Benglis received a number of completed shirts. Benglis planned to sell some of the t-shirts to recoup the cost of placing the ad. A few of the shirts were mounted on a background of green baize and framed in a cross-like shape.

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"Lynda Benglis.” Heute Kunst 5 (February/March 1975) — “Lynda Benglis.” *Heute Kunst* 5 (February/March 1975): 19

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Photograph of Lynda Benglis with Mask and Artforum T-Shirt. Copyright 1975/2022 Steve Myers — Photograph of the artist with mask and *Artforum* *T-Shirt.* Published in Seiberling, Dorothy. “The New Sexual Frankness: Good-by to Hearts and Flowers.” *New York Magazine* (17 February 1975): 37–39, 42, 44. Photo: Steve Myers © 1975/2022 Steve Myers - Registered with the U.S. Copyright Office

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Announcement for Lynda Benglis: Sculpture, Paula Cooper Gallery, New York — Announcement for *Lynda Benglis: Sculpture*, Paula Cooper Gallery, New York, November 8–December 3, 1975 and *Lynda Benglis: Video Polaroids,* The Kitchen, New York, November 8–15, 1975 © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This image was also used for Benglis’s show at Texas Gallery: *Lynda Benglis,* Texas Gallery, Houston, November 8–29, 1975. The image on the postcard does not show the final combination of cast metal dildos used for the work *Parenthesis*.

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Parenthesis by Lynda Benglis — Lynda Benglis, *Parenthesis*, 1974, cast in 1975. Lead and aluminum in velvet-lined wood box. 24 3/8 x 29 3/4 in. Photo: Bill Orcutt © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY

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Smile by Lynda Benglis — Lynda Benglis, *Smile*, 1974, cast in 1975. Bronze. 15 1/2 x 6 1/2 x 2 1/4 in. Photo: Brian Buckley © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Following the publication of the *Artforum* ad, the dildo was cast in different metals: bronze, bronze doré (the gold surface was later removed), lead, tin and aluminum. Benglis often says that she cast one for each editor at *Artforum*.

18/20

How's Tricks by Lynda Benglis and Stanton Kaye — Still from Lynda Benglis and Stanton Kaye, *How's Tricks*, 1976. Video with color and sound © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
This video can be licensed through Electronic Arts Intermix and Video Data Bank.

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I consider myself a humanist because if someone asks you about feminism, then you are always going to end up talking about what they want, not what you want.

—Lynda Benglis

"Lynda Benglis: Images that Come Back to You," Elephant, no. 22 (Spring 2015): 152-155.

Secrets

The Secrets are Polaroid artworks made between 1974-1975. According to Benglis, "I was taking a lot of Polaroids of nude men and flowers, as if they were treated as the same beauty." (The Brooklyn Rail, December 2009/January 2010)

Benglis began taking Polaroids in the summer of 1974 as she was conceiving of the Artforum Advertisement. Robert Morris was taking Polaroids around the same time. They collaborated on some images that appear in Secret #3 and one image in Secret #1.

Robert Morris appears 9 times across two works. Ray Johnson appears 8 times across two works. Klaus Kertess appears 33 times across three works. (All counts are made from identifiable faces.)

Some of the Secrets appeared in Lynda Benglis: Video Polaroids, The Kitchen, New York, November 8–15, 1975. At least one of them appeared in Lives, curated by Jeffrey Deitch, Fine Arts Building, New York, November 29–December 20, 1975. A selection of Secrets (1, 2, 4 and 5) were shown in Sequential Imagery in Photography, Broxton Gallery, Los Angeles, April 27–May 29, 1976. Two Secrets (6, 7) appeared in the First Pan Pacific Biennale, 1976: Color Photography and Its Derivatives at the Auckland City Art Gallery in New Zealand in 1976.

Secret #1 by Lynda Benglis — Lynda Benglis, *Secret #1*, 1974-1975. 38 Polaroids. 10 x 68 in © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes images of Ray Johnson, Klaus Kertess, Lynda Benglis, Marilyn Lenkowsky, and Robert Morris.

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Secret #2 by Lynda Benglis — Lynda Benglis, *Secret #2*, 1975. 24 Polaroids. 10 1/8 x 43 3/16 in. Photo: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes blurred images of Billy Adler.

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Secret #3 by Lynda Benglis — Lynda Benglis, *Secret #3*, 1974-1975. 20 Polaroids. 10 x 36 1/2 in. Photo: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes images of Robert Morris, Ray Johnson, and Lynda Benglis.

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Secret #4 by Lynda Benglis — Lynda Benglis, *Secret #4*, 1974-1975. 22 Polaroids. 10 1/8 x 40 x 1 in. Photo: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes images of Klaus Kertess.

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Secret #5 by Lynda Benglis — Lynda Benglis, *Secret #5*, 1975. 18 Polaroids. 10 1/8 x 33 x 1 in. Photo: Chris Burnside © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes image of Benglis.

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Secret #6 by Lynda Benglis — Lynda Benglis, Secret #6, 1975. 30 Polaroids. 21 x 20 7/8 x 22 5/8 in. Indianapolis Museum of Art at Newfields, Indianapolis Museum of Art, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support of the National Endowment for the Arts and the Institute of Museum and Library Services, 2008.285. Photo: courtesy Indianapolis Museum of Art at Newfields © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY
Includes images of Klaus Kertess.

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Secret #7 by Lynda Benglis — Lynda Benglis, Secret #7, 1975. 18 Polaroids. 8 3/8 x 31 3/8 in. Harvard Art Museums/Fogg Museum, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support from the National Endowment for the Arts and the Institute of Museum and Library Services. Photo: courtesy Harvard Art Museums © 2024 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY

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Essential Reading

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Allen, Gwen. "Making Things Public: Art Magazines, Art Worlds, and the #MeToo Movement." Portable Gray 1, no. 1 (Fall 2018): 5-14.
[This is one of several books and essays by Allen which provide useful context about the magazine as an art medium.]

Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009.
[Contains an interview, essays and images of notable unpublished letters to the editor.]

Lynda Benglis: Dual Natures (retrospective exhibition catalogue). Text by Susan Krane. Atlanta: High Museum of Art, 1990.
[The best in-depth introduction to the work.]

Meyer, Richard. "Bone of Contention: Richard Meyer on Lynda Benglis's Controversial Advertisement." Artforum 43, no. 3 (November 2004): 73–74, 249–250.
[Excellent and substantive article written on the work's 30th anniversary.]

Newman, Amy. Challenging Art: Artforum, 1962-1974. New York: Soho Press, 2000.
[Oral history covering the multiple perspectives of the Artforum editors and other members of the art world.]

Richmond, Susan. "Sizing Up the Dildo: Lynda Benglis' Artforum Advertisement as a Feminist Icon." n.paradoxa 15 (January 2005): 24–34.
[Insightful essay examining the work in relation to multiple waves of feminism, particularly its reframing as a feminist icon in the early 2000s. See also: Richmond, Susan. Lynda Benglis: Beyond Process. London: I.B. Tauris & Co. Ltd, Palgrave MacMillan, 2013.]

Schrank, Sarah. "Bohemia in Vogue." in Art and the City: Civic Imagination and Cultural Authority in Los Angeles. Philadelphia: University of Pennsylvania Press, 2009: 97-134.
[Great introduction to the Los Angeles context of the ad's conception.]

Seiberling, Dorothy. "The New Sexual Frankness: Good-by to Hearts and Flowers." New York Magazine 8, no. 7 (17 February 1975): 37–39, 42, 44.
[Nuanced take on the work in its original context with fascinating quotes by Benglis and other artists.]

Smith, Roberta. "Art or Ad or What? It Caused a Lot of Fuss." The New York Times, 25 July 2009: C1, 5.
[Review of the 2009 Lynda Benglis/Robert Morris exhibition.]

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Ballatore, Sandy. "Lynda Benglis’ Humanism." Artweek 7, no. 21 (22 May 1976): 5–6.

Benglis, Lynda. "Andrew Bonacina in conversation with Lynda Benglis." in Lynda Benglis. Texts by Lynda Benglis, Andrew Bonacina, Nora Lawrence and Bibiana Obler. London: Phaidon, 2022: 8-33.

Bui, Phong. "In Conversation: Lynda Benglis." The Brooklyn Rail (December 2009/January 2010): 20–22.

"Interview: Linda [sic] Benglis." Ocular 4, no. 2 (Summer 1979): 30–43.

Kim, Seungduk. "Liquid Metal: Lynda Benglis and Seungduk Kim in Conversation." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 154-191.

Morin, France. "Lynda Benglis in Conversation with France Morin." Parachute, no. 6 (Spring 1977): 9–11.

Newman, Amy. Challenging Art: Artforum, 1962-1974. New York: Soho Press, 2000.

"Oral history interview with Lynda Benglis, 2009 November 20." Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/collections/interviews/oral-history-interview-lynda-benglis-15741

Pitts, Priscilla. "Long Distance: Santa Fe/Auckland: Lynda Benglis Talks to Priscilla Pitts." in Lynda Benglis: From the Furnace (exhibition catalogue). Auckland, New Zealand: Auckland City Art Center, 1993: 21-24.

Rifkin, Ned. "Lynda Benglis." in Early Work (exhibition catalogue). Texts by Lynn Gumpert, Ned Rifkin, Marcia Tucker. New York: New Museum of Contemporary Art, 1982: 6-15.

Seiberling, Dorothy. "The New Sexual Frankness: Good-by to Hearts and Flowers." New York Magazine 8, no. 7 (17 February 1975): 37–39, 42, 44.

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Alloway, Lawrence, Max Kozloff, Rosalind Krauss, Joseph Masheck, Annette Michelson. "Letters." Artforum 13, no. 4 (December 1974): 9.

Chalupecky, Jindrich. "USA Retour du puritanisme." Chroniques de l'art vivant, no. 55 (February /March 1975): 37.

"Collage: Pin-ups." Art News 73, no. 7 (September 1974): 44–45.
[Betty Grable image]

Conde, Carole and Karl Beveridge. "Chuck and Kitty in 'The Edge of Edge'." The Fox, no. 3 (1976): 80-84.
[Response to November 1975 show at Paula Cooper Gallery.]

Corry, John. "A Serious Dirty Picture?" The New York Times, 22 November 1974: sec. 1, 78.

Da Vinci, Mona. "Inside the Mechanical Splendor" (exhibition review). Soho Weekly News, 13 November 1975: 23, 25.
[Review of November 1975 shows at Paula Cooper Gallery and The Kitchen.]

Davis, Douglas. "Douglas Davis on Artpolitics: Thoughts Against the Prevailing Fantasies." New York Arts Journal 1, no. 1 (May 1976): 8-13.

Getsy, David J. Queer Behavior: Scott Burton and Performance Art. Chicago: University of Chicago Press, 2022.
[This book provides a fascinating window onto perspectives other than those of second wave feminists and Artforum editors.]

Kramer, Hilton. "What Happens When Art is Confused with Publicity" (exhibition review). The New York Times, 23 November 1975: D25.
[Review of November 1975 shows at Paula Cooper Gallery.]

Kuhn, Annette. "Culture Shock." The Village Voice, 2 December 1974: 96.

Kutner, Janet. "Nude Photo Shocks Artistic Community." Dallas Morning News, 16 February 1975: 6C.

Lippard, Lucy. "On the Arts: Transformation Art." Ms 4, no. 4 (October 1975): 33–39.

Lippard, Lucy. "The Pains and Pleasures of Rebirth: Women's Body Art." Art in America 64, no. 3 (May/June 1976): 47–53.

Lubell, Ellen. "Lynda Benglis" (exhibition review). Feminist Art Journal 4, no. 4 (Winter 1975/1976): 43-44.

Nemser, Cindy. "Four Artists of Sensuality." Arts Magazine 49, no. 7 (March 1975): 73–75.

Nemser, Cindy. "Lynda Benglis: A Case of Sexual Nostalgia." The Feminist Art Journal 3, no. 4 (Winter 1974/1975): 7, 23.

Picard, Lil. "Brief aus New York: Im Zeichen des Phallus." Kunstforum International, no. 12 (December 1974/January 1975): 195-202.

Pincus-Witten, Robert. "Lynda Benglis: The Frozen Gesture." Artforum 13, no. 3 (November 1974): 54–59.

Plagens, Peter. "Letters." Artforum 13, no. 4 (December 1974): 9.

Rose, Barbara. "Twilight of the Superstars." Partisan Review 41, no. 4 (1974): 563-572.

Rosenblum, Robert. "Letters." Artforum 13, no. 7 (March 1975): 8–9.

Seiberling, Dorothy. "The New Sexual Frankness: Good-by to Hearts and Flowers." New York Magazine 8, no. 7 (17 February 1975): 37–39, 42, 44.

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Benglis has made a point of leaving interpretation of the work open. She does not endorse one interpretation over another. We believe art historians will be able to spot the writers relevant to their perspectives in the full bibliography.

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Many people assume that the object situation is imposed upon the woman. When you make yourself an object and are aware of it, it's even funnier. I had done other pieces that had to do with female sensibility. I thought that this was the ultimate sexual piece that I could do. Then I dropped it.

—Lynda Benglis

Ballatore, Sandy. "Lynda Benglis' Humanism." Artweek 7, no. 21 (22 May 1976): 5–6.

Bibliography

Our goal in compiling this bibliography is to create a centralized resource for everyone interested in learning more about the Artforum Advertisement and its legacy.

We welcome your help in making this bibliography as complete as possible. If you see something missing, please submit a citation or PDF by email. The bibliography will be updated 1-2 times per year.

(opens in a new window) View Bibliography Document

*Contains a statement by Benglis
†Selected works by other artists

1974

Alloway, Lawrence, Max Kozloff, Rosalind Krauss, Joseph Masheck, Annette Michelson. "Letters." Artforum 13, no. 4 (December 1974): 9.

Benglis, Lynda. "Lynda Benglis Presents Metallized Knots" (Macharina Ad). Artforum 12, no. 8 (April 1974): 85.

Benglis, Lynda. "Artforum Advertisement." Artforum 13, no. 3 (November 1974): 4-5.

Benglis, Lynda. "Cover Photo." Extra (Cologne, West Germany) (July 1974). ["Betty Grable" announcement]

†Burton, Scott, Performance Portrait of the Artist with Corthuni and Ithyphallus, Artists Space, New York, 25 April 1974.

*"Collage: Pin-ups." Art News 73, no. 7 (September 1974): 44–45. ["Betty Grable" announcement]

*Corry, John. "A Serious Dirty Picture?" The New York Times, 22 November 1974: sec. 1, 78.

Gilbert-Rolfe, Jeremy. "Robert Morris: The Complication of Exhaustion." Artforum 13, no. 1 (September 1974): 44-49. [The Morris poster is illustrated as a part of this article.]

Gruen, John. "Reviews: On Art" (exhibition review). The Soho Weekly News, 9 May 1974: 14. ["Betty Grable" announcement]

Johnson, Ray. "Abandoned Chickens." Art in America 62, no. 6 (November 1974): 107-112. ["Betty Grable" announcement]

Killen, Shelley. "Letters." The Feminist Art Journal 3, no. 4 (Winter 1974/1975): 2.

Kuhn, Annette. "Culture Shock." The Village Voice, 2 December 1974: 96.

"Lynda Benglis." Casabella, nos. 392-393 (August/September 1974): 77. ["Betty Grable" announcement]

Nemser, Cindy. "Lynda Benglis: A Case of Sexual Nostalgia." The Feminist Art Journal 3, no. 4 (Winter 1974/1975): 7, 23.

Perreault, John. "Celebrations Knotted and Dotted" (exhibition review). The Village Voice, 16 May 1974: 44. ["Betty Grable" announcement]

*Picard, Lil. "Brief aus New York: Im Zeichen des Phallus." Kunstforum International, no. 12 (December 1974/January 1975): 195-202.

Pincus-Witten, Robert. "Lynda Benglis: The Frozen Gesture." Artforum 13, no. 3 (November 1974): 54–59. ["Betty Grable" announcement]

Plagens, Peter. "Letters." Artforum 13, no. 4 (December 1974): 9.

†Rauschenberg, Robert. "Advertisement for Hoarfrost Series." Artforum 13, no. 4 (December 1974): 16-17. [subtly mimics Playgirl centerfold]

Rose, Barbara. "Twilight of the Superstars." Partisan Review 41, no. 4 (1974): 563-572.

1975

Abjornsen, Allison and Dick Burg. "Letters." Artforum 13, no. 7 (March 1975): 9.

Baldwin, Carl R. "Art & The Law" (book review). Art in America 63, no. 2 (March/April 1975): 34, 39, 41.

*Benglis, Lynda. "Lynda Benglis." Heute Kunst, no. 5 (February/March 1975): 19. [t-shirt]

*Benglis, Lynda. "Letter to Hilton Kramer." ca. late November-December, 1975. [unpublished]

†Burton, Scott, Dream Sex, 1975.

Bourdon, David. "The Grand Acquisitor Shows Off" (exhibition review). The Village Voice, 15 December 1975: 123. [Secrets]

"Brooklyn Grace Writes." Women Artists Newsletter, 1, no. 5 (October 1975): 2.

Chalupecky, Jindrich. "USA Retour du puritanisme." Chroniques de l'art vivant, no. 55 (February /March 1975): 37.

"Conventional Wisdom." Art-Rite, no. 8 (Winter 1975): 17–18.

Da Vinci, Mona. "Inside the Mechanical Splendor" (exhibition review). Soho Weekly News, 13 November 1975: 23, 25. [Secrets]

Davis, Douglas. "What's in the Galleries" (exhibition review). Newsweek 86, no. 23 (8 December 1975): 106–107.

Duncan, Carol. "When Greatness is a Box of Wheaties" (book review). Artforum 14, no. 2 (October 1975): 60-64.

Hess, Thomas B. "Abstract Acrylicism" (exhibition review). New York Magazine 8, no. 49 (8 December 1975): 114.

†Johnson, Ray, Performance, Rene Block Gallery, New York, 21 September 1975. [T-shirt]

Kozloff, Max. "Pygmalion Reversed." Artforum 14, no. 3 (November 1975): 30-37.

Kramer, Hilton. "What Happens When Art is Confused with Publicity" (exhibition review). The New York Times, 23 November 1975: D25.

Kramer, Hilton. "A remembrance of art past" (exhibition review). The Sun (Baltimore), 23 November 1975: D17. [same as New York Times review above]

Kurtz, Bruce. "Gesture: de Kooning, Benglis, Samaras." ca. 1975-1976. [unpublished]

Kurtz, Bruce. "Lynda Benglis: Dildo Doré." 1975. [unpublished]

Kurtz, Bruce. "Lynda Benglis: Venus Extruded." 1975. [unpublished]

Kutner, Janet. "Nude Photo Shocks Artistic Community." Dallas Morning News, 16 February 1975: 6C.

Lippard, Lucy. "On the Arts: Transformation Art." Ms 4, no. 4 (October 1975): 33–39.

Lives: Artists Who Deal With Peoples’ Lives (Including Their Own) as the Subject And/Or the Medium of Their Work (exhibition catalogue). Text by Jeffrey Deitch. New York: Fine Arts Building, 1975. [Parenthesis]

Lubell, Ellen. "Lynda Benglis" (exhibition review). Feminist Art Journal 4, no. 4 (Winter 1975/1976): 43-44.

"Lynda Benglis." die Löwin: Ein kulturphilosophische Zeitschrift (special women's issue of der Löwe) no. 6 (December 1975): 2.

Maritime, Mickey. "Letters." Artforum 13, no. 7 (March 1975): 8.

Miller, John Pindyck. "Letters: Art vs. Advertising." New York Magazine 8, no. 10 (10 March 1975): 5.

"Much Ado About Nothing" (Ray Johnson performance review). New York Times, 12 October 1975: 142. [t-shirt]

Nemser, Cindy. "Four Artists of Sensuality." Arts Magazine 49, no. 7 (March 1975): 73–75.

Orenstein, Gloria Feman. "Art History." Signs 1, no. 2 (Winter 1975): 505–525.

Pincus-Witten, Robert. "Benglis' Video: Medium to Media." in Physical and Psychological Moments in Time (exhibition catalogue). Oneonta: SUNY College at Oneonta, 1975: np.

Physical and Psychological Moments in Time (press release for exhibition). Oneonta: SUNY College at Oneonta, 1975.

Plagens, Peter. "Indecent Exposure." Artforum 13, no. 7 (March 1975): 56-57.

Robinson, Walter. "The Chorus Line: Role, Style, Media." Art-Rite, no. 10 (Fall 1975): np.

Rose, Barbara. "Twilight of the Superstars." in Readings in American Art 1900-1975. Edited by Barbara Rose. New York: Praeger Publishers, 1975: 236-239. [shorter version of 1974 article]

Rosenblum, Robert. "Letters." Artforum 13, no. 7 (March 1975): 8–9.

Ryan, Paul R. "Letters." TDR: The Drama Review 19, no. 2 (June 1975): 136–139.

Saturday Night at the Baths (film). Directed by David Buckley. 1975. ["Betty Grable" announcement]

*Seiberling, Dorothy. "The New Sexual Frankness: Good-by to Hearts and Flowers." New York Magazine 8, no. 7 (17 February 1975): 37–39, 42, 44.

Steward, Daniel H. "Letters." Artforum 13, no. 7 (March 1975): 9.

Urbach, Marina. "Lynda Benglis' Transgression: The seven sides of the seven dice, or St. Audrey’s laces." 1975. [unpublished]

Walsh, Sally. "Little 'art for art's sake' in show" ('Unordinary Realities' exhibition review). Democrat and Chronicle (Rochester), 26 September 1975: 1-2C.

†Wilke, Hannah, Invasion Performance, Paula Cooper Gallery, New York, 8 November 1975.

Wilson, William. "On the Cutting Edge of Aesthetics." Los Angeles Times, 10 March 1975: E4.

Wooster, Ann-Sargent. "Hannah Wilke, Ronald Feldman Gallery" (Hannah Wilke exhibition review). Artforum 14, no. 4 (December 1975): 74-75.

1976

*Ballatore, Sandy. "Lynda Benglis' Humanism." Artweek 7, no. 21 (22 May 1976): 5–6.

Baracks, Barbara. "Artpark: The New Aesthetic Playground." Artforum 15, no. 3 (November 1976): 28-33. [Amazing Bow-Wow]

Conde, Carole and Karl Beveridge. "Chuck and Kitty in 'The Edge of Edge'." The Fox, no. 3 (1976): 80-84.

Davis, Douglas. "Douglas Davis on Artpolitics: Thoughts Against the Prevailing Fantasies." New York Arts Journal 1, no. 1 (May 1976): 8-13.

Flyer for Lawrence Alloway’s Women's Art and Art Criticism lecture, Rutgers University, New Brunswick, New Jersey, ca. 1976-1979.

Gilbert-Rolfe, Jeremy, Rosalind Krauss, Annette Michelson. "About October." October 1, no. 1 (Spring 1976): 3-5. [context]

Gorney, Jay. "Drawing today in New York" (Ray Johnson exhibition review) Art Journal 36, no. 2 (Winter 1976/1977): 143.

Krugman, Michael. "Bill Beckley at John Gibson" (Bill Beckley exhibition review). Art in America 58, no. 4 (July/August 1976): 102.

Lippard, Lucy. From the Center: Feminist Essays on Women's Art. New York: E.P. Dutton & Co., 1976. [Reprints of "On the Arts: Transformation Art" (1975) as "Making Up: Role Playing and Transformation in Women's Art" and "The Pains and Pleasures of Rebirth" (1976).]

Lippard, Lucy. "The Pains and Pleasures of Rebirth: Women's Body Art." Art in America 64, no. 3 (May/June 1976): 47–53.

Moser, Charlotte. "El Mundo Interior y Exterior del Movimiento Artistico Femenino." Artes Visuales, no. 9 (Spring 1976): 37-42.

Neher, Ross. "Bathsiderodromophobia." The Fox, no. 3 (1976): 102-110.

Pincus-Witten, Robert. "Scott Burton: Conceptual Performance as Sculpture" (Scott Burton). Arts Magazine 51, no. 1 (September 1976): 112–117.

Wilson, William. "Downbeat Exhibit at Otis Galleries" (exhibition review). The Los Angeles Times, 6 September 1976: sec. 4, 2.

Wooster, Ann-Sargent. "Reviews: New York" (exhibition review). Artforum 14, no. 6 (February 1976): 60-61.

1977

Burnham, Jack. "Ten Years Before the Artforum Masthead." The New Art Examiner 4, no. 5 (February 1977): 1, 6-7.

Dalkey, Victoria. "Women's Show Wins Even-Handed Condemnation" (exhibition review). The Sacramento Bee, 1977.

Davis, Douglas. "Artpolitics: Thoughts Against the Prevailing Fantasies." in Artculture: Essays on the Post-Modern. New York: Harper & Row, 1977: 1-27. [Reprint of "Douglas Davis on Artpolitics: Thoughts Against the Prevailing Fantasies." (1976)]

Frank, Peter. "Richard Foreman's 'Book of Levers.'" Artforum 61, no. 1 (September 1977): 42-43.

Isaacs, Chuck. "Showing the Art of Nude Photography" (exhibition review). Philadelphia Inquirer, 1977.

Johnson, Charles. "Women's Show Wins Even-Handed Condemnation" (exhibition review). The Sacramento Bee, 1977.

Kuspit, Donald B. "Authoritarian Abstraction." Journal of Aesthetics and Art Criticism 36, no. 1 (Fall 1977): 25-38.

*Morin, France. "Lynda Benglis in Conversation with France Morin." Parachute, no. 6 (Spring 1977): 9–11.

Perenyi, Constance. "Feminism, Sexuality and Art." Big Mama Rag (Denver) 5, no. 9 (November/December 1977).

Pincus-Witten, Robert. Postminimalism. New York, Milan: Out of London Press, 1977.

[Reprints of "Lynda Benglis: The Frozen Gesture" (1975) and "Benglis' Video: Medium to Media" (1975)]

Stein, Judith E. "Contemporary Issues: Works on Paper by Women" (exhibition review). Art Journal 36, no. 4 (Summer 1977): 328–329.

Tighe, Mary Anne and Elizabeth Ewing Lane. Art America. New York: McGraw-Hill Book Company, 1977. ["Macharina" ad]

Wilson, William. "Miniatures at LACMA: Touchstone of the '70s" (exhibition review). Los Angeles Times, 27 November 1977: 110.

1978

*"Lecture by Lynda Benglis." The Skowhegan School of Painting & Sculpture, Skowhegan, Maine, Summer 1978.

Robinson, Walter. "Storytelling, Infantilism and Zoophily." Art-Rite, no. 19 (June/July 1978): 29–30. [Amazing Bow-Wow]

Ross, L. "Lynda Benglis: Visiting Skowhegan Lecturer." Vision: A Journal of the Visual Arts in Maine 1, no. 3 (September/October/November 1978): 10–11.

Sutton, Denys. "Is there a Doctor in the House?" Apollo 108, no. 200 (October 1978): 222-223.

Tickner, Lisa. "The Body Politic: Female Sexuality and Women Artists Since 1970." Art History 1 no. 2 (June 1978): 236-251.

Weber, Ernst. "Artist Hannah Wilke Talks with Ernst." Oasis d’Neon 1, no. 2 (1978).

1979

Alonso, Jessica. "Moments to remember" ('A History of the Nude' exhibition review). Boston Globe, 10 April 1979: 34.

Bonesteel, M. "Art and the New Androgyny." New Art Examiner 6, no. 10 (Summer 1979): 9, 11.

Boots, Alice. "What is the Target of Aggression in Feminist Art? (Waartegen richt zich de agressie van de feministische kunst?)." Museumjournaal 24, no. 2 (April 1979): 66–69.

*Brown, Stephanie M. "Sculpting the Sensuous Line: Lynda Benglis Knows How to Throw a Curve." Hartford Advocate, 10 October 1979: 19.

Crossley, Mimi. "Reviews: Johnson, Goodnough, Benglis and the Museum School Faculty" (exhibition review). The Houston Post, 26 January 1979: E3.

Falling, Patricia. "New York Reviews" (exhibition review). Art News 78, no. 3 (March 1979): 183–184.

Hammond, Harmony. "A Sense of Touch." New Art Examiner 6, no. 10 (Summer 1979): 4, 10.

*"Interview: Linda Benglis" [sic]. Ocular 4, no. 2 (Summer 1979): 30–43.

Raynor, Vivien. "Avant-Garde Experiments in an 'Alternative Space'" (exhibition review). The New York Times, 21 October 1979: sec. CN, 20.

Sandler, Irving. "Art as Auto-Image." in Images of the Self: 1979 Arts Month (exhibition catalogue). Texts by Irving Sander and Sally Yard. Amherst: Hampshire College, 1979: np.

Tatransky, Valentin. "Art Reviews: Cindy Sherman" (Cindy Sherman exhibition review). Arts Magazine 53, no. 5 (January 1979): 19.

Wilson, William. "Paving the Access Roads to Culture." Los Angeles Times, 30 December 1979: J88.

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*Contains a statement by Benglis

1980

*Houck, Catherine. "Women Artists Today." Cosmopolitan 188, no. 1 (January 1980): 198–199, 220, 258, 266.

Lucie-Smith, Edward. Art in the Seventies. Ithaca: Cornell University Press, 1980. [Parenthesis]

Martin, Robert. "Artist Lynda Benglis Turns Her Back on Media Publicity" (retrospective exhibition review). The Tampa Times, 9 February 1980: 9A.

Miller, Donald. "Notes and Nuances: Minerals Hall opens next week." Pittsburgh Post-Gazette, 10 September 1980: 29.

Semmel, Joan and April Kingsley. "Sexual Imagery in Women's Art." Woman's Art Journal 1, no. 1 (Spring/Summer 1980): 1-6.

Warren, George. "Lynda Benglis: Recent Work" (exhibition review). The Atlanta Art Workers Coalition Newspaper 4, no. 1 (January/February 1980): 14-15.

Wilson, William. "The Galleries" (exhibition review). The Los Angeles Times, 28 March 1980: G6.

1981

*Benglis, Lynda. "Letter to Salvatore Nocera." 10 April 1981. [unpublished]

Horne, David. "'Provocateur' Breaks New Ground" (exhibition review). The Arizona Daily Star, 10 May 1981: sec. I, 7.

Kimball, Gayle. "Women's Culture: Themes and Images." in Women's Culture: The Women's Renaissance of the Seventies. Edited by Gayle Kimball. Metuchen, N.J. and London: The Scarecrow Press, Inc., 1981: 2-29.

Perrone, Jeff. "Lynda Benglis at Paula Cooper" (exhibition review). Images & Issues 1, no. 4 (Spring 1981): 45–46.

*van Izzy, Abrahami. "On Speaking Terms: Lynda Benglis." Avenue Magazine (Amsterdam), no. 2 (2 February 1981): 89-90.

1982

*Rifkin, Ned. "Lynda Benglis." in Early Work (exhibition catalogue). Texts by Lynn Gumpert, Ned Rifkin, and Marcia Tucker. New York: New Museum of Contemporary Art, 1982: 6-15.

1983

McGreevy, Linda F. "Robert Morris’ Metaphorical Nightmare: The Journado del Muerto." Arts Magazine 58, no. 1 (September 1983): 107-109.

Withers, Josephine. "Musing About the Muse: An Art Essay." Feminist Studies 9, no. 1 (Spring 1983): 25-32.

1984

James, Sibyl. "Painting the Town Read" (book review). The Women's Review of Books 1, no. 4 (January 1984): 6–7.

Liebmann, Lisa. "Cindy Sherman Metro Pictures" (Cindy Sherman exhibition review). Artforum 22, no. 7 (March 1984): 95.

Marvel, Bill. "'Frozen' Works." Dallas Times Herald, 31 January 1984.

*McDarrah, Timothy. "The Season: Art and Artists." Hamptons Magazine (19 July 1984): 6–8.

1985

American Art: American Women 1965 through 1985 (exhibition catalogue). Text by Jacqueline Moss. Stamford, Connecticut: Stamford Museum and Nature Center, 1985.

"Bushido." Miami Vice, NBC, 22 November 1985. [Mural in sex shop]

Poe, Joy. "The Politics of Art." Women Artists News 10, no. 2 (Winter 1985): 26-27.

1986

Jussim, Estelle. "The Self-Reflexive Camera." Boston Review (April 1986): 12-14, 26.

Malcolm, Janet. "Profiles: A Girl of the Zeitgeist." New Yorker 62, no. 35 (20 October 1986): 49–68, 73-89.

1987

Betterton, Rosemary, ed. Looking On: Images of Femininity in the Visual Arts and Media. London: Pandora, 1987. [Reprint of Tickner, Lisa. "The Body Politic: Female Sexuality and Women Artists Since 1970" (1978)]

Donohue, Marlena. "California, Lynda Benglis" (exhibition review). Sculpture 6, no. 5 (September/October 1987): 39–40.

Grundberg, Andy. "Art: The 80's Seen through a Postmodern Lens" (Cindy Sherman). The New York Times, 5 July 1987: 29.

Heller, Nancy G. Women Artists: An Illustrated History. New York: Abbeville Press, 1987.

Parker, Rozsika and Griselda Pollock, eds. Framing Feminism: Art and the Women's Movement 1970-1985. London and New York: Pandora, 1987. [Reprint of Tickner, Lisa. "The Body Politic: Female Sexuality and Women Artists Since 1970." (1978)]

Pincus-Witten, Robert. Postminimalism into Maximalism: American Art, 1966-1986. Ann Arbor: UMI Research Press, 1987. [Reprints of "Lynda Benglis: The Frozen Gesture" (1975) and "Benglis' Video: Medium to Media" (1975)]

1988

The Art of Persuasion: A History of Advertising Photography (exhibition catalogue). Text by Robert A. Sobieszek. New York: Harry N. Abrams, Inc., 1988.

Cannon, Elizabeth. "Artists Choose Designers: Lynda Benglis/John Galliano." Bomb, no. 24 (Summer 1988): 78.

Heartney, Eleanor. "A Necessary Transgression." The New Art Examiner 16, no. 3 (November 1988): 20-23.

Levin, Kim. "The Evil of Banality" (Jeff Koons exhibition review). The Village Voice, 20 December 1988: 115.

Partington, Angela. "Feminist Art and Avant-Gardism." in Visibly Female: Feminism and Art: An Anthology. Edited by Hilary Robinson. New York: Universe Books, 1988: 228-249.

Raven, Arlene. Crossing Over: Feminism and Art of Social Concern. Ann Arbor, London: UMI Research Press, 1988.

Rose, Barbara. Autocritique: Essays on Art and Anti-Art. New York: Weidenfeld & Nicholson, 1988. [Reprint of "Twilight of the Superstars" (1974 version)]

Schor, Mira. "Representations of the Penis." M/E/A/N/I/N/G, no. 4 (November 1988): 3-17.

Siegel, Jeanne. "Cindy Sherman." in Art Talk: The Early 80s. Edited by Jeanne Siegel. New York: Da Capo Press, Inc., 1988.

1989

Burt, Eugene C. Erotic Art: An Annotated Bibliography with Essays. Boston: G.K. Hall & Co., 1989.

Cohen, Ronny. "Lynda Benglis." in Contemporary Artists. Edited by Colin Naylor. 3rd ed. Chicago, London: St. James Press, 1989: 84-86. ["Betty Grable" announcement]

Hoberman, J. "Brave New Image World" (exhibition review). The Village Voice, 28 November 1989.

Image World: Art and Media Culture (exhibition catalogue). Texts by John G. Hanhardt, Martin Heiferman, and Lisa Phillips. New York: Whitney Museum of American Art, 1989.

Paul, Richard. "Welcome to the 'Image World' at the Whitney, a Sleek, Chic and Shallow Response to the Media Blitz" (exhibition review) The Washington Post, 12 November 1989: G1.

Saunders, Gil. The Nude: A New Perspective. Cambridge: Harper & Row, 1989.

Stein, Judith E. and Ann-Sargent Wooster. "Making their Mark." in Making Their Mark: Women Artists Move into the Mainstream, 1970–1985 (exhibition catalogue). Texts by Randy Rosen, Ellen G. Landau, Calvin Tomkins, Judith E. Stein, Ann-Sargent Wooster, Thomas McEvilley, Marcia Tucker. New York: Abbeville Press, 1989: 51-186.

Wilson, William. "Waffling Over the Media's Influence" (exhibition review). Los Angeles Times, 19 November 1989: 5, 101.

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*Contains a statement by Benglis
†Selected works by other artists

1990

Anderson, Michael. "Pharmacy." Art Issues, no. 12 (Summer 1990): 31.

Avgikos, Jan. "The New Sculpture 1965–1975" (exhibition review). Flash Art, no. 153 (Summer 1990): 138–139.

Blandy, Doug and Kristin G. Gongdon. "Pornography in the Classroom: Another Challenge for the Art Educator." Studies in Art Education 31, no. 1 (Fall 1990): 6-16.

Hackett, Regina. "Artist's Eye for Tawdry is Exhibited" (exhibition review). Seattle Post-Intelligencer, 10 August 1990: sec. What's Happening, 10.

Lippard, Lucy, "Intruders: Lynda Benglis and Adrian Piper." in Breakthroughs: Avant-Garde Artists in Europe & America: 1950-1990 (exhibition catalogue). Columbus: Wexner Center for the Visual Arts, Ohio State University, 1991: 125-131.

Lynda Benglis: Dual Natures (retrospective exhibition catalogue). Text by Susan Krane. Atlanta: High Museum of Art, 1990.

Rubinstein, Raphael Meyer. "Lynda Benglis: Paula Cooper" (exhibition review). Art News 89, no. 10 (November 1990): 161.

Straayer, Chris. "The She Man: Postmodern Bi-Sexed Performance in Film and Video." Screen 31, no. 3 (Autumn 1990): 262–280.

1991

Adams, Brooks. "Aimee Morgana at American Fine Arts and Pat Hearn" (Aimee Morgana exhibition review). Art in America 79, no. 7 (July 1991): 114.

Atkins, Robert. "A Censorship Timeline." Art Journal 50, no. 3 (Fall 1991): 33-37.

Bonetti, David. "Provocateur Exhibits the Objects of Her Desire" (retrospective exhibition review). San Francisco Examiner, 1 November 1991: C2.

Burkhart, Dorothy. "Throwing a Soft Curve at Sculpture's Hard Edge" (retrospective exhibition review). San Jose Mercury News, 26 September 1991: sec. Art.

Calas, Terrington. "On Lynda Benglis" (retrospective exhibition review). New Orleans Art Review (September/October 1991): 6–9.

*Fox, Catherine. "Pushing the Edges" (retrospective exhibition review). The Atlanta Journal, 3 February 1991: N1, 12.

Harper, Glenn. "Lynda Benglis: High Museum of Art, Heath Gallery" (retrospective exhibition review). Art Papers 15, no. 3 (May/June 1991): 43-44.

Hoberman, J. Vulgar Modernism: Writing on Movies and Other Media. Philadelphia: Temple University Press, 1991. [Reprint of "Brave New Image World" (1989)]

Hoffman, Katherine. Explorations: The Visual Arts Since 1945. New York: HarperCollins, 1991.

Jinkner-Lloyd, Amy. "Materials Girl" (retrospective exhibition review). Arts Magazine 65, no. 9 (May 1991): 52–55.

Kalin, Tom. "Joan Wallace Postmasters" (Joan Wallace exhibition review). Artforum 30, no. 1 (September 1991): 131-132.

Kandel, Susan. "Benglis’ Pointedly Deceptive Pleasures" (exhibition review) Los Angeles Times, 12 September 1991: F12.

†Kelley, Mike and Diedrich Diederichsen. Why I Got Into Art (Vaseline Muses) by Anonymous. Cologne: Jablonka Galerie, Verlag der Buchhandlung Walther Konig, 1991.

Lacy, Suzanne. "The Name of the Game." Art Journal 50, no. 2 (Summer 1991): 64-68.

Marks, Claude, ed. World Artists 1980-1990. New York: H.W. Wilson Company, 1991.

Phillips, Renee. Success Now! For Artists: A Motivational Guide for the Artrepreneur. New York: Manhattan Arts International, 1991.

Plagens, Peter. "Objects of Affection" (retrospective exhibition review). Newsweek 117, no. 22 (3 June 1991): 68.

Raven, Arlene. "Graven Image." Art Papers 15, no. 6 (November/December 1991): 3–6.

Schwendenwien, Jude. "Body Language." Sculpture 10, no. 6 (November/December 1991): 38–43.

Tanner, Marcia. "Out of the Pigeonhole: Lynda Benglis Dual Natures at the San Jose Museum of Art" (retrospective exhibition review). Artweek 22, no. 36 (31 October 1991): 13–14.

*Taylor, Paul. "The Art of P.R., and Vice Versa." The New York Times, 27 October 1991: sec. Arts & Leisure, 1, 35.

Vetrocq, Marcia E. "Knots, Glitter and Funk" (retrospective exhibition review). Art in America 79, no. 12 (December 1991): 92–97.

Wallis, Brian. "Power, Gender, and Abstraction." in Power: Its Myths and Mores in American Art 1961-1991 (exhibition catalogue). Indianapolis: Indianapolis Museum of Art, 1991: 100-113.

1992

de Diego, Estrella. El andrógino sexuado: Eternos ideales, nuevas estrategias de género. Madrid: Visor, 1992.

Duby, Georges and Michelle Perrot. Power and Beauty: Images of Women in Art. London: Tauris Parke Books, 1992.

Kurtz, Bruce D. Contemporary Art 1965-1990. Englewood Cliffs: Prentice Hall, 1992.

Landau, Ellen G. "Cindy Sherman déconstruite? Une reconstruction." Cahiers du Musée national d'art moderne, no. 40 (Summer 1992): 36-47.

Lieberman, Rhonda. "The Loser Thing." Artforum 31, no. 1 (September 1992): 78-86.

Princenthal, Nancy. "Artist's Book Beat" (Mike Kelley book review). The Print Collector's Newsletter 23, no. 3 (July/August 1992): 110-112.

Smith, Roberta. "10 Steps" (exhibition review). The New York Times, 4 December 1992: C23.

*Wylie, Patrice. "Nationally Known Sculptor Appears at Proscenium." Aztec Press, 14 October 1992: 6.

1993

Action/Performance and the Photograph (exhibition catalogue). Text by Robert C. Morgan. Los Angeles: Turner/Krull Galleries, 1993.

Bogle, Andrew. "From The Furnace." in Lynda Benglis: From the Furnace (exhibition catalogue). Auckland, New Zealand: Auckland City Art Center, 1993: 5-20.

Coplans, John and Peter Plagens. "Artforum '62-'79: A Conversation." Artforum 32, no. 1 (September 1993): 118-119, 191-192.

Crow, Thomas. "The Graying of Criticism." Artforum 32, no. 1 (September 1993): 185, 187-188. [No mention of Benglis, but important]

"Galleries-Downtown: Coming to Power"(exhibition review). The New Yorker (7 June 1993): 21.

Jones, Amelia. "Action/Performance and the Photograph" (exhibition review). Artforum 32, no. 3 (November 1993): 113.

Jones, Amelia. "The Return of the Feminist Body." M/E/A/N/I/N/G, no. 14 (November 1993): 3-6.

Jones, Leslie C. "Transgressive Femininity: Art and Gender in the Sixties and Seventies." in Abject Art: Repulsion and Desire in American Art (exhibition catalogue). New York: Whitney Museum of American Art, 1993: 33-58.

Kotz, Liz. "Beyond the Pleasure Principle." in Coming to Power: 25 Years of Sexually X-Plicit Art by Women (exhibition catalogue). Texts by Jan Avgikos, Liz Kotz, Lorraine O'Grady, and Linda Nochlin. New York: David Zwirner Gallery, 1993.

Muchnic, Suzanne. "Action/Performance and the Photograph" (exhibition review). Art News 92, no. 9 (November 1993): 173.

Nesbit, Molly, Hilton Als, and Darryl Turner. "History of the Suburbs: A Project for Artforum." Artforum 31, no. 9 (May 1993): 70-75.

Paice, Kim. "Coming to Power" (exhibition review). Art + Text, no. 46 (Fall 1993): 88-89.

*Pitts, Priscilla. "Long Distance: Santa Fe/Auckland: Lynda Benglis Talks to Priscilla Pitts." in Lynda Benglis: From the Furnace (exhibition catalogue). Auckland, New Zealand: Auckland City Art Center, 1993: 21-24.

Ratcliff, Carter. "'The Body Electric': The Erotic Dimension in American Art." in American Art in the 20th Century: Painting and Sculpture 1913-1993 (exhibition catalogue). Edited by Christos M. Joachimides and Norman Rosenthal. Munich and London: Prestel-Verlag, Royal Academy of Arts, 1993: 165-170.

Saltz, Jerry. "Mayday, Mayday, Mayday" (exhibition review). Art in America 81, no. 9 (September 1993): 41-45.

Sex Quake: Art After the Apocalypse. New York: 1st Art-Genes Portable Museum, 1993. [Amazing Bow-Wow]

Smith, Roberta. "Art Invitations as Small Scraps of History" (exhibition review). The New York Times, 16 May 1993: H37, 42. ["Betty Grable" announcement]

Westwater, Angela. "Let Slip the Dogs of War: Editing Artforum." Artforum 32, no. 1 (September 1993): 120.

1994

Berlind, Robert. "Art and Old Age." Art Journal 53, no. 1 (Spring 1994): 19–21.

Cottingham, Laura. "The Feminist Continuum: Art After 1970." in The Power of Feminist Art. Edited by Norma Broude and Mary D. Garrard. New York: Harry N. Abrams, 1994: 276-285.

Frueh, Joanna. "The Body Through Women's Eyes." in The Power of Feminist Art. Edited by Norma Broude and Mary D. Garrard. New York: Harry N. Abrams, 1994: 190-207.

*Hall, Barbara. "… A Nice Exhibition To Do…" in Dissonance: Feminism and the Arts 1970–90. Edited by Catriona Moore. St. Leonards, Australia: Allen & Unwin/Artspace, 1994: 43-45.

Jones, Amelia. "Postfeminism, Feminist Pleasures, and Embodied Theories of Art." in The New Feminist Criticism. Edited by Joanna Frueh, Cassandra L. Langer, Arlene Raven. New York: Icon Editions, 1994: 16-41.

Jones, Amelia. "Dis/playing the phallus: Male Artists Perform Their Masculinities" Art History 17, no. 4 (December 1994): 546-594.

Kotz, Liz. "Beyond the Pleasure Principle." Luisitania, Vulvamorphia issue, no. 6 (1994): 125-136.

[Reprint of "Beyond the Pleasure Principle." (1993)]

Kubitza, Anette. "Hannah Wilke: Bilder vollständiger und unvollständiger Schönheit." FKW (Frauen Kunst Wissenschaft): Zeitschrift für Geschlecterforschung und visuelle Kultur, no. 17 (May 1994): 72-84.

Patterson, Katherine J. "Pornography Law as Censorship: Linguistic Control as (Hetero) Sexist Harness." Feminist Issues (Fall 1994): 91-115.

Princenthal, Nancy. "Lee Tribe" (Lee Tribe exhibition review). Art in America 82, no. 7 (July 1994): 89.

Quinnel, Susan. The Erotic Object: Sexuality in Sculpture from Prehistory To the Present Day. Kidderminster, Worcester, U.K.: Crescent Moon, 1994.

Roth, Charlene. "Bad Girls" (exhibition review). Artweek 25, no. 5 (10 March 1994): 20.

Sense and Sensibility: Women Artists and Minimalism in the Nineties (exhibition catalogue). Text by Lynn Zevalansky. New York: Museum of Modern Art, 1994.

Tanner, Marcia. "Mother Laughed: The Bad Girl's Avant-Garde." Bad Girls (exhibition catalogue). New York, Los Angeles: New Museum of Contemporary Art, Wight Art Gallery, 1994: 47-80.

1995

Baker, Kenneth. "Common Ground in Queer Art" (exhibition review). San Francisco Chronicle, 12 January 1995: E1, 5.

Bracker, Alison Lee. A Critical History of the International Art Journal Artforum. PhD dissertation, University of Leeds, 1995.

Colman, David. "Frock Tactics: Q&A The Radical Face of Fashion." Artforum 34, no. 2 (October 1995): 9-10.

Duncan, Michael. "Queering the Discourse" (exhibition review). Art in America 83, no. 7 (July 1995): 27.

Fémininmasculin: le sexe de l'art (exhibition catalogue). Texts by Marie Laure Bernadac and Bernard Mercarde. Paris: Gallimard/Electa and Editions du Centre Pompidou, 1995.

In a Different Light: Visual Culture, Sexual Identity, Queer Practice (exhibition catalogue). San Francisco: City Lights Books, 1995. ["Betty Grable" announcement]

Littlejohn, David. "Queer Art Show: Gender Confusion" (exhibition review). The Wall Street Journal, 22 March 1995: F1, 10.

Lippard, Lucy. The Pink Glass Swan. New York: The New Press, 1995. [Reprints of "On the Arts: Transformation Art" (1975) as "Making Up: Role Playing and Transformation in Women's Art" and "The Pains and Pleasures of Rebirth" (1976).]

McClellan, Marian S. "Sensation of Polish" (exhibition review). New Orleans Art Review (November/December 1995): 22–24.

Nixon, Mignon. "Bad Enough Mother." October 71 (Winter 1995): 70-92.

Killian, Kevin. "Preview: The Secret Histories." Artforum 33, no. 6 (February 1995): 23–24, 104.

Robert Morris (exhibition catalogue). Edited by Catherine Grenier. Paris: Centre Georges Pompidou, 1995: 257.

Schwartzman, Allan. "Letters from Venice" (exhibition review). Artforum 34, no. 1 (September 1995): 33.

Smith, Roberta. "Void, Self, Drag, Utopia (And 5 Other Gay Themes)" (exhibition review). The New York Times, 26 March 1995: sec. Art.

Taylor, Brandon. Art of Today. London: George Weidenfeld and Nicholson Ltd., 1995.

Wei, Lilly. "Feminists In The Art World" (book review). Art in America 83, no. 1 (January 1995): 35, 37.

Wilton, Tasmin. Lesbian Studies: Setting An Agenda. New York: Routledge, 1995.

Witkovsky, Matthew S. "Robert Mapplethorpe." Vytvarne umeni, nos. 1-2 (1995): 148-162.

1996

ADAA Panel: Art or Obscenity? Drawing the Line. Lynda Benglis, Robert Rosenblum, Linda Nochlin, Nadine Strossen, Dr. Ruth Westheimer, Metropolitan Museum of Art, 16 October 1996.

De Diego, Estrella. "? Sabe usted lo que está pasando, Señora Jones?" Zehar (Spring 1996): 10-13.

Denton, Monroe. "Virtual (S)Exhibitionism" (exhibition review). Art Journal 55, no. 4 (Winter 1996): 88-93.

*Fricke, Roswitha and Marion Fricke. "Lynda Benglis." Art Press, no. 17 (1996): 33–34.

Fricke, Roswitha and Marion Fricke. "The Context of Art/The Art of Context: The artists' reply." Kunst & Museumjournaal 7, nos. 1,2,3 (1996): 69-71. [Reprint of Fricke, Roswitha and Marion Fricke. "Lynda Benglis." (1996)]

Harris, Jonathan. "Visual Cultures of Opposition." in Investigating Modern Art. Edited by Liz Dawtrey, Toby Jackson, Mary Masterson, Pam Meecham, Paul Wood. New Haven: Yale University Press in association with the Open University, the Arts Council of England, and the Tate Gallery, 1996: 143-154.

Hohmann, Marti. "The Politics of the G-Spot: Penetrative Sex in Feminist Pornography, 1981-1991." Harvard Gay & Lesbian Review (Summer 1996): 23-25.

Jagodzinski, Jan. The Anamorphic I/i: Finding My Own Step Through the (My)nefield of Pheminism and Art. Edmonton: Duval House Publishing, 1996.

Jones, Amelia. "Sexual Politics: Feminist Strategies, Feminist Conflicts, Feminist Histories." in Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History (exhibition catalogue). Los Angeles: Armand Hammer Museum of Art and Cultural Center, University of California Press, 1996: 20-38.

Love Gasoline (exhibition catalogue). Text by Barbara Fischer. Toronto: Mercer Union, 1996.

Lumpkin, Libby. "Unintended (Ph)allacies: A Feminist Reading of 'Sexual Politics'" (exhibition review). Art Issues, no. 44 (September/October 1996): 21-25.

Meskimmon, Marsha. The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century. New York: Columbia University Press, 1996.

More Than Minimal: Feminism and Abstraction in the ‘70s (exhibition catalogue). Edited by Susan L. Stoops. Texts by Whitney Chadwick, Kate Linker, Lucy Lippard, Anne M. Wagner. Waltham, Massachusetts: Brandeis University, 1996.

Ratcliff, Carter. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York: Farrar, Straus and Giroux, 1996.

Sandler, Irving. Art of the Postmodern Era, From the Late 1960s to the Early 1990s. New York: HarperCollins, 1996.

Smyth, Cherry. Damn Fine Art by New Lesbian Artists (Julia Kunin entry). London: Cassell, 1996.

Stiles, Kristine and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings. Berkeley, Los Angeles: University of California Press, 1996. [Reprints of Morin, France. "Lynda Benglis in Conversation with France Morin." (1977 excerpt) and Lacy, Suzanne. "The Name of the Game." (1991)]

Straayer, Chris. Deviant Eyes, Deviant Bodies. New York: Columbia University Press, 1996. [Reprint of "The She Man: Postmodern Bi-Sexed Performance in Film and Video." (1990)]

1997

Deepwell, Katy. "Bad girls? Feminist identity politics in the 1990s." in Other than identity: The subject, politics and art. Edited by Juliet Steyn. Manchester and New York: Manchester University Press, 1997: 152-165.

Denton, Monroe. "Inherent Voices." Arti (May/June 1997): 50–74.

Hobbs Thompson, Margo. "Lynda Benglis." in Dictionary of Women Artists. vol. I. Edited by Delia Gaze. Chicago: Fitzroy Dearborn Publishers, 1997: 241-243.

Kirwin, Liza. "Gallery Advertisements and the Construction of the East Village Art Scene in American Art Magazines, 1981-1987." Paper delivered at the College Art Association 85th Annual Conference, New York City, 15 February 1997. [unpublished]

Pollock, Griselda. "The Ambivalence of Pleasure: Griselda Pollock Interviewed by Richard Candida Smith." Getty Research Institute for the History of Art and the Humanities, 1997.

Rand, Erica. "An Intimate Distance: Women, Artists, and the Body" (book review). Artforum 36, no. 3 (November 1997).

Ratcliff, Carter. "The Fate of a Gesture: Lynda Benglis." Artnet. 13 June 1997. [excerpt of "The Fate of a Gesture" (1996)]
http://www.artnet.com/mag/magazine/index/ratcliff/ratcliff6-13-97.html

Schneider, Rebecca. The Explicit Body in Performance. London: Routledge, 1997.

Schor, Mira. Wet: On Painting, Feminism, and Art Culture. Durham: Duke University Press, 1997. [Reprint of "Representations of the Penis" (1988) and "Patrilineage" (1991 with 1992 postscript)]

Spector, Nancy. "Performing the Body in the 1970s." in Rrose is a Rrose is Rrose: Gender Performance in Photography (exhibition catalogue). Texts by Jennifer Blessing, Jack Halberstam, Lyle Ashton Harris, Nancy Spector, Carole-Anne Tyler, and Sarah Wilson. New York: Solomon R. Guggenheim Museum, 1997: 156-175.

1998

Bracker, Alison. "Lost Property: Lisa Lyon in Artforum." Make, no. 81 (September/November 1998): 14–18.

Chave, Anna. "Striking Poses: The Absurdist Theatrics of Eva Hesse." in Sculpture and Photography: Envisioning the Third Dimension. Edited by Geraldine Johnson. Cambridge: Cambridge University Press, 1998: 166-180.

Disidentico: Maschile, Feminile e Oltre (exhibition catalogue). Text by Achille Bonito Oliva. Palermo: Panepinto Arte, 1998. [Parenthesis]

Colllings, Matthew. It Hurts: New York art from Warhol to now. London: 21, 1998.

Hainley, Bruce. "Out of Actions: Between Performance and the Object, 1949-1979" (exhibition review). Artforum 37, no. 1 (September 1998): 144-146.

Hughes, Cassidy. Sex in Art: Pornography and Pleasure in the History of Art. Maidstone, Kent, U.K.: Crescent Moon, 1998.

Jones, Amelia. Body Art: Performing the Subject. Minneapolis: University of Minnesota Press, 1998.

*Koroxinidis, Alexandra. "Unbearable Strength of Art's Maturity." International Herald Tribune, 30 November 1998: sec. Inside Kathimerini, 6.

Ripley, Deborah. "Postcoital Painting" (exhibition review). Artnet, 8 December 1998. www.artnet.com/magazine/reviews/ripley/ripley12-8-98.html

Robins, Corinne. "Rediscovering Sex in Feminist Art" (book review). Art Journal 57, no. 1 (Spring 1998): 88–89.

Stiles, Kristine. "Uncorrupted Joy: International Art Actions." in Out of Actions: Between Performance and the Object, 1949-1979 (exhibition catalogue). Texts by Paul Schimmel, Shinichiro Osaki, Hubert Klocker, Guy Brett, Kristine Stiles. Los Angeles: Thames and Hudson, Museum of Contemporary Art Los Angeles, 1998: 227-329.

Townsend, Chris. "Aging Disgracefully." in Vile Bodies: Photography and the Crisis of Looking. Munich, New York: Prestel, 1998: 97-128.

1999

The American Century: Art and Culture 1950–2000 (exhibition catalogue). Text by Lisa Phillips. New York: Whitney Museum of American Art in association with Norton, 1999.

Barlow, Margaret. Women Artists. New York: Hugh Lauter Levin Associates, Inc., 1999.

Duncan, Michael. "L.A. Portraiture: Post-Cool." Art in America 87, no. 10 (October 1999): 124–131.

Huberty, Erica Gambino. "A Trio of Artists with Styles All Their Own." Southampton Press, 9 September 1999: B5.

Kimmelman, Michael. "Cindy Sherman." in Portraits. New York: The Modern Library, 1999: 141-156.

Kirwin, Liza. "Timeline of the East Village 1979-1989: A Chronology." Artforum 38, no. 2 (October 1999): 121-128.

Koroxenidis, Alexandra. "A Female Sensibility Made Tongue-In-Cheek." International Herald Tribune, 11 January 1999.

Koskina, Katerina. "Modern Odysseys." Odyssey (November/December 1999): 62-66.

Krauss, Rosalind. "Louise Bourgeois: Portrait of the Artist as Fillette." in Bachelors. Cambridge: MIT Press, 1999: 51-74.

Kuspit, Donald B. Redeeming Art: Critical Reveries. New York: Allworth Press, 2000. [Reprint of "Authoritarian Abstraction" (1977)]

Leatherman, Courtney. "Conflict Over a Divisive Scholar Combines Issues of Art, Sexuality, and Teaching Style." Chronicle of Higher Education 45, no. 59 (13 August 1999): A14.

Lumpkin, Libby. Deep Design: Nine Little Art Histories. Los Angeles: Art Issues Press, 1999. [Reprint of "Unintended (Ph)allacies" (1996)]

Lynda Benglis/Joe Zucker (exhibition brochure). Text by Lisa Panzera. East Hampton, New York: Guild Hall, 1999.

McClellan, Marian S. "Lynda Benglis' Processes" (exhibition review). The New Orleans Art Review 17, no. 5 (May/June 1999): 34–37.

Modern Odysseys: Greek American Artists of the 20th Century (exhibition catalogue). Texts by Peter Selz and William R. Valerio. New York: Queens Museum of Art, D.A.P. Publishers, 1999.

Paley, Maggie. The Book of the Penis. New York: Grove Press, 1999.

Siegel, Jeanne. Painting After Pollock: Structures of Influence. Amsterdam: G+B Arts International, 1999.

Trebay, Guy. "The Art of Effacement: Whitney Returns Ray Johnson to the Fold" (exhibition review). The Village Voice, 19 January 1999: 41. [t-shirt]

Return to Top of Section

*Contains a statement by Benglis
†Selected works by other artists

2000

Bois, Yves-Alain. "Challenging Art: Artforum 1962-1974" (book review). Artforum 39, no. 2 (October 2000): 21-22.

Breitenberg, Mark. "Freak Culture: Interview with Mike Kelley." Artext, no. 68 (February/March/April 2000): 59-62.

Chave, Anna. "Minimalism and Biography." Art Bulletin 82, no. 1 (March 2000): 149–163.

Farr, Sheila. "Material as Message" (exhibition review). The Seattle Times, 20 October 2000: H32.

Gubar, Susan. "Lesbian Studies 101 (As Taught by Creative Writers)" in Critical Condition: Feminism at the Turn of the Century. New York: Columbia University Press, 2000: 45-68.

Hackett, Regina. "Sculptor's works rise beyond her brilliant gesture of the past" (exhibition review). Seattle Post-Intelligencer, 27 October 2000: 25.

Hammond, Harmony. Lesbian art in America: A Contemporary History. New York: Rizzoli, 2000. [footnote, but a good one]

Harper, Paula. "The Chicago Resolutions" (Judy Chicago). Art in America 88, no. 6 (June 2000): 112-115, 137.

Ho, Melissa. "Valie Export: Goldie Paley Gallery: Moore College of Art and Design" (Valie Export exhibition review). New Art Examiner 27 no. 47 (May 2000): 47.

*Huberty, Erica-Lynn. "Intensity of Form and Surface." Sculpture Magazine 19, no 6 (July/August 2000): 31–37.

Jones, Amelia. The Artist's Body. Edited by Tracy Warr. London: Phaidon, 2000.

*Newman, Amy. Challenging Art: Artforum, 1962-1974. New York: Soho Press, 2000.

Pollack, Barbara. "Babe Power." Art Monthly, no. 235 (April 2000): 7–10.

Pops, Martin. "Three Exhibitions" (exhibition review). Salmagundi, nos. 128-129 (Fall 2000/Winter 2001): 16–41.

Smith, Roberta. "Portrait of the Artist as a Young Woman; Glossy Images That Both Mimic and Mock Male Sexuality." The New York Times, 5 July 2000: E1.

†Stoltmann, Kirsten. "Advertisement." Artforum 39, no. 1 (September 2000): 113.

2001

Agnati, Tiziana. Flaesh-in(g) Mirror: Women Artists' Self-representation in the Twentieth Century. Milan: Selene Edizioni, 2001.

*Benglis, Lynda. "Correspondence with Steven Leiber." 10 April 2001. [unpublished]

Breidenbach, Tom. "New York ca. 1975" (exhibition review). Artforum 40, no. 3 (November 2001): 148–149.

Canning, Susan. "Reviews: Northeast" (exhibition review). Art Papers 25, no. 6 (2001): 72.

Century City: Art and Culture in the Modern Metropolis (exhibition catalogue). London: Tate Publishing, 2001.

Dannatt, Adrian. "This Text is a Work of Art." Parkett, no. 63 (2001): 163–168.

Frueh, Joanna. "Feminism." in Feminism-Art-Theory. Edited by Hilary Robinson. Malden, Massachusetts: Blackwell Publishers, Ltd., 2001: 578-583.

Foster, Hal. "Art Agonistes" (book review). New Left Review, no. 8 (March/April 2001): 140-149.

Heartney, Eleanor. "Boomtowns of the Avant-Garde" (exhibition review). Art in America 89, no. 9 (September 2001): 65-69.

Kangas, Matthew. "Metamorphosis: Glass Sculptures by Lynda Benglis." Glass: The Urban Glass Art Quarterly Special Czech Republic Section, no. 82 (Spring 2001): 22–27.

Kastner, Jeffrey. "c1975 and All That" (exhibition review). Art Monthly, no. 249 (September 2001): 1–4.

Kramer, Hilton. "The Museum as Culture Mall" (exhibition review). The New Criterion 19, no. 2 (June 2001): 4-8.

Phelan, Peggy. Art and Feminism. Edited by Helena Reckitt. London: Phaidon, 2001.

Princenthal, Nancy. "Body Count: Recent Photographs of Women by Women—And Some Precedents." Artext, no. 72 (February/April 2001): 64–71.

Reilly, Maura. "Cindy Sherman's Untitled Film Stills: Reproductive or Transgressive Mimicry? (1977-81)." in Women Making Art: Women in the Visual, Literary, and Performing Arts since 1960. Edited by Deborah Johnson and Wendy Oliver. New York: Peter Lang Publishing, Inc., 2001: 117-140.

Searle, Adrian. "Arts: Urban sprawl: Vienna, Paris, Lagos, Rio…Tate Modern's first major show takes us to nine cities at pivotal moments in the last century. Adrian Searle feels lost" (exhibition review). The Guardian 1 February 2001: 12-13.

Sewell, Brian. "Mission impossible in this mad, mad Modern world" (exhibition review). Evening Standard, 9 February 2001: 32-33.

Slade, Joseph W. Pornography and Sexual Representation: A Reference Guide. Vol. II. Westport, Connecticut: Greenwood Press, 2001.

*Vaisman, Daria. "Return of the Scandalous Dildo." New York Press, 11–17 July 2001: sec. Art, 8.

2002

A.F. "Hey Hey Frankenthaler: A Survey of Important Works by Lynda Benglis, Locks Gallery, Philadelphia" (exhibition review). The Art Newspaper, May 2002.

Allen, Gwen. "Documents of 1960s Art" (book review). Art Journal 61, no. 2 (Summer 2002): 100–103.

Les années 70: l'art en cause (exhibition catalogue). Text by Maurice Fréchuret. Bordeaux: capc Musée d'art contemporain de Bordeaux, 2002.

Butler, Christopher. Post-Modernism: A Very Short Introduction. Oxford: Oxford University Press, 2002.

Carson, Juli. "On Discourse as Monument: Institutional Spaces and Feminist Problematics" in Alternative Art New York: 1965-1985. Edited by Julie Ault. Minneapolis: University of Minnesota Press in collaboration with The Drawing Center, 2002: 121-160.

Cohen, David. "Challenging Art: Artforum 1962–1974" (book review). The Art Bulletin 84, no. 3 (September 2002): 535–538.

Cotter, Holland. "Two Nods to Feminism, Long Snubbed by Curators" (exhibition review). The New York Times, 11 October 2002: E35.

Doss, Erika. Twentieth Century American Art. Oxford: Oxford University Press, 2002.

Dailey, Meghan. "Gloria: Another Look at Feminist Art in the 1970s" (exhibition review). Artforum 41, no. 4 (December 2002): 141–142.

Foster, Hal. Design and Crime (And Other Diatribes). London, New York: Verso, 2002. [Reprint of "Art Agonistes" (2001) as "Art Critics in Extremis"]

Gammel, Irene. Baroness Elsa: Gender, Dada, and Everyday Modernity: A Cultural Biography (Elsa von Freytag- Loringhoven). Cambridge: MIT Press, 2002.

Gloria: Another Look at Feminist Art of the 1970s (exhibition catalogue). Texts by Catherine Morris and Ingrid Schaffner. New York: White Columns, 2002.

Hutcheon, Linda. The Politics of Postmodernism. 2nd ed. London: Routledge, 2002.

Jay, Martin. "Somaesthetics and Democracy: Dewey and Contemporary Body Art." Journal of Aesthetic Education 36, no. 4 (Winter 2002): 55–69.

Jones, Peter. "Anxious Images: Linder's Fem-Punk Photomontages" (Linder Sterling/Linda Mulvey). Women: a cultural review 13 no. 2 (2002): 161-178.

Krayera, Janet. "Feminist Flashback" (exhibition review). Time Out New York (2002): 52.

Kunst Nach Kunst/Art After Art (exhibition catalogue). Texts by Gregor Stemmrich, Guido Boulboulle, Raimar Stange, and Peter Friese. Bremen, Germany: Hauschild, 2002.

Miles, Christopher. "Daniel Joseph Martinez" (Daniel Joseph Martinez exhibition review) Artforum 41, no. 1 (September 2002): 209.

Naves, Mario. "Another Revelation from Lynda Benglis" (exhibition review). The New York Observer, 28 January 2002: 14.

Ng, Natalie. "Embodying Feminism." in Personal and Political: The Women's Art Movement, 1969–1975 (exhibition catalogue). Texts by Ruth Appelhof, Kate Millett, Simon Taylor, Natalie Ng. East Hampton, New York: Guild Hall, 2002: 33-43.

Paulk, Ann Bronwyn. "Femi-Primitivism." Art Criticism 17, no. 2 (2002): 41–54.

Richmond, Susan. Put-Ons and Take-Offs: Lynda Benglis, Feminism and Representations of the Body, 1967-1977. PhD. Dissertation, University of Texas at Austin, 2002.

Rubinstein, Raphael. "American Criticism and How It Got That Way" (book review). Art in America 90, no. 6 (June 2002): 37–41.

Ruck, Houston. "Feminist Artist Speaks Today." Vanderbilt Hustler, 13 March 2002: 7, 9.

Rush, Michael. "A Renegade's Art of the Altogether" (Katarzyna Kozyra exhibition review). The New York Times, 21 April 2002: AR 31.

Sansegundo, Sheridan. "Artists Decry Curator's Firing." The East Hampton Star, 2002: sec. III, 1, 3.

Schwabsky, Barry. "First Break: Lynda Benglis." Artforum 41, no. 2 (October 2002): 33.

Schwendener, Martha. "Gloria: Another Look at Feminist Art of the 1970s" (exhibition review). Artforum, September 2002. https://www.artforum.com/events/gloria-another-look-at-feminist-art-of-the-1970s-178614/

Smith, Roberta. "Art in Review: Lynda Benglis, Franklin Parrasch" (exhibition review). The New York Times, 1 February 2002: E37.

Taylor, Simon. "The Women Artists' Movement: From Radical to Cultural Feminism, 1969-1875." in Personal and Political: The Women's Art Movement, 1969–1975 (exhibition catalogue). Texts by Ruth Appelhof, Kate Millett, Simon Taylor, Natalie Ng. East Hampton, New York: Guild Hall, 2002: 9-32.

2003

Angeline, John. "The Body is Invited: The Dinner Party Exposed, the Victorian Nude" (Judy Chicago). Velvetpark (April 2003): 42-43.

Burton, Johanna. "Calling Gloria" (exhibition review). X-tra 5, no. 3 (2003): 16–19.

Jones, Amelia, ed. The Feminism and Visual Culture Reader. London: Routledge, 2002. [Reprint of Lippard, Lucy "On the Arts: Transformation Art" (1975) as "Making Up: Role Playing and Transformation in Women's Art"]

Laquer, Thomas W. Solitary Sex: A Cultural History of Masturbation. New York: Zone Books, 2003.

The Last Picture Show: Artists Using Photography 1960-1982 (exhibition catalogue). Text by Douglas Fogle. Minneapolis: Walker Art Center, 2003

Lovelace, Carey. "Art & Politics I: Feminism at 40" (exhibition review). Art in America 91, no. 5 (May 2003): 67–73.

Plagens, Peter. "John Coplans." Art in America 91, no. 10 (October 2003): 43.

Pollack, Barbara. "'Gloria' and 'Regarding Gloria'" (exhibition review). Art News 102, no. 3 (February 2003): 127–128.

Rimanelli, David. "Top Ten." Artforum 42, no. 4 (December 2003): 116-117.

Saltz, Jerry. "Ass Backwards" (Piotr Uklanski)." The Village Voice, 16 September 2003. https://www.villagevoice.com/ass-backwards/.

†Uklanski, Piotr. "Untitled (Ginger Ass)." Artforum 62, no. 1 (September 2003): 102-104.

Wen, Laio. No More Nice Girls: Interview the American Feminist Critics and Artists. Taipei: Taipei Publisher, 2003.

2004

Amman, Jean Christophe. "Lynda Benglis." in Ich will, dass Du mir glabst!: anlasslich der 9. Triennale Kleinplastik Fellbach 2004 (exhibition catalogue). Fellbach: Kulturamt der Stadt Fellbach, 2004: 170-171.

Camhi, Leslie. "Knot's Landing" (exhibition review). The Village Voice, 24–30 March 2004: sec. Art.

Cohen, David. "Gallery Going: Lynda Benglis" (exhibition review). The New York Sun, 18 March 2004: sec. Arts & Letters, 19.

Dailey, Meghan. "Who? I? How So?: Interview with Piotr Uklanski." Metropolis M, 28 June 2004. https://metropolism.com/nl/feature/wie-ik-hoezo/

Foster, Hal, Rosalind E. Krauss, Yve-Alain Bois, B.H. Buchloh, David Joselit. Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson, 2004.

Harrison, Helen A. "An Earthly Sculptor's Organic Mysteries." The New York Times, 9 May 2004: 1, 9.

Levin, Kim. "Voice Choices: Shortlist" (exhibition review). The Village Voice, 24–30 March 2004: C50.

Mack, Joshua. "The Human Touch" (Vera List). Modern Painters 17, no. 2 (Summer 2004): 24–29.

Mars, Tanya. "Not Just For Laughs: Women, Performance, and Humour." in Caught in the Act: An Anthology of Performance Art by Canadian Women. Edited by Tanya Mars and Johanna Householder. Toronto: YYZ Books, 2004.

*Meyer, Richard. "Bone of Contention: Richard Meyer on Lynda Benglis's Controversial Advertisement." Artforum 43, no. 3 (November 2004): 73–74, 249–250.

Modern Means: Continuity and Change in Art, 1880 to Now (exhibition catalogue). Texts by Deborah Wye, Wendy Weitman, David Elliot. New York: Museum of Modern Art, 2004.

Morris, Catherine. "Rebel with a Cause" (exhibition review). Time Out New York, no. 442 (18–25 March 2004): 74.

Myers, Julian. "Lynda Benglis" (exhibition review). Frieze, no. 84 (Summer 2004): 134.

Rodriguez, Johnette. "Glorious: The RISD Museum Focuses On Feminist Art" (exhibition review). The Providence Phoenix, 9 January 2004: sec. Arts, 8.

Skulptur: Prekärer Realismus zwischen Melancholie und Komik (exhibition catalogue). Text by Sabine Folie. Wien: Kunsthalle Wien, 2004.

Trembley, Nicolas. "Piotr Uklanski: I want to go to Hollywood!" Art Press no. 302 (June 2004): 40-45.

Van Proyen, Mark. "On Point." Artweek 35, no. 3 (April 2004): 5.

Westwater, Angela. "John Coplans." Artforum 42, no. 5 (January 2004): 144.

Wilcox-Titus, Catherine. "The Perils and Pleasures of Double Consciousness: Strategies of Impersonation in the Artwork of Emma Amos and Sherrie Levine." Southeastern College Art Conference Review 14, no. 4 (2004): 333-344.

Yablonsky, Linda. "How Far Can You Go?" Art News 103, no. 1 (January 2004): 104–109.

2005

Allen, Jennifer. "Bik Van Der Pol" (Bik Van Der Pol exhibition review) Artforum 44, no. 4 (December 2005): 104–105, 107–108.

Cindy Sherman: Working Girl (exhibition catalogue). Texts by Catherine Morris and Paul Ha. St. Louis: Contemporary Art Museum St. Louis, 2005.

Drucker, Johanna. Sweet Dreams: Contemporary Art and Complicity. Chicago: University of Chicago Press, 2005.

Mahon, Alyce. Eroticism and Art. Oxford: Oxford University Press, 2005.

Miller, John. "Sarah Lucas" (Sarah Lucas exhibition review). Artforum 44, no. 2 (October 2005): 269.

Richmond, Susan. "Sizing Up the Dildo: Lynda Benglis' Artforum Advertisement as a Feminist Icon." n.paradoxa 15 (January 2005): 24–34.

Schwabsky, Barry. "Oktoberfest" (book review). The Nation (26 December 2005): 43-47.

Taylor, Brandon. Contemporary Art: Art Since 1970. Upper Saddle River: Pearson, 2005.

Wagner, Barbara. "Underneath the Clothes—Transvestites without Vests: A Consideration in Art." in Genealogies of Identity: Interdisciplinary Readings on Sex and Sexuality. Edited by Margaret Sonser Breen and Fiona Peters. Amsterdam, New York: Rodopi, 2005: 137-150.

2006

Aletti, Vince. "No-Name Game" (Mike Kelley exhibition review). New Yorker (9 October 2006). https://www.newyorker.com/magazine/2006/10/09/no-name-game

Balducci, Temma. "Revisiting 'Womanhouse': Welcome to the (Deconstructed) Dollhouse.'" Woman's Art Journal 27, no. 2 (Fall/Winter 2006): 17–23.

*Benglis, Lynda. "Artist’s Statement: Lynda Benglis, Interview with curator Katy Siegel, December 18, 2005." in High Times, Hard Times: New York Painting 1967-1975 (exhibition catalogue). Edited by Katy Siegel. New York: Independent Curators International and D.A.P. Distributed Art Publishers, 2006: 131.

Buszek, Maria Elena. Pin-up Grrrls: Feminism, Sexuality, Popular Culture. Durham: Duke University Press, 2006.

Essoe, Jordon. "Viewpoint." Artweek 37, no. 2 (March 2006): 5.

Glueck, Grace. "The Downtown Scene, When It Was Still Dirty" (exhibition review). The New York Times, 13 January, 2006: E38.

Jones, Amelia. "Interventions Reviews: Art Since 1900: Modernism, Antimodernism, Postmodernism" (book review). The Art Bulletin 88, no. 2 (June 2006): 373–389.

Liese, Jennifer. "Cram Session." Artforum, 8 March 2006. https://www.artforum.com/diary/jennifer-liese-on-this-year-s-caa-conference-10561

McCormick, Carlo. "A Crack in Time." in The Downtown Book (exhibition catalogue). Texts by Lynn Gumpert, Bernard Gendron, Carlo McCormick, Roselee Goldberg, Matthew Yokobosky, Robert Siegle, Brian Wallis. New York: Princeton University Press, 2006.

Potentially Harmful: The Art of American Censorship (exhibition catalogue). Texts by Cathy Byrd, Nina Felshin, Richard Meyer, Jon Lewis, Susan Richmond, Svetlana Mintcheva, Michelle Joan Wilkinson, Faith Wilding, Michael Landau. Atlanta: Ernest G. Welch School of Art & Design Gallery, 2006.

Ross, Christine. "The Laboratory of Deficiency." The Aesthetics of Disengagement: Contemporary Art and Depression. Minneapolis: University of Minnesota Press, 2006: 51–93.

Saltz, Jerry. "Best of NYC: Best women artists not being casual about the penis." The Village Voice, 18 October 2006: 70-71.

Steinmetz, Julia, Heather Cassils, Clover Leary. "Behind Enemy Lines: Toxic Titties Infiltrate Vanessa Beecroft." Signs 31, no. 3 (Spring 2006): 753-783.

Wark, Jayne. Radical Gestures: Feminism and Performance Art in North America. Montreal and Kingston: McGill-Queen's University Press, 2006.

2007

Aliaga, Juan Vincente. Orden Fálico: Androcentrismo y Violencia de Género en las Prácticas Artísticas del Siglo XX. Madrid: Ediciones Akal, 2007.

Allen, Gwen and Cherise Smith. "Publishing Art: Alternative Distribution in Print." Art Journal 66, no. 1 (Spring 2007): 41–45.

Allen, Jennifer. "Functional Nudity: The Popularity of Porn in Art." Metropolis M, no. 2 (April/May 2007).

A Batalla Dos Xeneros (Gender Battle) (exhibition catalogue). Santiago de Compostela: Centro Galego de Arte Contemporanea, 2007.

Blistène, Bernard. "Une Histoire de l'Art et du Sexe au XXe (et XXIe) Siecle." Beaux Arts Magazine, no. 278 (August 2007): 62–77.

Buskirk, Martha. "Rosalind Krauss." in Art: Key Contemporary Thinkers. Edited by Diamuid Costello and Jonathan Vickery. London: Berg, 2007: 78-81.

Camhi, Leslie. "Body Work" (exhibition review). The Village Voice, 8-14 August 2007: 55.

Circa 70: Lynda Benglis and Louise Bourgeois (exhibition catalogue). Text by Robert Pincus-Witten. New York: Cheim & Read, 2007.

Cohen, David. "Sogginess With An Edge" (exhibition review). The New York Sun, 28 June 2007: 17, 20.

Cotter, Holland. "Circa 70" (exhibition review). The New York Times, 13 July 2007: E31.

eFEMera (exhibition catalogue). Binghamton: University Art Museum, State University of New York at Binghamton, 2007.

Falconer, Morgan. "Listen with 'Mother': Interview" (Louise Bourgeois). The Times (London), 15 September 2007: 29.

*Goddard, Dan R. "Ceramic Sculptures of Lynda Benglis Give an Abstract Message" (exhibition review). San Antonio Express-News, 8 July 2007: sec. Art.

Klaasmeyer, Kelly. "Liquid Courage, It's Time for Lynda Benglis to Become Cool Again" (exhibition review). Houston Press, 2–8 August, 2007: sec. Art, 42.

Landi, Ann. "Lynda Benglis and Louise Bourgeois" (exhibition review). Art News 106, no. 9 (October 2007): 210.

Lawrence, Sidney. "Melissa Ichiuji at Irvine Contemporary" (Melissa Ichiuji exhibition review). Art in America 95, no. 9 (October 2007): 218-219.

Lippard, Lucy. "No Regrets." Art in America 95, no. 6 (June/July 2007): 75-79.

Mey, Kerstin. Art and Obscenity. London: I.B. Taurus, 2007.

Meyer, Richard. "Feminism Uncovered: On the 'Wack!' Catalogue" (book review). Artforum 45, no. 10 (June 2007): 211–212, 538.

Milroy, Sarah. "Books" (book review). The Globe and Mail (Toronto), 24 November 2007: R7.

Pollack, Barbara. "Free Radicals: The Feminist Revolution Was Liberating for Artists, Too" (exhibition review). The Washington Post, 22 September 2007: C1, 6.

Pollock, Griselda. Encounters in the Virtual Feminist Museum: Time, Space and the Archive. New York and London: Routledge, 2007.

Pollock, Griselda and Joyce Zemans, eds. Museums After Modernism: Strategies of Engagement. Malden, Massachusetts: Blackwell Publishing Ltd., 2007. [Reprint of Carson, Juli. "On Discourse as Monument: Institutional Spaces and Feminist Problematics" (2002)]

Princenthal, Nancy. "Feminism Unbound" (exhibition review). Art in America 95, no. 6 (June/July 2007): 142–153, 221.

Richard, Frances. "Circa 1970" (exhibition review). Artforum 46, no. 2 (October 2007): 373.

Schor, Gabriele, ed. Held Together With Water: Art from the Sammlung Verbund. Ostfildern, Germany: Hatje Cantz, 2007.

Schwendener, Martha. "Embracing Many Mediums To Focus on the Message" (Linder Sterling/Linda Mulvey exhibition review). The New York Times, 21 June 2007: E10.

Smith, Cherise. "Re-Member the Audience: Adrian Piper's Mythic Being Advertisements." Art Journal 66, no. 1 (Spring 2007): 47–58.

Thompson, Adam. "Circa 70: Lynda Benglis + Louise Bourgeois" (exhibition review). Art Papers 31, no. 6 (2007): 73.

Wack! Art and the Feminist Revolution (exhibition catalogue). Edited by Lisa Gabrielle Mark. Cambridge: the MIT Press, 2007.

Weil, Harry Jacob. "Circa 1970" (exhibition review). artUS, no. 20 (Winter 2007): 47.

2008

Agency: Art and Advertising (exhibition catalogue). Text by Kevin Concannon. Youngstown: McDonough Museum of Art, 2008.

Donahue, Marlena. "The Semiotics of the Itsy Bitsy Bikini." in Garb: A Fashion Culture Reader. Edited by Parme Giunit and Kathryn Hagen. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2008: 243-258.

Gluibizzi, Amanda. "Tickling the Ivory Tower: Toward a Salon Culture in Libraries." Art Documentation: Journal of the Art Libraries Society of North America 27, no. 1 (Spring 2008): 24–27.

Hannah Wilke: Gestures (exhibition catalogue). Texts by Tracy Fitzpatrick, Saundra Goldman, Tom Kockheiser, Griselda Pollock. Purchase, New York: Neuberger Museum of Art, 2008.

Heiser, Jorg. All of a Sudden: Things that Matter in Contemporary Art. Berlin: Sternberg Press, 2008.

Joyce, Beverly. "Pin-Up Grrrls: Feminism, Sexuality, Popular Culture" (book review). Southeastern College Art Conference Review 15, no. 3 (2008): 359.

Kuzma, Marta. "Whatever Happened to Sex in Scandanavia? I Am Curious (Yellow)." Afterall: A Journal of Art, Context and Enquiry, no. 17 (Spring 2008): 5–19.

Portillo, Jen. "Art, Feminism, and Representation of Gender in Lynda Benglis's Untitled." FAQ: University of Manitoba Feminist and Queer Review 1, no. 2 (2008): 59-62.

Punk. No One is Innocent: Art-Style-Revolt (exhibition catalogue). Texts by Gerald Matt, Thomas Miessgang, Jon Savage, Glenn O'Brien, Wolfgang Muller, Malcom McClaren. Nuremberg: Verlag fur modern Kunst Nurnberg and Kunsthalle Wien, 2008.

Saltz, Jerry. "Art: The New York Canon." New York Magazine (14 April 2008): 76.

Taylor, Sue. "The Erotic Eye" (book review). Art in America 96, no. 5 (May 2008): 57-61.

Verhagen, Erik. "Jonathan Monk" (Jonathan Monk exhibition review). Art Press, no. 343 (March 2008): 79.

William McKeown, Irish Museum of Modern Art (exhibition catalogue). Text by Enrique Juncosa. Milan: Charta, 2008.

Willson, Jacki. The Happy Stripper: Pleasures and Politics of the New Burlesque. London: I.B. Tauris, 2008.

2009

*Bui, Phong. "In Conversation: Lynda Benglis." The Brooklyn Rail (December 2009/January 2010): 20–22.

Capps, Kriston. "Lynda Benglis/Robert Morris" (exhibition review). Art in America, 8 July 2009. https://www.artnews.com/art-in-america/aia-reviews/lynda-benglisrobert-morris-19731974-60295/.

*Douglas, Sarah. "My Brilliant Career: Lynda Benglis." Art + Auction (November 2009): 28.

Ebony, David. "Marina Abramovic." Art in America 97, no. 5 (May 2009): 112-121, 169.

Folkerts, Hendrik. "A short anthology of feminism." Metropolis M, 27 September 2009. https://metropolism.com/nl/feature/een-korte-bloemlezing-van-het-fe/

Funkenstein, Susan. "Encounters in the Virtual Feminist Museum: Time, Space and the Archive" (book review). Woman's Art Journal 30, no. 1 (Spring/Summer 2009): 55–57.

Graves, Jen. "What Benglis Wore." The Stranger.com, 2 July 2009. https://www.thestranger.com/slog/archives/2009/07/02/what-lynda-benglis-wore

Gautherot, Franck. "Life of an Artist (or How to Understand Left Wing Jewellery)." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 202-217.

Hancock, Caroline. "Medusa in Ecstasy." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 126-149.

Herbert, Martin. "Now See This." Art Review, no. 36 (November 2009): 32.

Hickey, Dave. "A House Built in a Body: Lynda Benglis Early Work." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 10-21.

Hoptman, Laura. "For the Amusement of a Goddess." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 218-227.

Hudson, Suzanne. "Previews: Lynda Benglis." Artforum 48, no. 1 (September 2009): 143.

*Kim, Seungduk. "Liquid Metal: Lynda Benglis and Seungduk Kim in Conversation." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 154-191.

Kreimer, Julia. "Shape Shifter: Lynda Benglis." Art in America 97, no. 11 (December 2009): 94–101.

Lambrecht, Luk. "Werk van drie straffe vrouwen in het Van Abbemuseum in Eindhoven." Knack blogt, 15 August 2009).

Lebovici, Elisabeth. "Lynda Benglis: 'Of All Matters...'" in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 72-94.

"Letters." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 56-62.

Messager, Annette. "All artists are hermaphrodites." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 67.

Michelson, Annette and Rosalind Krauss. "Plain Choice." Artforum 48, no. 3 (November 2009): 40.

*Mijnheer, Dennis. "Starende Blikken (Female Gaze)." in Times 3 triotentoonstelling: Jo Baer, Lynda Benglis, Jutta Koether (exhibition catalogue). Amsterdam: Blend & Van Abbemuseum, 2009: 60–71.

Milroy, Sarah. "Commercial Cunning" (exhibition review). The Globe & Mail (Toronto), 26 November 2009: R1.

Minoso, Yuderkys Espinosa. "Polvo Leudante." Soy 1, no. 47 (30 January 2009): 4-7.

O'Neill-Butler, Lauren. "Lynda Benglis and Robert Morris" (exhibition review). Artforum 48, no. 2 (October 2009): 234–235.

*"Oral history interview with Lynda Benglis, 2009 November 20." Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/collections/interviews/oral-history-interview-lynda-benglis-15741

Rosenberg, Karen. "An Iconoclast Who Valorizes the Erotic and Ecstatic" (Dorothy Iannone exhibition review). The New York Times, 31 July 2009: C26.

Saltz, Jerry. "MoMA's Sex Change." New York Magazine (5-12 January 2009): 69-70.

Schorr, Collier. "Statement." Self Portfolio. New York: Cheim & Read, New York, 2009.

Schrank, Sarah. "Bohemia in Vogue." in Art and the City: Civic Imagination and Cultural Authority in Los Angeles. Philadelphia: University of Pennsylvania Press, 2009: 97-134.

Sherman, Cindy. "Statement." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 44.

†The Size Queens. Bang! Bang! Lynda Benglis! (music video). Directed by Steffan Frech, video by Torsten Kretchzmar, 2009. https://vimeo.com/4306126

†The Size Queens. Reading Rosalind Krauss (music video). Directed by Patrick Hillman, produced by Tony Cokes, commissioned by Our Literal Speed, 2009. https://www.youtube.com/watch?v=FF6l4X-EhJA

Smith, Roberta. "Art or Ad or What? It Caused a Lot of Fuss." The New York Times, 25 July 2009: C1, 5.

Sonnier, Keith. "Statement." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 319.

Tannenbaum, Judith. "Lynda Benglis: Clandestine Performer." in Lynda Benglis (retrospective exhibition catalogue). Edited by Franck Gautherot, Caroline Hancock and Seungduk Kim. Dijon: les presses du réel, 2009: 98-118.

Thornton, Sarah. Seven Days in the Art World. New York: W.W. Norton & Company, 2009.

We Interrupt This Program (exhibition guide). Texts by Ted Purves and Sara Robayo Sheridan. Toronto: Mercer Union, 2009.

Wesseling, Janneke. "Naakt met zonnebrill." NRC Handelsblad (Cultureel Supplement), 10 July 2009: 10.

Wilson, Michael. "Lynda Benglis/Robert Morris: 1973–1974" (exhibition review). Time Out New York, (9-15 July 2009).

Wolff, Rachel. "Amusing, Newly Unearthed Responses to Lynda Benglis and Her Infamous Dildo." New York Magazine, 2 July 2009. https://www.vulture.com/2009/07/amusing_newly_unearthed_respon.html

Wood, Catherine. "Best of 2009." Artforum 48, no. 4 (December 2009): 184–185.

Wullschlager, Jackie. "After Awkward Objects" (exhibition review). The Financial Times, 28 November 2009: 19.

Return to Top of Section

*Contains a statement by Benglis

2010

Butler, Kate. "Lynda Benglis." Sunday Times (10 January 2010): 37.

*Cashdan, Marina. "Time & Tide." Frieze, no. 134 (October 2010): 214–219.

Collischan, Judy. Made in the U.S.A.: Modern/Contemporary Art in America. New York: iUniverse, Inc., 2010.

Cook, Greg. "A Lynda Benglis Retrospective at the RISD Museum" (retrospective exhibition review). The Providence Phoenix, 27 October 2010.

Green, Tyler. "Our Avatars, Ourselves: What ever happened to self-portraits." Modern Painters (December 2010/January 2011): 28–29.

Griffin, Tim. "In Secrecy." Artforum 48, no. 5 (January 2010): 27. [Secrets]

Hide/Seek: Difference and Desire in American Portraiture (exhibition catalogue). Texts by Jonathan D. Katz, David C. Ward, Jennifer Sichel. Washington DC: National Portrait Gallery, Smithsonian Books, 2010.

High, Kathy. "Environmental Media at Artpark." in Artpark: 1974-1984 (exhibition catalogue). Texts by Sara Q. Firmin, Kathy High, Richard Huntington, Mark Linder, Rebecca Lee Reynolds. Buffalo: University of Buffalo Art Gallery, Center for the Arts, State University of Buffalo, 2010.

Jeff Koons: Made in Heaven Paintings (exhibition catalogue). Text by Alison Gingeras. New York: Luxembourg & Dayan, 2010.

Klein, Ashley Booth. "Judith Tannenbaum on the Work of Lynda Benglis." B Journal 1, no. 2 (2010).

*Landi, Ann. "Getting Paint off the Wall." Art News (September 2010): 84–89.

*Larrat-Smith, Phillip. "A Conversation with Lynda Benglis." in Larratt-Smith, Phillip, Paul Auster and Lynda Benglis. Joan Mitchell. Edinburgh: Inverleith House, Royal Botanic Garden, 2010.

Lawrence, Nora. "Lynda Benglis." in Modern Women: Women Artists at the Museum of Modern Art. Edited by Cornelia H. Butler and Alexandra Schwartz. New York: Museum of Modern Art, 2010: 376-379.

Lynda Benglis (exhibition brochure). Dublin: Irish Museum of Modern Art, 2010.

"Lynda Benglis February 9 to July 13, 2011." Paper (The New Museum of Contemporary Art) 9 (Fall/Winter 2010): 12.

Lynda Benglis: Flow and Flesh (exhibition catalogue). Text by Jeremy Gilbert-Rolfe. Philadelphia: Locks Gallery, 2010.

McAvera, Brian. "Lynda Benglis" (book review). Irish Arts Review 27, no. 1 (March/May 2010): 127.

McCarthy, Paul, Jens Hoffmann, Stacen Berg. Paul McCarthy's Lowlife Slowlife: Tidebox Tidebook. Ostfildern: Hatje Cantz, 2010.

Merrigan, James. "Stupid Judgment." Circa, no. 131 (October 2010): 1–7.

Meyer, Richard. "Miss Lynda: Richard Meyer on Lynda Benglis's Klaus 1975." Artforum 48, no. 5 (January 2010): 178–181. [Secrets]

Patten, Mary. "What Is To Be (Un)done: Notes on Teaching Art and Terrorism." Radical Teacher, no. 89 (2010): 9-20.

Pozzi, Lucio. "Il Successo e di Bronzo, Alla fine anche Il mercato si e accorto di Lynda Benglis, icona irreverente iel femminismo negli anni sessanta." Il Giornale Dell'Arte, March 2010: sec. Opinioni e Documenti, 38.

Princenthal, Nancy. Hannah Wilke. Munich: Prestel, 2010.

Rehberg, Vivian. "The Legacy of Lynda Benglis and Her Current Retrospective." Frieze, no. 134 (October 2010): 220–221.

Rosenberg, Karen. "Commentary That's Both Visual and Vocal" (exhibition review) The New York Times, 1 July 2010: C26.

"'Scarecrow' exhibit at Reed College features Andy Warhol's Polaroid photos" (exhibition review). Oregon Live, 15 April 2010. https://www.oregonlive.com/art/2010/04/scarecrow_exhibit_at_reed_coll.html.

*Schlenzka, Jenny. "Lynda, das warden sie dir nie vergessen." Monopol (June 2010): 74–82.

The Scripted Life: Candice Breitz (exhibition catalogue). Texts by Yilmaz Dziewior, Okwui Enwezor, Beatrice von Bismarck, Colin Richards. Begrenz: Kunsthaus Begrenz, 2010.

Smee, Sebastian. "A Body of Work That Maximizes Provocation" (retrospective exhibition review). Boston Sunday Globe, 10 October 2010: N6.

Smith, Roberta. "Polyurethane and Color Punctuate a Long Career" (exhibition review). The New York Times, 2 January 2010 sec. C, 3.

Wilson, Siona. "Reading Freire in London: Jo Spence's Photographs between Popular and Avant-Garde." The Popular Avant Garde. Renee M. Silverman, ed. Amsterdam: Rodopi, 2010.

2011

Allen, Gwen. "This Is Not To Be Looked At: Artforum in the 1960s and 1970s." in Artists' Magazines: An Alternative Space for Art. Cambridge: The MIT Press, 2011: 13-41.

"Art Pick: Material Whirl." The New Yorker, 25 February 2011.

"Artlog's Top Art & Culture Picks: Lynda Benglis." The Huffington Post, 11 February 2011.

Bailey, Stephanie. "The Unfolding Legacy of Lynda Benglis" (retrospective exhibition review). Insider Athens (July/August 2011): 10–11.

Bishop, Marlon. "New Sculpture Retrospective Comes to the New Museum" (retrospective exhibition review). WNYC.org, 8 February 2011. http://culture.wnyc.org/articles/features/2011/feb/08/new-sculpture-retrospective-comes-to-the-new-museum

Bui, Phong. "Art In Conversation: Jennifer Bartlett with Phong Bui." The Brooklyn Rail, July/August 2011. https://brooklynrail.org/2011/07/art/jennifer-bartlett-with-phong-bui

Byrnes, Theresa. "Lynda Benglis retrospective at Manhattan's New Museum" (retrospective exhibition review). The Mirror, 25 April 2011.

Cashdan, Marina. "Lynda Benglis." Whitewall (Spring 2011): 44.

Cashdan, Marina. "Lynda Benglis, Shape Shifter and Influencer." The Huffington Post, 9 February 2011. [Reprint of "Time & Tide" (2010)] https://www.huffpost.com/entry/exhibition-highlight-lynd _ b _ 820859

Castelli, Stefano. "Benglis, troppo radicale anche per i radicalli. La retrospettiva." Arte, no. 450 (February 2011): 22.

Civin, Marcus. "After Visiting the Lynda Benglis Traveling Retrospective" (retrospective exhibition review). Artslant Worldwide, January 2011. www.artslant.com/ew/articles/show/20692

Contemporary Art in North America. London: Black Dog Publishing, 2011. [Reprint of Saltz, Jerry. "Art: The New York Canon" (2008)]

Cruz, Araceli. "She's an artist, man! The brilliant ooze of Lynda Benglis" (retrospective exhibition review). The Village Voice, 9-11 February 2011: 23.

Doran, Anne. "Lynda Benglis" (retrospective exhibition review). Time Out New York (24 March 2011): 42.

*Duvernoy, Sophie. "Lynda Benglis at MOCA: Conceptual Art Meets Dildoes (NSFW)" (retrospective exhibition review). LA Weekly, 3 August 2011.

Erickson-Kery, Ian. "Lynda Benglis bucks trends with exhibit and on Miller stage." Columbia Spectator, 7 April 2011.

"Exhibit created at K-State opens at New Museum in NYC" (retrospective exhibition review). The Manhattan Mercury, 20 February 2011, D5.

Fensom, Sarah. "A Bad Girl's Vast Vision" (retrospective exhibition review). Art & Antiques (February 2011): 29.

Goldman, Edward. "The Road to Art Hell Is Paved With Good Intentions" (retrospective exhibition review). The Huffington Post, 8 August 2011.

Halle, Howard. "Best (and worst) of 2011." Time Out New York (15-28 December 2011): 71.

Hoban, Phoebe. "That Seventies Sensibility." Art News (November 2011): 90–97.

"In the Frame." The Art Newspaper, February 2011: 2.

"Itinerary." Sculpture 30, no. 4 (May 2011): 12-17.

Johnson, Paddy. "Lynda Benglis's Happy Dildos and Sexy Foam" (retrospective exhibition review). The L Magazine, 16 March 2011.

Knight, Christopher. "Art Review: A lively gush of forms and ideas" (retrospective exhibition review). Los Angeles Times, 5 August 2011: D1, 19.

Lawson, Thomas. "Rena Small-Experimental Impulse Interview." East of Borneo, 19 November 2011. https://eastofborneo.org/archives/rena-small-experimental-impulse-interview-2011

LeMieux-Ruibal, Bruno. "The Strength of Lynda Benglis: Polyurethane and Controversy" (exhibition review). Lapiz, no. 266 (April/May 2011): 83-91.

Lynda Benglis. (exhibition brochure) Los Angeles: Museum of Contemporary Art, 2011.

Mack, Joshua. "Lynda Benglis" (retrospective exhibition review). Art Review, no. 50 (May 2011): 123.

Marsh, Anne. "Performance Art Collaborations (with Notes on Video, Installation and Conceptual Art)." Colloquy: Text Theory Critique, no. 22 (2011): 180-196.

Martha Wilson Sourcebook: Forty Years of Reconsidering Performance, Feminism, Alternative Spaces. New York: Independent Curators International, 2011.

Miller, Michael H. "Life After Artforum" (Tim Griffin). New York Observer, 24 May 2011.

Miller, Michael H. "Clock Stopper" (Paula Cooper). New York Observer, 19 September 2011: B1, 4, 5, 8.

"The Modernists' Masculine Malformation" (retrospective exhibition review). NY Arts 16 (Winter 2011): 14-15.

Morgan, Jessica. "Lynda Benglis" (retrospective exhibition review). Athens Voice, 22-28 September 2011: 6, 30-31.

M.P. "Power Players: Lynda Benglis: The Escape Artist." Elle (April 2011): 230.

"New Museum: 'Lynda Benglis'" (retrospective exhibition listing). The New York Times, 18 March 2011.

Polyglossia (exhibition catalogue). Athens: Onassis Cultural Center, 2011.

Poundstone, William. "Dear Artforum: About That Lynda Benglis Ad…" Blouin Artinfo, August 2011. http://www.artinfo.com/visual-arts

Reisman, David. "Return of the Blob" (retrospective exhibition review). Texte zur Kunst, 15 April 2011. https://www.textezurkunst.de/en/articles/david-reisman-lynda-benglis-new-museum-new-york/?highlight=return%20of%20the%20blob

Robins, Corinne. "Lynda Benglis" (book review). Woman's Art Journal 32, no. 2 (Fall/Winter 2011): 61–62.

*Ruiz, Alma and Patrick Steffen. "Lynda Benglis: Figures." Flash Art, no. 281 (November/December 2011): 68–73.

Saltz, Jerry. "The Year in Art: The Cold War, fifties brushstrokes and a pickup artist run amok." New York Magazine (12 December 2011).

Sheets, Hilarie M. "A Life of Melting the Status Quo." The New York Times, 13 February 2011: sec. Art, 21.

Slezak, Lilly. "Pour Us Another: Lynda Benglis at the New Museum." Art in America, 10 February 2011. https://www.artnews.com/art-in-america/features/lynda-benglis-new-museum-58131/

Smith, Cherise. Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. Durham: Duke University Press, 2011.

Smith, Roberta. "Artful Commentary, Oozing from the Walls" (retrospective exhibition review). The New York Times, 18 February 2011: C25–27.

Solomon-Godeau, Abigail. "Witnessing for Women" (book review). Art in America (April 2011): 43–44, 46.

Stillman, Nick. "Lynda Benglis: Louisiana Avant-Garde, Louisiana Kitsch" (retrospective exhibition review). Pelican Bomb, 19 February 2011. https://pelicanbomb.com/art-review/2011/lynda-benglis-louisiana-avant-garde-louisiana-kitsch

Stoilas, Helen. "Double-headed dildo redux" (retrospective exhibition review). The Art Newspaper, February 2011.

Sutton, Benjamin. "Lynda Benglis's Sculptures Splash All Over the Lower East Side" (retrospective exhibition review). The L Magazine, 16 February 2011. https://www.thelmagazine.com/newyork/Iynda_bengliss-sculptures-splash_all_over_the_lower

Swenson, Kirsten. "Lynda Benglis" (book review). CAA Reviews, 1 December 2011. http://www.caareviews.org/reviews/1723#.WYTUoCMrLJw.

Then and Now: The Relationship Between a Contemporary Art Space and the Community (exhibition catalogue). Text by Dan Cameron. New Orleans: Contemporary Arts Center New Orleans, 2011.

Wagley, Catherine. "Looking at Los Angeles: Lynda Benglis, the Anti-Kitchen Artist." art21 Magazine, 11 August 2011. https://magazine.art21.org/2011/08/11/looking-at-los-angeles-lynda-benglis-the-anti- kitchen-artist/

Wiener, Mark and Linda DiGusta "Shifting Shapes and Surprising Surfaces." The Huffington Post, 25 February 2011.

*Yablonsky, Linda. "Not a Material Girl." The Art Newspaper, March 2011: 43.

Yablonsky, Linda. "Pene del Contrapasso." Vernissage 12, no. 124, March 2011: 10-11.

2012

Baldacci, Cristina and Angela Vettese. "Il Corpo Come Veicolo della Protesta." in Arte del Corpo: Dall'autoritratto alla Body Art. Florence, Italy: Giunti, 2012: 20-29.

*Barnett, Laura. "Lynda Benglis: Now You Are Ready." The Guardian, 23 February 2012: 18.

*Belcove, Julie L. "'I Keep Surviving': The American Sculptor Lynda Benglis is Rediscovered Yet Again." The Financial Times, 4 February 2012: sec. Life & Arts, 12.

*Benglis, Lynda. "Media Study." Artforum 51, no. 1 (September 2012): 258.

Bryan-Wilson, Julia. "Dirty Commerce: Art Work and Sex Work since the 1970s." differences: A Journal of Feminist Cultural Studies (Summer 2012): 71–112.

*Buck, Louisa. "Jetsam." The Art Newspaper, March 2012: 53.

Danneels, Véronique, "Du recyclage des performances féministes," Ligeia 2, nos. 117-120 (July/December 2012): 107-115, 257.

Dekel, Tal. "Feminist Art Hitting the Shores of Israel: Three Case Studies in Impossible Times." Frontiers 33, no. 2 (2012): 111-128.

Doubal, Rose. "Lynda Benglis" (exhibition review). Time Out London (1-7 March 2012): 45.

Labelle-Rojoux, Arnaud. "De l'impertinence en art, un survol…" in Glissement de terrain: Impertinence-Résistance-Survivance (exhibition catalogue). La Louvière, Belgium: Musée Ianchelevici, 2012: 25-29.

Lash, Miranda. "Lynda Benglis." 64 Parishes, 12 September 2012. https://64parishes.org/entry/lynda-benglis.

Lavrador, Judicael. "Le point gay." Beaux Arts Magazine (August 2012): 106–109.

"Lynda Benglis, London, Thomas Dane" (exhibition listing). Art + Auction 35, no. 6 (February 2012).

Millard, Coline. "'I wanted the material to have a presence, like the explosion of a painting': Lynda Benglis on theatricality, landscapes, and stepping on Richard Serra's toes." Artinfo, 14 February 2012.

Opper, Helen. "Lynda Benglis at the New Museum: Examining Curatorial Strategies of a Living Artist's Retrospective." Anamesa (May 2012): 34-49.

Respini, Eva. "Will the Real Cindy Sherman Please Stand Up?" in Cindy Sherman (exhibition catalogue). Texts by Eva Respini, Johanna Burton, Cindy Sherman, John Waters. New York: Museum of Modern Art, 2012: 12-53.

Schor, Gabriele. Cindy Sherman: The Early Works 1975-1977: Catalogue Raisonné. Ostfildern, Germany: Hatje Cantz, 2012.

"Things We Like." Design Week (10 February 2012).

Travis, Mary Ann. "Who Dat?: Melting Stereotypes." Tulane Magazine (Fall 2012): 8.

Velasco, David. "Motion Capture." Artforum 51, no. 1 (September 2012): 199-200.

Zubanyan, Elvan. "Ecrire et creer, entre theorie et pratiques." in Loin des yeux, près du corps: Entre Théorie et Création (exhibition catalogue). Montreal: Éditions du Remue-Ménage, Galerie de l'UQAM, Universite du Quebec a Montreal, 2012: 134-139.

2013

Corwin, William. "William Corwin in Conversation with Lynda Benglis and Susan Richmond, Author of Beyond Process." Artcore Journal, 21 July 2013. https://artcorejournal.net/2013/07/21/william-corwin-in-conversation-with- lynda-benglis-and-susan-richmond-author-of-beyond-process/

Di Donato, Jill. Beautiful Garbage (fan fiction). Berkeley: She Writes Press, 2013.

Dillon, Noah. "Lynda Benglis" in Come Together: Surviving Sandy (online exhibition catalogue). New York: The Brooklyn Rail, Dedelus Foundation, 2013. https://cometogethersandy.com/lynda-benglis/.

Dekel, Tal. Gendered: Art and Feminist Theory. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.

Glam: The Performance of Style (exhibition catalogue). London: Tate Publishing, 2013.

Guyton, Wade. "Robert Morris." Interview 43, no. 10 (December 2013/January 2014): 174-191. https://www.interviewmagazine.com/art/robert-morris

Hainley, Bruce. "The Painted Veil" (Monica Majoli). Artforum 53, no. 9 (May 2013): 279-283.

Hancock, Caroline. "Lynda Benglis" in Universal Dictionary of Women Designers (Le Dictionnaire universel des créatrices). Paris: Antoinette Fouque, 2013. https://www.dictionnaire-creatrices.com/fiche-lynda-benglis

Heartney, Eleanor. "Bad Girls." in The Reckoning: Women Artists of the New Millenium. New York, Munich, London: Prestel Verlag, 2013: 14-23.

Horodner, Stuart. "Lynda Benglis: Beyond Process" (book review). Bomb, no. 125 (Fall 2013): 18.

Lynda Benglis: Everything Flows (1980–2013) (exhibition catalogue). Text by Anna Chave. Philadelphia: Locks Gallery, 2013.

Malcolm, Janet. Forty-One False Starts: Essays on Artists and Writers. New York: Farrar, Straus and Giroux, 2013. [Reprint of "Profiles: A Girl of the Zeitgeist" (1986)]

McCoy, Ann. "Judith Bernstein: Hard." The Brooklyn Rail, February 2013. https://brooklynrail.org/2013/02/artseen/judith-bernstein-hard-2

Paint Things: Beyond the Stretcher (exhibition catalogue). Lincoln, Mass.: DeCordova Sculpture Park and Museum, 2013.

Richmond, Susan. Lynda Benglis: Beyond Process. London: I.B. Tauris & Co. Ltd, Palgrave MacMillan, 2013.

Schröder, Gerald and Änne Söll. "Männer im Blick: Mannsbilder seit den 1960er-Jahren aus kunsthistorischer

Perspektive." in The Weak Sex: How Art Pictures the New Male (exhibition catalogue). Texts by Kathleen Buhler, Michael Meuser, Gerald Schröder, Änne Söll. Bern, Switzerland: Kunstmuseum Bern, 2013: 233-245.

Scott, Sue. "Cecily Brown." in The Reckoning: Women Artists of the New Millenium. New York, Munich, London: Prestel Verlag, 2013: 30-39.

*Shearman, Bill. "Story of a Sculptor." American Press, 10 November 2013: F1, 4.

Thorson, Victoria. "Lynda Benglis, Beyond Process" (book review). Woman's Art Journal 34, no. 2 (Fall/Winter 2013): 63–64.

White, Mo. "Lynda Benglis-Notoriety, Feminism and Marginalization" (book review). Cassone, November 2013. https://www.cassone-art.com/magazine/article/2013/11/lynda-benglis-notoriety- feminism-and-marginalization/?psrc=art-and-artists.

Wullschlager, Jackie. "Glam! The Performance of Style" (exhibition review). The Financial Times, 2 February 2013: 17.

2014

Alvarez, Ana Cecelia. "Bend it Like Benglis." The New Inquiry, 20 October 2014. http://thenewinquiry.com/essays/bend-it-like-benglis/

*"Being Benglis." The Art Newspaper, 4 December 2014. http://www.theartnewspaper.com/articles/Being%20Benglis%20/36549

*Benglis, Lynda. "Modern Painters questions." 5 December 2014. [unpublished]

Boucher, Brian. "Scott Benzel" (Scott Benzel exhibition review). Art in America (November 2014): 116-117.

Brandt, Amy L. Interplay: Neo-Geo Neoconceptual Art of the 1980s. Cambridge: MIT Press, 2014.

Byrd, Cathy. "Fresh Talk: Lynda Benglis." Fresh Art International, 18 December 2014. http://freshartinternational.com/2014/12/18/fresh-talk-lynda-benglis/

Casadio, Mariuccia. "Self Surroundings." Vogue Italia, no. 772 (December 2014): 170-173.

Cattelan, Maurizio, Marta Papini, Myriam Ben Salah. Shit and Die. Bologna: Daimani, 2014.

*Eccles, Tom. "Lynda Benglis: NSFW 40 Years after Artforum." New York Magazine (Vulture), 24 November 2014. http://www.vulture.com/2014/11/lynda-benglis-undaunted-40-years-after-artforum.html

Flood, Richard. "Lynda Benglis is an adventuress." New Museum Spring Gala (booklet). New York: New Museum of Contemporary Art, 2014.

Frank, Dale. "Lynda Benglis." Benglis 73/74 (exhibition catalogue). Fitzroy: Sutton Projects, Neon Parc, TCB Arts, 2014: 25-26.

Guiducci, Mark. "Ed Ruscha, John Baldessari, and Others Debut Homages to Artist Ray Johnson." Vogue, 11 August 2014. ["Betty Grable" announcement] http://www.vogue.com/slideshow/945893/ed-ruscha-john-baldessari-james-rosenquist-and-others-debut-exclusive-new-work-in-homage-to-artist-ray-johnson-photos/#18

Hamer, Katy Diamond. "26 Female Artists on Lynda Benglis and the Art World's Gender Problems (NSFW)." New York Magazine (Vulture), 26 November 2014. http://www.vulture.com/2014/11/26-female-artists-on-lynda-benglis-nsfw.html

Juliff, Toby. "Critical Mumble: Benglis, Morris and an object of extreme vulgarity." in Benglis 73/74 (exhibition catalogue). Fitzroy: Sutton Projects, Neon Parc, TCB Arts, 2014: 7-8.

Karnes, Andrea. "Personality Complex." in Urban Theater: New York in the 1980s (exhibition catalogue). Texts by Michael Auping, Andrea Karnes, Alison Hearst. New York: Skira Rizzoli and Modern Art Museum of Fort Worth, 2014: 161-181.

*Lapteva, Eugenia. "Colour, Caves, Sex and Scuba Diving with America's Most Sensual Sculptor Lynda Benglis." Husk Magazine (Fall/Winter 2014): 22-32.

Lavigne, Julie and Sabrina Maiorano. "Le travail de Madeleine Berkhemer, Jemima Stehli et Andrea Fraser: le sex commercial comme proposition d'art extreme." Recherches Feministes 27, no. 1 (Summer 2014): 201-218.

MacDonald, Fiona. "FIAT." in Benglis 73/74 (exhibition catalogue). Fitzroy: Sutton Projects, Neon Parc, TCB Arts, 2014: 39-40.

"Major UK Exhibition to Spotlight American Artist and Feminist Icon Lynda Benglis." Artfix Daily, 6 November 2014. http://www.artfixdaily.com/artwire/release/9100-major-uk-exhibition-to-spotlight-american-artist-and-feminist-icon

Nagesh, Ashitha. "Lynda Benglis: Le phallus féminin: 40 ans plus tard." Art Press, no. 417 (December 2014): 52–54.

*Ockman, Carol. "Interview with Lynda Benglis." Williams College, 24 October 2014. [unpublished]

Preciado, Beatriz. "Le Corps Transgenre Comme Objet Dada (The Transgender Body as Dada Object)." Art Press, no. 417 (December 2014): 55–56.

Ray Johnson's Art World (exhibition catalogue). Text by Elizabeth Zuba. Dalton, Massachusetts: The Studley Press, 2014.

Rule, Dan. "Lynda Benglis' Provocative Art Inspires Trio of Exhibitions" (exhibition review). The Sydney Morning Herald, 3 October 2014: sec. Entertainment: Art. http://www.smh.com.au/entertainment/art-and-design/lynda-benglis-provocative-art-inspires-trio-of-exhibitions-20141003-10pn4h.html

Rule, Dan. "Pioneers Getting Down to Basics" (exhibition review). The Age (Melbourne), 4 October 2014: 41.

Sharkey, Patrice. "Suck my cockiness: in defense of Lynda Benglis." Benglis 73/74 (exhibition catalogue). Fitzroy, Australia: Sutton Projects, Neon Parc, TCB Arts, 2014: 15.

Stakemeyer, Kerstin. "Art as Capital-Art as Service-Art as Industry: Timing Art in Capitalism." in Cultures of the Curatorial: Timing—On the Temporal Dimension of Exhibiting. London: Sternberg Press, 2014: 15-38.

Westwood, Matthew. "Caution: Sexually Explicit Content." The Australian, 7 October 2014: 14.

Wyma, Chloe. "Lean Back: Resisting Branded Feminism." The Brooklyn Rail (September 2014): 76.

Zwick, Tracy. "Dancing with Clay: An Interview with Lynda Benglis." Art in America, 21 January 2014. http://www.artinamericamagazine.com/news-features/interviews/dancing-with-clay-an-interview-with-lynda-benglis/

2015

*Baldessari, John. "Lynda Benglis by John Baldessari." Interview (March 2015): 252–261, 303.

*Barnard, Imelda. "Rule Breaker." Apollo (6 February 2015): 27–28.

Beckenstein, Joyce. "Joan Semmel: Naked Came the Nude" (Joan Semmel). Woman's Art Journal (Fall/Winter 2015): 3-11.

*Benglis, Lynda. "Statement." 11 February 2015. [unpublished]

*Benglis, Lynda. "Country and Town House magazine questions." 9 January 2015. [unpublished]

Body of Art. Edited by Deborah Aaronson, Diane Fortenberry Rebecca Morrill. London: Phaidon Press Limited, 2015.

Brennan, Matt. "New Orleans City Park Does The Wave." Gambit, 14 July 2015: 19–20, 22.

Bria, Geneva. "Lynda Benglis: Materiality Gender." Artribune, 18 January 2015. http://www.artribune.com/2015/01/lynda-benglis-materialita-di-genere/

*Buck, Louisa. "Lynda Benglis: Going with the Flow." The Art Newspaper, March 2015: 66.

Buck, Louisa. "Piombo, lattice e carne." Vernissage: Il Giornale dell'Arte (March 2015): 6–7. [Reprint of "Lynda Benglis: Going with the Flow." (2015)]

*Buck, Louisa. "Lynda Benglis: Breaking Boundaries." The Telegraph, 3 April 2015: sec. Luxury, Art. http://www.telegraph.co.uk/luxury/art/66384/lynda-benglis-breaking-boundaries.html

Bunyard, Jesc. "Lynda Benglis" (retrospective exhibition review). Hunger TV, 15 February 2015. http://www.hungertv.com/feature/lynda-benglis/

Callahan, Sophia. "Bronze Crustaceans and Giant 'Pink Lady' Sculptures Go on Display at Storm King" (exhibition review). Vice Magazine: The Creators Project, 24 May 2015. http://thecreatorsproject.vice.com/en_uk/blog/bronze-crustaceans-and-giant-pink-lady-sculptures-go-on-display-at-storm-king

Casadio, Mariuccia. "Selfies." Vogue Italia (January 2015): 208-211.

Castelli, Stefano. "Il femminismo frainteso di Lynda Benglis." Arte, no. 499 (2015): 46-47.

Clark, Robert, Skye Sherwin. "Lynda Benglis, ABJAD, Ori Gerscht: this week's new exhibitions" (exhibition review). The Guardian, 7 February 2015. http://www.theguardian.com/artanddesign/2015/feb/07/this-weeks-new-exhibitions

Coghlan, Niamh. "Redefined Expectation" (exhibition review). Aesthetica, April/May 2015. https://aestheticamagazine.com/redefined-expectation/

De Wachter, Ellen Mara. "Lynda Benglis: The Hepworth Wakefield" (retrospective exhibition review). Frieze, no. 170 (April 2015): 154–155.

Dickie, Anna. "A Conversation with Lynda Benglis." Ocula, 28 February 2015. http://ocula.com/magazine/conversations/lynda-benglis/

Duguid, Hannah. "Lynda Benglis: The Hepworth, Wakefield" (retrospective exhibition review). The Independent, 25 March 2015: 46.

Duguid, Hannah. "Lynda Benglis: The Hepworth, Wakefield" (retrospective exhibition listing). i: The essential daily briefing from The Independent, 25 March 2015: 42.

*Ellis-Petersen, Hannah. "Lynda Benglis-Sensuality, Sex Toys and Sea Creatures in Major Retrospective." The Guardian, 5 February 2015. http://www.theguardian.com/artanddesign/2015/feb/05/lynda-benglis-sensuality-sex-toys-sea-creatures-retrospective

Frank, Priscilla. "15 Badass Art World Heroines Over 70 Years Old." The Huffington Post, 8 January 2015. http://www.huffingtonpost.com/2015/01/08/female-artists-over-70_n_6424730.html

Frank, Priscilla. "Lynda Benglis' Massive, Drippy Sculptures Bring Storm King to Life" (exhibition review). The Huffington Post, 1 June 2015. http://www.huffingtonpost.com/2015/06/01/lynda-benglis-storm-king_n_7462398.html

*"Front Row Daily." BBC. 16 February 2015.

Getsy, David. "The Image of Becoming: Heather Cassils's Allegories of Transformation." in Cassils (exhibition catalogue). Texts by David Getsy, Julia Steinmetz, Angelique Spaninks. Eindhoven: MU, 2015: 10-22.

Gibb, Susan. "Australia" (exhibition review). Art Asia Pacific Alamanac, no. 10 (2015): 94-98.

Glitter & Grit: Queer Performance from the Heels on Wheels Femme Galaxy. Edited by Damien Lux, Heather Maria Acs, Sabina Ibarrola. Portland: Publication Studio, 2015.

Goodman, Jonathan. "Lynda Benglis at Storm King" (exhibition review). Sculpturenature, 13 September 2015. http://www.sculpturenature.com/en/lynda-benglis-at-storm-king/

The Great Mother: Women, Maternity, and Power in Art and Visual Culture, 1900-2015 (exhibition catalogue). Text by Massimiliano Gioni. Milan: Skira Editore, 2015.

Green, Charles. "Benglis 73/74" (exhibition review). Artforum 53, no. 5 (January 2015): 236–237.

*Hauser, Micah. "An Interview with Lynda Benglis, 'Heir to Pollock,' on Process, Travel and Not Listening to What Other People Say." The Huffington Post, 23 January 2015: sec. Arts and Culture. http://www.huffingtonpost.com/micah-hauser/lynda-benglis_b_6527254.html

H.M. "Lynda Benglis Hepworth Wakefield" (retrospective exhibition listing). The Art Newspaper, February 2015: 31.

*Huddleston, Yvette. "Lynda Benglis: Off the Wall By Nature." The Yorkshire Post, 24 February 2015: sec. Art. http://www.yorkshirepost.co.uk/yorkshire-living/arts/art/lynda-benglis-off-the-wall-by-nature-1-7111021

In the Studio: Photographs (exhibition catalogue). Text by Peter Galassi. New York: Gagosian, 2015.

"Itinerary" (retrospective exhibition listing). Sculpture 34, no. 5 (June 2015): 13.

"Itinerary" (exhibition listing). Sculpture 34, no. 8 (October 2015): 17-18.

LaBorde, Lauren. '''The Wave' is Now Installed in City Park." nola.curbed.com, 14 July 2015. http://nola.curbed.com/archives/2015/07/14/the-wave-lynda-benglis-city-park.php

*"Last Words: In Conversation with Lynda Benglis." Aesthetica, no. 63 (February/March 2015): 162.

Lynda Benglis (exhibition brochure). Wakefield, England: The Hepworth Wakefield, 2015.

*"Lynda Benglis: Images that Come Back to You." Elephant, no. 22 (Spring 2015): 152-155.

"Lynda Benglis at the Hepworth Wakefield" (retrospective exhibition review). C-File, 20 August 2015. https://cfileonline.org/exhibition-lynda-benglis-at-the-hepworth wakefield/?mc_cid=7290d913d2&mc_eid=0df2e0ffd3

MacCash, Doug. "Radical artist Lynda Benglis' 'Wave' fountain dedicated in City Park." Nola.com, 6 October 2015. http://www.nola.com/arts/index.ssf/2015/10/radical_artist_linda_benglis_w.html

McNay, Anna. "Lynda Benglis: 'I think artists create their own rules'." Studio International, 16 February 2015. https://www.studiointernational.com/index.php/lynda-benglis-video-interview-hepworth- wakefield.

McTavish, Lianne. Feminist Figure Girl: Look Hot While You Fight the Patriarchy. Albany: State University of New York Press, 2015.

"A Magical Show from a Woman on the Edge" (exhibition review): The Independent, 25 March 2015: 46.

"Milan show depicts drama of motherhood" (exhibition review). The Daily Star Lebanon, 29 August 2015: 16.

"Morning Links: Lynda Benglis Edition." Art News, 9 March 2015. http://www.artnews.com/2015/03/09/morning-links-lynda-benglis-edition/

*Morrish, Lydia. "Lynda Benglis: 'You Cannot Kill Creativity.'" Dazed Digital (Dazed and Confused), February 2015. http://www.dazeddigital.com/artsandculture/article/23484/1/lynda-benglis

*Mutti, Giulia. "Ten Things You Might Not Know About Lynda Benglis." Anothermag.com, 6 February 2015. http://www.anothermag.com/art-photography/4326/ten-things-you-might-not-know-about-lynda-benglis

Nathan, Emily. "Benglis En Plein Air" (exhibition review). 1stdibs.com, 1 June 2015. http://www.1stdibs.com/introspective-magazine/lynda-benglis-at-storm-king-art-center/

*Pavia, Will. "The woman who refused to take her clothes off for Warhol." The Times (London), 2 February 2015: 8–9.

Photography at MoMA, 1960—Now. Vol. 1. Edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sara Hermanson Meister. New York: Museum of Modern Art, 2015.

Pincus-Witten, Robert. "Ray Johnson" (exhibition review). Artforum 53, no. 6 (February 2015): 230.

Ploeger, Dani. "Getting a Rise out of ASCENDING PERFORMANCE: An Interview with Dani Ploeger in Conversation with Will Shuler." Platform 9, no. 1 (Spring 2015): 44-60.

Powers, Bill. "A Talk with Piotr Uklanski." Art News (June 2015): 24-25.

*Read, Claire. "Claire Read on the phone with Lynda Benglis." Rabbit Rabbit: an Exl publication (Oberlin Student Broadsheet) (May 2015).

*The Reminiscences of Lynda Benglis, 13 November 2015. Conducted in collaboration with INCITE/Columbia Center for Oral History Research. Robert Rauschenberg Foundation Archives. Interview conducted by Cameron Vanderscoff. https://www.rauschenbergfoundation.org/artist/oral-history/lynda-benglis

*"Revealing insight into mind of an artistic icon." Wakefield Express, 14 February 2015: sec. Arts and Entertainment. http://www.wakefieldexpress.co.uk/what-s-on/arts-entertainment/revealing-insight-into-mind-of-an-artistic-icon-1-7105133

*Rosenberg, Karen. "Lynda Benglis on Her Aquatic Sculptures, the Art of Buoyancy, and That Infamous Artforum Ad." Artspace, 11 June 2015. http://www.artspace.com/magazine/interviews_features/lynda-benglis-on-her-aquatic-sculptures-the-art-of-buoyancy-and-that-infamous-artforum-ad

Satchell-Baeza, Sophia. "Molten Meteors and Dirty Icecream: Lynda Benglis at the Hepworth Wakefield" (retrospective exhibition review). Sleek, 9 February 2015. http://www.sleek-mag.com/showroom/2015/02/molten-meteors-and-dirty-icecream-lynda-benglis-at-the-hepworth-wakefield/

Schor, Gabriele. "Die Feministische Avantgarde: ein radikale Umwertung der Werte." in Feministiche Avantgarde der 1970er Jahre Werke aus der Sammlung Verbund, Wien (exhibition catalogue). Texts by Gabriele Schor and Catherine Morris. Munich, London, New York: Sammlung Verbund and Prestel, 2015: 17-31.

Searle, Adrian. "Lynda Benglis Review: All Vitality and Good Dirty Fun" (retrospective exhibition review). The Guardian, 5 February 2015. http://www.theguardian.com/artanddesign/2015/feb/05/lynda-benglis-review-good-dirty-fun

*Siegel, Katy, ed. 'The Heroine Paint' After Frankenthaler. New York: Gagosian, 2015.

Smith, Roberta. "The Artist's Studio, From Refuge to Gallery" (exhibition review). The New York Times, 27 February 2015: C21.

Stange, Raimar. "Lynda, Robert, Amy, Enzo und die Anderen" (exhibition review). Frieze DE, no. 19 (May 2015): 120-121.

Verhagen, Erik. "Double Eye Poke" (exhibition review). Artpress, no. 425 (September 2015): 32.

"West Yorkshire" (exhibition listing). Modern Painters (February 2015): 24–25.

*Whiles, Virginia. "Lynda Benglis." Art Monthly, no. 384 (March 2015): 1–4.

Wiedlack, Maria Katharina. Queer-Feminist Punk: An Anti-Social History. Vienna: Zaglossus, 2015.

Wilson, Siona. "Prostitution and the Problem of Feminist Art: The Emergent Queer Aesthetic of COUM Transmissions." Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance. Minneapolis: University of Minnesota Press, 2015: 93–137.

Wright, Katharine. Your Art Here: Print Advertisements and Contemporary Art, 1964-1974. PhD dissertation, Institute of Fine Arts, New York University, 2015.

Wright, Katharine J. "Art Everywhere: The Met's Little-Known Collection of Advertising Art." In Circulation (Metropolitan Museum of Art Blog), 25 November 2015. http://www.metmuseum.org/blogs/in-circulation/2015/ad-art

Wullschlager, Jackie. "Calendar" (retrospective exhibition listing). Financial Times, 7 February 2015: 19.

Wyma, Chloe. "The Life Aquatic: Lynda Benglis's Watery Sculptures Delight at Storm King" (exhibition review). Blouin Artinfo, 5 June 2015. http://www.blouinartinfo.com/news/story/1169807/the-life-aquatic-lynda-bengliss-watery-sculptures-delight-at#

2016

Abrams, Amah-Rose. "Lynda Benglis Talks Material and Controversy at Bergen Assembly." Artnet, 5 May 2016. https://news.artnet.com/people/lynda-benglis-talks-bergen-assembly-487205

Ackroyd, Rebecca. "Portfolio: Rebecca Ackroyd." Frieze, 21 July 2016. https://www.frieze.com/article/portfolio-rebecca-ackroyd

Allen, Gwen, ed. The Magazine. London, Cambridge: Whitechapel Gallery, The MIT Press, 2016.

Boaden, James. "Lives in Exchange: The Collaborative Video Tapes of Lynda Benglis and Robert Morris." Tate Papers no. 25, Spring 2016. http://www.tate.org.uk/research/publications/tate-papers/25/lives-in-exchange

*Bodin, Claudia. "Die Unbestechlichen (The Incorruptible Ones)." Art: Das Kunstmagazin (October 2016): 44–57.

Brooks, Rosetta, Christina Valentine, and Jeanne Marie Wasilik. "Rhetoric and Flow." In Piotr Uklanski: Fatal Attraction (exhibition catalogue). Texts by Rosetta Brooks, Christine Valentine, Jeanne Marie Wasilik, Douglas Eklund, Jamieson Webster. New York: Metropolitan Museum of Art and Rizzoli, 2016: 21-32.

*Bueti, Federica. "Lynda Benglis." Bomb (December 2016): 33–38.

Cohen, Alina. "A Year of Lynda Benglis Shows in Norway" (exhibition review). Hyperallergic, 29 August 2016. http://hyperallergic.com/319817/a-year-of-lynda-benglis-shows-in-a-norwegian-city/

Colucci, Emily. "So Many Men So Little Time: Cheim & Read's 'The Female Gaze, Part 2: Women Look at Men" (exhibition review). Filthy Dreams, 26 June 2016. https://filthydreams.wordpress.com/tag/so-many-men-so-little-time/

Cotkin, George. Feast of Excess: A Cultural History of the New Sensibility. New York: Oxford University Press, 2016.

Cuerpos, Materia y Alma: Las Esculturas de Lynda Benglis / Bodies, Matter and Soul: The Sculptures of Lynda Benglis (exhibition catalogue). Text by Ignacio Prado. Puebla, Mexico: Museo International del Barroco, 2016.

Dawson, Jessica. "Lynda Benglis" (exhibition review). The Village Voice, 8 September 2016. http://www.villagevoice.com/event/lynda-benglis-new-work-9075693

Dickie, Anna and Stephanie Bailey, eds. Ocula Conversations. Hong Kong: Ocula. 2016: 296–307. [Reprint of "A Conversation with Lynda Benglis." (2015)]

Duran, Maximilliano. "AD for LGBTQ Show with Photo by Trans Artist Cassils is Banned by German Rail, Then Allowed" (Cassils). Art News, 12 May 2016. http://www.artnews.com/2016/05/12/ad-for-lgbtq-show-with-photo-by-trans-artist-cassils-is-banned-by-german-rail-then-allowed/

Fowle, Alexandra. "The Female Gaze Part II: Women Look at Men" (exhibition review). The Brooklyn Rail (September 2016): 58.

"Galleries-Chelsea: The Female Gaze, Part Two: Women Look at Men" (exhibition review). The New Yorker, 29 August 2016.

"German Railroad Company Bans Ad for LGBTQ Show" (Cassils). Artforum, 12 May 2016. http://artforum.com/news/id=59978

Goldsher, Tessa. "The Last Taboo is the Penis: John Cheim on 'The Female Gaze, Part II: Women Looking at Men' at Cheim & Read" (exhibition review). Art News, 5 August 2016. http://www.artnews.com/2016/08/05/the-last-taboo-is-the-penis-john-cheim-on-the-female-gaze-part-ii-women-looking-at-men-at-cheim-read/

Hickey, Dave. "Lynda Benglis: Fire on the Water." in 25 Women: Essays on Their Art. Chicago: University of Chicago Press, 2016: 22–29. [Reprint of "A House Built in a Body: Lynda Benglis Early Work." (2009)]

*Hoban, Phoebe. "Lynda Benglis at Cheim & Read" (exhibition review). Whitehot Magazine, 15 September 2016. http://whitehotmagazine.com/articles/lynda-benglis-at-cheim-read/3510

Howl (exhibition catalogue). Text by Mish Grigor. Melbourne, Australia: Aphids, 2016.

Januszczak, Waldemar. "It's All Happening: Artists are playing up for the camera in Tate Modern's engrossing and tricksy new show" (exhibition review). Sunday Times, 28 February 2016: 8.

Jones, Amelia. "Heather Cassils' Indeterminate Body." in Reading Contemporary Performance: Theatricality Across Genres. Edited by Meiling Cheng and Gabrielle H. Cody. London, New York: Routledge, 2016: 90-93.

Kaufman, Alan, ed. The Outlaw Bible. San Francisco: Last Gasp, 2016. [Reprint of McCormick, Carlo. "A Crack in Time" (2006)]

Knudson, Rainey. "This and That: Lynda Benglis & Rosie the Riveter." Glasstire (Texas Visual Art), 5 December 2016. http://glasstire.com/2016/12/05/this-and-that-lynda-benglis-rosie-the-riveter/

Lynda Benglis (exhibition catalogue). Text by Nancy Princenthal. New York: Cheim & Read, 2016.

Marchione, Virginia. "Unpoporno: Anche l'uomo e nudo" (exhibition review). Inside Art, 26 June 2016. [Smile] http://insideart.eu/2016/06/26/anche-luomo-e-nudo/

Martin, Alison. "Lynda Benglis Combines New Medium with Signature Style In Latest Chelsea Gallery Show" (exhibition review). Artfuse, 28 September 2016. https://artefuse.com/2016/09/28/lynda-benglis-at-cheim-and-read-124726/

*Miller, Michael H. "The Shape-Shifter." Art News, The Icons Edition (Spring 2016): 98–105.

O'Halloran, Robbie. "200 Words #8/Lynda Benglis" (exhibition review). The Glaze London, 25 September 2016. https://theglazelondon.com/2016/09/25/200-words-8-lynda-benglis/

Osterweil, Ara. "Fuck You! A Feminist Guide to Surviving the Art World." Artforum 54, no. 10 (Summer 2016): 326–327.

Performing for the Camera (exhibition catalogue). Texts by Simon Taylor, Fiontan Moran, Jonah Westerman. London: Tate Publishing, 2016.

Phillips, Kaitlin. "The Female Gaze, Part Two: Women Look at Men" (exhibition review). Artforum 55, no. 3 (November 2016): 280-281. [Smile]

Pics or it didn't happen: Images banned from Instagram. Edited by Arvida Bystrom, Molly Soda, Chris Kraus. Munich: Prestel Verlag, 2016.

Princenthal, Nancy. "The Feminist Avant-Garde" (exhibition review). Aperture, no. 225 (Winter 2016): 40-47. ["Betty Grable" announcement]

Saltz, Jerry and Rachel Corbett. "The Most Reviled Show in Museum History and the One that Changed the Course of Art: How identity politics became for this era what Impressionism and Cubism were for theirs." New York Magazine 49, no. 8 (18 April 2016).

Schlaegel, Andreas. "Lynda Benglis Bergen Assembly" (exhibition review). Flash Art, no. 309 (June/July/August 2016): 137.

Schor, Gabriele. "Obsession, Protest, Spiritualität. Interview with Renate Bertlmann." in Renate Bertlmann Works 1969-2016 (exhibition catalogue). Texts by Berthold Ecker, Jessica Morgan, Gabriele Schor, Abigail Solomon-Godeau, Katharina Sykora. Vienna: Prestel, 2016: 13-42.

Snaith, Sarah. "When The Camera Nearly Always Lies" (exhibition review). Eye: The International Review of Graphic Design 23, no. 92 (Summer 2016): 82.

Spada, Sabina. "In Bergamo: Lynda Benglis" (exhibition review). Arte Mondadori (December 2016): 135–138.

Stamler, Hannah. "The Female Gaze, Part Two: Women Look at Men" (exhibition review). Artforum, 1 July 2016. http://artforum.com/picks/id=61469

Steer, Emily. "Opening This Week: The Female Gaze, Part Two: Women Look at Men" (exhibition review). Elephant, 22 June 2016. https://elephantmag.com/opening-week-female-gaze-part-two-women-look-men/.

Teeman, Tim. "First Class Male: How Women Really See Men: A Survey of 'The Female Gaze' in Art" (exhibition review). The Daily Beast, 8 August 2016. http://www.thedailybeast.com/articles/2016/08/08/how-women-really-see-men-a-survey-of-the-female-gaze-in-art.html

Terpak, Frances, Michelle Brunnick, Patti Smith, Jonathan Weinberg, Robert Mapplethorpe. Robert Mapplethorpe: The Archive. Los Angeles: Getty Research Institute, 2016.

Vasey, George. "Feminist Avant-Garde of the 1970s" (exhibition review). Art Monthly, no. 402 (December 2016/January 2017): 19–20.

Wilson, Michael. "Coming to Power: 25 years of Sexually X-Plicit Art by Women" (exhibition review). Time Out New York (12-18 October 2016): 56.

2017

Atkins, Ed. "Female Sensibility." in Generation Loss: 10 Years Julia Stoschek Collection (exhibition catalogue). Dusseldorf: Kerber Art, 2017.

Bartra, Eli. Desnudo y arte. Bogata: Ediciones Desde Abajo, 2017.

Benglis, Lynda. "Caption composed for Picture Industry catalogue." 2 May 2017 [unpublished]

Benglis, Lynda. "Split Pea Dal." Gather Journal 6, no. 11 (Summer 2017): 105.

Bui, Phong. Tell Me Something Good. New York: David Zwirner Books, 2017: 36–43. [Reprint of "In Conversation: Lynda Benglis" (2009)]

The Collection of Paul F. Walter (auction catalogue). New York: Christie's, 26-27 September 2017: 54-57.

De Leij, Noortje. "Art Criticism in the Society of the Spectacle: The Case of October." in The Spell of Capital. Amsterdam: Amsterdam University Press, 2017: 111-132.

Dubois, Anne-Marie. "De la plastie du corps chez Cassils" (Cassils). Feminisms (May 2017): 46-53.

Drohojowska-Philp, Hunter. "Lynda Benglis at Blum & Poe" (exhibition review). KCRW, 9 November 2017. https://www.kcrw.com/news-culture/shows/art-talk/lynda-benglis-at-blum-and-poe

Forbes, Alexander. "Frieze London and Masters Find a Common Future for Contemporary Art." Artsy, 4 October 2017. https://www.artsy.net/article/artsy-editorial-frieze-london-masters-find-common-future-contemporary-art

"Frieze London Highlights." Urban Junkies, 4 October 2017. https://www.urbanjunkies.com/london/calendar/frieze-london-highlights/

Gottschalk, Molly. "The 20 Best Booths at Frieze London and Frieze Masters." Artsy, 4 October 2017. https://www.artsy.net/article/artsy-editorial-20-best-booths-frieze-london-frieze-masters

Jansen, Charlotte. "I'll Be Your Mirror." The British Journal of Photography (May 2017): 36-49.

Kasra, Mona. "Digital-Networked Images as Personal Acts of Political Expression: New Categories for Meaning Formation." Media and Communication 5, no. 4 (2017): 51-64.

Lynda Benglis: Frieze Masters (exhibition brochure). Text by Phoebe Hoban. New York: Cheim & Read and Thomas Dane Gallery, 2017.

Marks, Olivia. "The Women to Watch at Frieze 2017." Vogue, 4 October 2017. http://www.vogue.co.uk/gallery/women-to-watch-at-frieze-2017

Micchelli, Thomas. "The Feminist Avant-Garde" (exhibition review). Hyperallergic, 19 May 2017. https://hyperallergic.com/380348/woman-feminist-avant-garde-of-the-1970s-sammlung-verbund-mumok-2017/

Nimptsch, Emily. "The Oozing, Undulating Forms of Lynda Benglis" (exhibition review). Riot Material, 29 November 2017. http://www.riotmaterial.com/the-oozing-undulating-forms-of-lynda-benglis/

Pedrosa, Adriano and Andre Mesquita, eds. Historias da Sexualidade: Antologia. Sao Paulo: Museu de Arte de Sao Paulo Assis Chateaubriand, 2017. [Reprints of Schor, Mira. "Patrilineage" (1991-1992); Butler, Cornelia. "Art and Feminism" (2007 Wack!); Bryan-Wilson, Julia. "Dirty Commerce" (2012)]

Roux, Caroline. "Up Close." Frieze Week: A Companion to Frieze New York 2017 (5-7 May 2017): 72-73.

Searle, Adrian. "Frieze Masters 2017 review—'You want sex? We've got sex—and smoking skeletons too!'" The Guardian 4 October 2017. https://www.theguardian.com/artanddesign/2017/oct/04/frieze-masters-2017-review-you-want-sex-weve-got-sex-and-smoking-skeletons-too

Sherwin, Skye. "Booking Now: Frieze 2017." The Guardian, 19 August 2017.

*Sherwin, Skye. "Glitter, Latex and Double Dildos: Art Provocateur Lynda Benglis Relives Her Rollercoaster Career." The Guardian, 6 October 2017. https://www.theguardian.com/artanddesign/2017/oct/06/lynda-benglis-sculptorfeminist-frieze-masters-interview

Souter, Anna. "Frieze Art Fair 2017: Our Guide to Frieze Masters." The Upcoming, 6 October 2017. http://www.theupcoming.co.uk/2017/10/06/frieze-art-fair-2017-our-guide-to-friezemasters/

*Thawley, Dan. "Due Come Noi." Vogue Italia, no. 806 (October 2017): 107-108.

Valinsky, Michael. "The Frozen Gestures of Lynda Benglis" (exhibition review). Hyperallergic, 8 December 2017. https://hyperallergic.com/415842/lynda-benglis-blum-and-poe-los-angeles-2017/

Vishmidt, Marina. "The Two Reproductions in (Feminist) Art and Theory since the 1970s." Third Text 31, no. 1 (2017): 49-66.

Wagley, Catherine. "5 Free Art Shows to See in L.A. This Week" (exhibition review). LA Weekly, 21 November 2017. http://www.laweekly.com/arts/best-free-art-shows-to-see-in-la-this-week-gilbert-magu-lujan-lynda-benglis-8867619

*Wynn, Christopher. "Why Are Women Artists so Underrepresented in Museums?." The Dallas Morning News, 10 February 2017, sec. Arts. http://www.dallasnews.com/arts/visual-arts/2017/02/10/women-artists-underrepresented-museums

Zara, Janelle. "The Origin Story of Feminist Art Comes with a Big Asterisk." W, 26 July 2017. https://www.wmagazine.com/story/feminist-art-history-exhibition-mumok-vienna

*Zuckerman, Heidi. "Lynda Benglis: You Can't Change Anything." in Conversations with Artists. Aspen: Aspen Art Press, 2017: 35–41.

2018

Allen, Gwen. "Making Things Public: Art Magazines, Art Worlds, and the #MeToo Movement." Portable Gray 1, no. 1 (Fall 2018): 5-14.

Andrews, Max. "Picture Industry: A Provisional History of the Technical Image" (exhibition review). Frieze, 20 December 2018. https://frieze.com/article/picture-industry-provisional-history-technical-image

Benglis, Lynda. "You Can't Change Anything." in Permanent Collection: It Came to Feel Like Any Other Feeling. Edited by Heidi Zuckerman. Aspen: Aspen Art Museum, 2018: 58–64. [Reprint of Zuckerman, Heidi. "Lynda Benglis: You Can't Change Anything" (2017)]

Beshty, Walead ed. Picture Industry: A Provisional History of the Technical Image 1844–2018 (exhibition catalogue). Zurich: JRP Ringier Kunstverlag, 2018.

Borcherdt, Gesine. "Lynda Benglis." Blau Magazine, no. 26 (March 2018): 34–45.

*Carrigan, Margaret. "Lynda Benglis on the Pleasures of Decoration, and Why She's 'Very Uncomfortable' Being Called a Feminist Artist." Artnet, 5 June 2018. https://news.artnet.com/art-world/lynda-benglis-on-the-pleasures-of-decoration-and-why-shes-very-uncomfortable-being-called-a-feminist-artist-1297064

Genzlinger, Neil. "Robert Pincus-Witten, Art Critic and Historian, Is Dead at 82." The New York Times, 2 February 2018: B14.

Getsy, David. "A Sight to Withhold" (Cassils). Artforum 56, no. 6 (February 2018): 57-60.

Grishin, Sasha. "Exhibition Challenging in Scope, Range" (exhibition review). The Canberra Times, 21 August 2018: 19.

Horne, Victoria. "'Our project is not to add to art history as we know it, but to change it.' The establishment of the Association of Art Historians and the emergence of feminist interventions, 1974-1990." Journal of Art Historiography, no. 18 (June 2018): 1-18.

Imdahl, Georg. "Meister der Anti-Form" (Robert Morris). Frankfurter Allegemeine Zeitung, 3 December 2018.

Larmon, Annie Godfrey. "Can Art Change the World?." BBC.com, 21 May 2018. http://www.bbc.com/culture/story/20180517-can-art-change-the-world

Léger, Stéphane. "Lynda Benglis-Robert Morris (1974), une économie plastique des corps par-delà l'identité." Cahiers du Marge, no. 1 (January 2018): 1-11.

*Leturcq, Armelle. "Lynda Benglis." Crash Magazine 83, no. 13 (Spring 2018): 60–67.

Obler, Bibiana K. "Lynda Benglis Recrafts Abstract Expressionism." American Art 32, no. 1 (Spring 2018): 2–23.

"Oral history interview with Robert Morris, 2018 April 19-20." Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-morris-17559

"Press Packet." A Study in Scarlet. Paris: Frac Ile-de-France le plateau, 15 May 2018.

*O'Neill-Butler, Lauren. "Interviews: Lynda Benglis." Artforum, 8 June 2018. https://www.artforum.com/interviews/lynda-benglis-shares-key-episodes-from- her-life-and-work-75676

Solway, Diane. "Women of Influence" (Paula Cooper). W 47, no. 5 (September 2018): 152.

Weiss, Sasha. "The Godmother" (Judy Chicago). T: The New York Times Style Magazine (18 February 2018): 198.

2019

Alfonsi, Isabelle. Pour une ésthetique de l'émancipation. Montreuil, France: B42 Editions, 2019.

Andrews, Max. "Picture Industry: A Provisional History of the Technical Image, 1844-2018 Luma Arles, France" (exhibition review). Frieze, no. 201 (March 2019): 163.

Art and Porn (exhibition catalogue). Texts by Erlend G. Hoyersten, Rasmus Stenbakken and Anne Mette Thomsen. Aarhus, Denmark: ARoS Aarhus Kunstmuseum, 2019.

Battista, Kathy. New York New Wave: The Legacy of Feminist Art in Emerging Practice. London, New York: I.B. Taurus, 2019.

Breslin, David, Martha Rosler, Kelly Taxter, Torey Thornton and Rikrit Tiravanija. "The 25 Works of Art That Define the Contemporary Age." T: The New York Times Style Magazine, 15 July 2019. https://www.nytimes.com/2019/07/15/t-magazine/most-important-contemporary-art.html

Brooks, David. "Who Will Teach Us How to Feel?" The New York Times, 23 July 2019: sec. A, 27.

Brown, Renée. "Robert Morris: Voice, 1974." Castelli Gallery Blog, 23 November 2019. https://www.castelligallery.com/blog/robert-morris-voice-1974

Can Yerebakan, Osman. "Artist's Questionnaire: Sculpt, Memory." The New York Times, 18 August 2019: sec. Sunday Styles, 3.

Greenberger, Alex. "Pace Gallery Now Represents Lynda Benglis." Art News, 14 January 2019. http://www.artnews.com/2019/01/14/pace-gallery-now-represents-lynda-benglis/

Gregory, Alicia. "Connecting the Threads: Lynda Benglis and Rodarte." Broad Strokes (National Museum of Women in the Arts Blog), 30 January 2019. https://blog.nmwa.org/tag/lynda-benglis/.

Haddad, Natalie. "Can a Porn Website Liberate Women in Art?" (exhibition review). Hyperallergic, 16 November 2019. https://hyperallergic.com/528325/the-pleasure-principle-at-maccarone-los-angeles/.

Largent, Chelsea. "The Absolute Self(ie): How Autofiction Writes the Relational." ESC 45 no. 1-2 (March/June 2019): 113-140.

McLaughlin, Aimee. "Sotheby's celebrates six decades of insightful Artforum covers" (exhibition review). Creative Review, 24 July 2019. https://www.creativereview.co.uk/sothebys-celebrates-six-decades-of-insightful- artforum-covers/.

Meyer, Richard. "Richard Meyer on Lynda Benglis." in Art After Stonewall 1969-1989 (exhibition catalogue). Edited by Jonathan Weinberg. New York: Rizzoli Electa, 2019: 86-87.

Morrill, Rebecca, Karen Wright, and Louisa Elderton, eds. Great Women Artists. London: Phaidon, 2019.

Riszko, Leila. "Trans/formative: Queering the Binaries of Sex and Gender in Cassils's Performances of (Un)Becoming" (Cassils). The Drama Review 63, no. 3 (September 2019): 94-107.

Soboleva, Ksenia N. and Nicholas Chittenden Morgan. "Art After Stonewall, 1969-1989: Grey Art Gallery and Leslie Lohman Museum" (exhibition review). QED 6, no. 3 (2019): 189-212.

"Sotheby's to exhibit 570+ Artforum issues, part of new partnership with magazine." Artdaily, 13 August 2019. http://artdaily.com/news/115453/Sotheby-s-to-exhibit-570--Artforum-issues--part-of-new-partnership-with- magazine#.XVrdMZNKil5

Zara, Janelle. "'Everybody Watches Porn': Dealer Michele Maccarone on Why She Teamed Up with PornHub For Her Explicit New Show in LA" (exhibition review). Artnet, 23 September 2019. https://news.artnet.com/art-world/maccarone-pornhub-sponsorship-1658668

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*Contains a statement by Benglis

2020

Adler, Laure. Le corps des femmes. Paris: Albin Michel, 2020.

Blistène, Bernard. "Seasons of Pleasure (Les Saisons du plasir)." Beaux Arts Magazine, no. 431 (May 2020): 56–69.

Bundy, Jean. "Quick! Hide your Children from Art-It's Worse Than Covid-19." Anchorage Press, 4 May 2020. https://www.anchoragepress.com/arts_and_entertainment/quick-hide-your-children-from-art--it-s-worse- than-covid-19/article_73c72ffc-8e41-11ea-b850-afa45647f8a6.html

Casadio, Mariuccia. "Sempre Di Piu, Sempre Meglio." Vogue Italia, no. 841 (October 2020): 128-129.

Combalia, Victoria. "Feminismes!" (exhibition review). Art Press, no. 473 (January 2020): 70-71.

Drake, Cathryn. "Lynda Benglis Museum of Cycladic Art" (exhibition review). Artforum 58, no. 9 (May/June 2020): 191–192.

Edelman, Aliza. "Eunice Golden's Male Body Landscapes and Feminist Sexuality" (Eunice Golden). Woman's Art Journal 42, no. 2 (September 2020): 16-27.

Gerakiti, Erika. "The Post-Minimalistic and Feminist art of Lynda Benglis" (exhibition review). Daily Art Magazine, 4 November 2020. https://www.dailyartmagazine.com/lynda-benglis-art/

Getsy, David. "Lynda Benglis Untitled (Beyond Barnett Newman)." in Material Meanings: Selections from the Constance R. Caplan Collection (exhibition catalogue). Chicago: Art Institute of Chicago, 2020: 34-37.

Glickstein, Adina. "Lynda Benglis is Back-Knots, Pours, Dildos, and All" (exhibition review). Hyperallergic, 7 October 2020. https://hyperallergic.com/592764/lynda-benglis-early-works-cheim-read-ortuzar/

*Hoby, Hermione. "Lynda Benglis Pours One Out," Frieze, no. 209 (March 2020): 82-91.

Lynda Benglis: Early Work 1967-1979 (digital exhibition catalogue). Text by Julia Bryan-Wilson. New York: Cheim & Read, 2020.

Lynda Benglis: In the Realm of the Senses (exhibition catalogue). Text by David Anfam. Athens: NEON, 2020.

Miller, M.H. "See This: The Pioneering Early Work of Lynda Benglis" (exhibition review). T: The New York Times Style Magazine, 14 October 2020. https://www.nytimes.com/2020/10/15/t-magazine/esperinos-le-monde-beryl.html.

O’Hare, Louise. "Centrefold 1974: A Memoir, A Series of Excerpts." in Feminist Art Activisms and Artivisms. Edited by Katy Deepwell. Amsterdam: Valiz, 2020: 145-153.

Perl, AnnMarie. "'A more public arena': Jeff Koons' Reinvention in the Midst of Reaganism." Art History 43, no. 3 (June 2020): 457-508.

Scobie, Ilka, "Navigating Downtown NYC Galleries During a Pandemic Autumn 2020" (exhibition review). Artlyst, 26 October 2020. https://www.artlyst.com/reviews/navigating-downtown-nyc-galleries-during-a- pandemic-autumn-2020-ilka-scobie/

Sevastopoulos, Stella. "Dr Anfam on the Greek influences in Lynda Benglis's art." Art Scene Athens, 19 January 2020. https://artsceneathens.com/2020/01/19/dr-anfam-on-the-greek-influences-in-lynda- bengliss-art/.

Shaw, Anny. "Surface glitter, serious depth" (exhibition review). Financial Times, 18-19 January 2020, Weekend ed.: sec. Life & Arts, 13.

*Silva, Horacio. "Lynda Benglis." Cloakroom, no. 2 (May 2020): 42-79.

Small, Zachary. "Protesting U.S. Immigration Policies, Artists Aim for the Sky." New York Times, 3 July 2020. https://www.nytimes.com/2020/07/03/arts/design/july-4-skytyping-skywriting- immigration.html

Steinbock, Eliza. "The wavering line of foreground and background: a proposal for the schematic analysis of trans visual culture" (Cassils). Journal of Visual Culture 19 no. 2 (2020): 171-183.

Summerfield, William. "Lynda Benglis: In the Realm of the Senses" (exhibition review). This Is Contemporary Art Magazine, 8 January 2020. http://thisistomorrow.info/articles/lynda-benglis-in-the-realm-of-the-senses

Svirinavichyus, Nicole. "A Look Into Baruch's Art Collection: Lynda Benglis." The Ticker, 27 April 2020. https://theticker.org/ticker/2020/4/27/a-look-into-baruchs-art-collection-lynda-benglis

2021

Allen, Gwen. Cindy Sherman: Centerfold (Untitled #96). New York: Museum of Modern Art, 2021.

Applin, Jo. "Lynda Benglis: The Erotics of Artmaking." Art Review 73, no. 7 (November 2021): 48–53.

Claffey, Vaari. "What Artists Wear" (book review). Visual Artists' News Sheet (July/August 2021): 25.

Fateman, Johanna. "Lynda Benglis" (exhibition review). 4Columns, 28 May 2021. https://4columns.org/fateman-johanna/lynda-benglis

Goddard, Maggie Unverzagt. "Poking fun: dildo play and camp aesthetics." Women & Performance: A Journal of Feminist Theory 31, no. 1 (2021): 59-78.

Grundberg, Andy. "Performers, Bodies, Cameras." in How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age. New Haven: Yale University Press, 2021: 67-81.

Hleba, Halyna and Kateryna Lakovlenko. "A Milk Portion for Working in Hazardous Conditions: Sexuality, Physicality, and Intimate Space in the Ukrainian Art of the 1990s." Blok, 15 March 2021. https://blokmagazine.com/a-milk-portion-for-working-in-hazardous-conditions/

Kennicott, Philip. "A career that surpasses any controversy" (exhibition review). The Washington Post, 29 August 2021: sec. Art: E4-5.

Léger, Stéphane. "Lynda Benglis-Robert Morris, 1974 'Regardez-mois comme je ne suis pas.'" Cahiers Recherche Interdisciplinaire (Université de Strasbourg), no. 1 (2021): 252-271.

Los Angeles (State of Mind) (exhibition catalogue). Edited by Luca Beatrice. Milan: Skira, 2021: 42-45.

Mosqueira, Bernardo. "Lynda Benglis." in Nothing is Lost: Art and Matter in Transformation (Nulla e perduto: Arte e materia in trasformazione) (exhibition catalogue). Bergamo, Italy: GAMeC Books, 2021: 248-253.

Paik, Sherry. "Lynda Benglis Famous for her Latex Pours, Joins Mendes Wood DM." Ocula, 25 February 2021. https://ocula.com/magazine/art-news/lynda-benglis-joins-mendes-wood-dm/

Ross, Toni. "Natalya Hughes: Sullivan + Strump, Sydney" (Natalya Hughes exhibition review). Artforum 59, no. 4 (January/February 2021): 187.

Women in Abstraction (exhibition catalogue). Texts by Christine Macel and Laurence Chauvelot-Moachon. London: Thames and Hudson, Centre Georges Pompidou, 2021.

2022

Bailey, Stephanie. "Lynda Benglis: Sculpture on Its Own Terms." Ocula, 18 May 2022. https://ocula.com/magazine/features/lynda-benglis-sculpture-on-its-own-terms/

*Benglis, Lynda. "Andrew Bonacina in conversation with Lynda Benglis." in Lynda Benglis. Texts by Lynda Benglis, Andrew Bonacina, Nora Lawrence, Bibiana Obler. London: Phaidon, 2022: 8-33.

Cascone, Sarah. "Artforum Has been Acquired by Penske Media in a Major Shakeup for the Art Publishing Industry." Artnet, 7 December 2022. https://news.artnet.com/art-world/artforum-has-been-acquired-by-penske-media-2224931?utm_campaign=6311893839819&utm_source=facebook&utm_medium=c…

Cordova, Ruben C., "Lynda Benglis Sculptures at the Nasher Sculpture Center" (exhibition review). Glasstire, 11 July 2022. https://glasstire.com/2022/07/11/lynda-benglis-sculptures-at-the-nasher-sculpture- center/.

Elkin, Lauren. "Her Body is a Problem." Aeon, 9 June 2022. https://aeon.co/essays/the-female-body-under-the-female-gaze-poses-a-monster-problem

Getsy, David J. Queer Behavior: Scott Burton and Performance Art. Chicago: University of Chicago Press, 2022.

Jen, Alex. "Why Does Art History Love the Monochrome?" (exhibition review). Frieze, 29 December 2022. https://www.frieze.com/article/monochrome-multitudes-2022-review

Khan, Sarah. "Pornography or Feminist Macho Satire?" in Faking the Real (exhibition catalogue). Graz, Switzerland: Kunsthaus Graz, 2022: 164-165.

Kronberger, Alisa. Diffraktionsereignisse der Gegenwart: Feministische Medienkunst trifft Neuen Materialismus. Bielefeld: Transcript Verlag, 2022.

Obler, Bibiana. "Lynda Benglis: Jack of All Trades." in Bonacina, Andrew, Nora Lawrence, and Bibiana Obler. Lynda Benglis. London: Phaidon, 2022: 36-65.

O'Neill-Butler, Lauren. Let's Have a Talk: Conversations with Women on Art and Culture. New York: Karma Books, 2022. [Reprint of "Interviews: Lynda Benglis." (2018)]

Salle, David. "Who Am I? What Am I?" (book review). The New York Times Review of Books, 8 December 2022: 26.

"The story behind Lynda Benglis's most shocking image." Phaidon.com, 23 October 2022. https://www.phaidon.com/agenda/art/2022/October/01/The-story-behind-Lynda- Benglis-s-most-shocking- image/?utm_source=Iterable&utm_medium=email&utm_campaign=5058047

Swenson, Kirsten. "Lynda Benglis." in Amor Mundi: The Collection of Marguerite Steed Hoffman. Edited by Gavin Delahunty. London: Ridinghouse, 2022: 107-109.

Weiss, Sasha, "The Greats: Lynda Benglis." T: The New York Times Style Magazine, 16 October 2022: 82-87.

2023

Ashenden, Rachel. "Working Girl: On Selling Art and Selling Sex" (book review). The List, 31 May 2023. https://list.co.uk/news/43419/working-girl-on-selling-art-and-selling-sex-verso-books

Baker, Harriet. "The monsters of feminist art" (book review). The New Statesman (14-20 July 2023): 44-45.

Camhi, Leslie. "What Happens When the Art Monster is a Woman?" (book review). The New Yorker, 6 December 2023. https://www.newyorker.com/books/under-review/what-happens-when-the-art-monster-is-a-woman.

Cremieux, Anne. "Looking Straight at the Lens." Now You See Her: How Lesbian Culture Won Over America. Jefferson, North Carolina: McFarland & Company, Inc., 2023: 64-91.

Elkin, Lauren. Art Monsters: Unruly Bodies in Feminist Art. New York: Farrar, Straus and Giroux, 2023.

Felton-Dansky, Miriam. "Please Don't Touch the Artwork: Abstraction, Control and Faye Driscoll's 'Come On In'." TDR: The Drama Review 67, no. 4 (Winter 2023): 42-56.

Ghys, Clément. "L’appartement à droite, au premier étage." in Le passant du Bowery (The Bowery Passerby). Paris: Éditions du Seuil, 2023: 155-164.

Giovannitti, Sophia. Working Girl: On Selling Art and Selling Sex. New York: Verso, 2023.

Harris, Gareth, "Lynda Benglis presents sculptures and jewellery in Paris catwalk show." The Art Newspaper, 2 October 2023. https://www.theartnewspaper.com/2023/10/02/lynda-benglis-presents-new- sculptures-in-paris-catwalk-show-loewe.

Judah, Hettie. "The devil in the house" (book review). Times Literary Supplement (18 August 2023): 13.

Kane, Ashleigh. "Art Shows to leave the house for in March 2023." Dazed, 3 March 2023. https://www.dazeddigital.com/art-photography/article/58349/1/art-photography- shows-to-leave-the-house-for-in-march-2023.

Kienle, Miriam. "Unsettling Networks: The Queer Connectivity of the New York Correspondence School." in Queer Networks: Ray Johnson's Correspondence Art. Minneapolis: University of Minnesota Press, 2023: 87-138.

Lavigne, Julie. "From Self-Portrait to Autopornography: Genealogy of a Feminist and Queer Practice." Espace, no. 134 (Spring 2023): 9-17.

Lawson-Tancred, Jo. "Post-Minimal Legend Lynda Benglis's Gleaming, Flowing Sculptures Adorned Loewe's Paris Runway and Were Translated into Accessories." Artnet, 6 October 2023. https://news.artnet.com/style/loewe-lynda-benglis-2370069.

Madsen, Anders Christian. "5 Things To Know About Loewe's Twisted Normality SS24 Show." British Vogue, 30 September 2023. https://www.vogue.co.uk/gallery/loewe-ss24.

Making Their Mark: Art by Women in the Shah Garg Collection. Edited by Mark Godfrey and Katy Siegel. New York: Gregory R. Miller & Co., 2023.

MANIFEST yourself! (exhibition catalogue). Edited by Valeria Schulte-Fischedick. Berlin: Distanz Verlag, 2023: 56-59.

Platzker, David. "Station to Station" (Ed Ruscha). Artforum 62, no. 1 (September 2023).

Pollack, Barbara. "Lynda Benglis: As the Stories Flow." Plus, no. 6 (Fall 2023): 180-193.

Schwendener, Martha. "The Independent, More Inclusive Than Ever" (exhibition review). The New York Times, 11 May 2023. https://www.nytimes.com/2023/05/11/arts/design/independent-fair-review.html.

Socha, Miles. "Loewe RTW Spring 2024," Women's Wear Daily, 29 September 2023. https://wwd.com/runway/spring-2024/paris/loewe/review/.

Solomon, Tessa. "Lynda Benglis and Magdalena Abakanowicz Sculptures Hit the Runway in Paris Fashion Shows." Art News, 2 October 2023. https://www.artnews.com/art-news/news/lynda-benglis-magdalena-abakanowicz- sculptures-paris-fashion-week-1234681038/.

Whiddington, Richard. "5 Must-See Booths at Independent New York, From Vietnam Protest Photos to a Racy Film Inspired by Yayoi Kusama" (exhibition review). Artnet, 12 May 2023. https://news.artnet.com/market/independent-art-fair-newyork-must-see-booths-2300280.

2024

Alonso, Santiago. "Banca March brings to Madrid the first exhibition of Lynda Benglis, Pollock's heir." El Debate, 1 March 2024. https://www.eldebate.com/espana/madrid/20240301/llega-madrid-primera-exposicion-lynda- benglis-heredera-

Aubart, Francois. "Après l'autonomie: dépasser le modernisme dans la théorie de l'art états-unienne (1970-1980)." Perspective: actualité en histoire de l'art, no. 1(Spring 2024): 205-220.

Behrens, Edward. "Off the cuff." Apollo (February 2024): 43.

Fyfe, Joe. "The Resounding Influence of John Coplans's Artforum." Alta Journal, 25 March 2024. https://www.altaonline.com/culture/art/a46995128/john-coplan-artforum-pop-art-joe-fyfe/.

Jovicic, Duro. "Lynda Benglis Lets It Flow." Vault: Australasian Art & Culture, no. 46 (May/July 2024).

"Lynda Benglis" (online documentary). On This Spot. 2024.
https://www.onthisspotnyc.org/

Lynda Benglis: Fuentes Jardin Banca March (exhibition catalogue). Text by Estrella de Diego. Madrid: Banca March, 2024.

Lynda Benglis: Knots & Videotapes 1972-1976 (exhibition catalogue). Text by Rose Higham-Stainton. London: Thomas Dane Gallery, 2024.

Murray, Derek. "Why is it So Hard to Look the Other in the Eye?: The Selfie and its Discontents." in A Companion to Contemporary Art in a Global Framework. Chichester, UK: John Wiley & Sons, Inc., 2024: 435-449.

P.D.D. "Tra ingegno e libertà l'arte e il capriccio da Benglis a de' Rossi" (exhibition review). Corriere di Bologna, 25 January 2024: 11.

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Lynda Benglis

The 50th Anniversary of the Iconic "Artforum Advertisement"

1970s

1980s

1990s

2000s

2010s

2020s

I want to reproduce the Artforum Advertisement. How do I license it?

The official title is Artforum Advertisement. The descriptive Artforum ad is also correct.

The Artforum Advertisement was not an advertisement for an exhibition.

The Artforum ad is not a centerfold.

Who paid for the ad and how much?

The double-page

The dildo

Who is Arthur Gordon?

The copyright

Circulation

The response at Artforum

Will the letters to the editor not published in Artforum be available?

The image of Robert Morris in a German helmet and chains was not an advertisement in Artforum.

What about Robert Morris?

Lynda Benglis was not part of the Feminist Art Program at Cal Arts.

Lynda Benglis has never identified as a feminist.

California v. New York

A second round of attention

Sexual Mockeries

Secrets

Essential Reading

Bibliography

Journal

Lynda Benglis "Ghost of Smile" Limited-Edition T-Shirt

Lynda Benglis' Loewe Collaboration Featured in Frieze

Alanna Heiss on "Lynda Benglis: An Alphabet of Forms"

Lynda Benglis at the National Gallery of Art

Lynda Benglis

The 50th Anniversary of the Iconic "Artforum Advertisement"

Selected Statements by Others

1970s

1980s

1990s

2000s

2010s

2020s

Fact Sheet

I want to reproduce the Artforum Advertisement. How do I license it?

The official title is Artforum Advertisement. The descriptive Artforum ad is also correct.

The Artforum Advertisement was not an advertisement for an exhibition.

The Artforum ad is not a centerfold.

Who paid for the ad and how much?

The double-page

The dildo

Who is Arthur Gordon?

The copyright

Circulation

The response at Artforum

Will the letters to the editor not published in Artforum be available?

The image of Robert Morris in a German helmet and chains was not an advertisement in Artforum.

What about Robert Morris?

Lynda Benglis was not part of the Feminist Art Program at Cal Arts.

Lynda Benglis has never identified as a feminist.

California v. New York

A second round of attention

Sexual Mockeries

Secrets

Essential Reading

Introduction to the Work and its Context

Important Interviews and Statements

Contemporary Responses

Interpretations

Bibliography

1974 - 1979

1980 – 1989

1990 – 1999

2000 – 2009

2010 – 2019

2020 – Present

Journal

Lynda Benglis "Ghost of Smile" Limited-Edition T-Shirt

Lynda Benglis' Loewe Collaboration Featured in Frieze

Alanna Heiss on "Lynda Benglis: An Alphabet of Forms"

Lynda Benglis at the National Gallery of Art