The 20th Century Art Book. London: Phaidon, 1996, p. 29.
Ammann, Jean-Christophe. “Matthew Barney als ‘Anal Sadistic Warrior’ – Gedanken zu ‘Cremaster 5,’” In Das Glück zu sehen – Kunst beginnt dort, wo Geschmack aufhört. Regensburg: Lindiger und Schmid, 1998, pp. 103–08.
Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture, Photography, 4th ed. New York: Harry N. Abrams, 1998, pp. 767, 783.
Goldberg, RoseLee. Performance: Live Art Since 1960. New York: Harry N. Abrams, 1998, pp. 98, 124–25, 202–03, 214.
Obrist, Hans-Ulrich and Nancy Spector. “Matthew Barney.” In Gilda Williams, ed. Cream: Contemporary Art in Culture. London: Phaidon, 1998, pp. 64–67.
Rush, Michael. New Media in Late-Twentieth-Century Art. New York: Thames and Hudson, 1999, pp. 93, 150–51, 165.
Tobler, Jay, ed. The American Art Book. London: Phaidon, 1999, p. 26.
Anton, Saul. “Dead Meat: From Aitken to Barney Through Hitchcock/De la viande: d’Aitken à Barney, en passant par Hitchcock.” In France Choinière and Stephen Horne, eds. Fiction or Other Accounts of Photography. Montreal: Dazibao, 2000, pp. 47–55 (English), pp. 47–56 (French).
Hopkins, David. After Modern Art: 1945–2000. Oxford: Oxford University Press, 2000, pp. 195, 244, 245.
Storr, Robert. Modern Art Despite Modernism (exh. cat., MoMA 2000: Making Choices). New York: The Museum of Modern Art, 2000, pp. 95, 217.
Warr, Tracey, ed. The Artist’s Body. London: Phaidon, 2000, pp. 186, 287. (Excerpts from Stuart Morgan, “Of Goats and Men,” Frieze [London], no. 20 [Jan.–Feb. 1995], pp. 35–39, and Thyrza Nichols Goodeve, “Travels in Hypertrophia: A Project for Artforum,” Artforum [New York] 33, no. 9 [May 1995], pp. 66–71, 112, 117.)
Goldberg, RoseLee. Performance Art: From Futurism to the Present, rev. ed. London: Thames and Hudson, 2001, pp. 222–23.
Rainbird, Sean. A Twentieth-Century Enigma: Matthew Barney’s Ottoshaft, 1992 (booklet). London: Tate Foundation, 2001.
Ribettes, Jean-Michel. “Matthew Barney.” In Burkhard Riemschneider and Uta Grosenick, eds. Art Now. Cologne: Taschen, 2001, pp. 18–19.
Sollins, Susan, et al. Art: 21—Art in the Twenty-First Century. New York: Harry N. Abrams, 2001, pp. 14–15, 194–201, 208.
Helfand, Glen. “Matthew Barney.” Shift 14 (San Francisco) 6, no. 2 (1992), pp. 36–41.
Siegel, Jeanne. “Matthew Barney: A Conversation with Jeanne Siegel.” Tema Celeste (Siracusa, Italy), no. 40 (spring 1993), pp. 66–67. Reprinted in Tema Celeste (Milan), no. 79–80 (May–June 2000), pp. 132–35 (Italian).
Goodeve, Thyrza Nichols. “Travels in Hypertrophia” Artforum (New York) 33, no. 9 (May 1995), pp. 66–71, 112, 117.
Lingwood, James. “Keeping Track of Matthew Barney.” TATE: The Art Magazine (London), no. 6 (summer 1995), pp. 52–53.
Perrin, Frank. “Les combinaisons organiques: Matthew Barney.” Bloc Notes (Paris), no. 9 (summer 1995), pp. 12–17 (French), 102–03 (English).
Sans, Jérôme. “Matthew Barney: Héros modernes/Modern Heroes.” Art Press (Paris), no. 204 (July–Aug. 1995), pp. 25–32 (French and English).
Lebovici, Elizabeth. “Barney dessine la carte du muscle.” Libération (Paris), Feb. 8, 1996, pp. 30–31 (French).
Doswald, Christoph. “Matthew Barney: Der Körper als Instrument.” Kunstforum International (Ruppichteroth), no. 135 (Oct. 1996–Jan. 1997), pp. 312–21 (German).
Gächter, Sven. “Ich will nicht provozieren.” Profil (Vienna), Nov. 24, 1997, pp. 110–11 (German).
Kämmerling, Christian. “Mein Kopf ist wie ein Cockpit.” Süddeutsche Zeitung Magazin (Munich), Nov. 13, 1998, pp. 34–38, 40 (German).
Yablonsky, Linda. “A Portrait of the Artist as a Gun Man.” Time Out New York, Oct. 14, 1999, p. 200.
Romney, Jonathan. “Matthew Barney.” Transcript (Dundee, Scotland) 3, no. 3 (1999), pp. 85–102.
McKenna, Kristine. “Gary Gilmore, Meet Harry Houdini: Matthew Barney on His Film Cremaster 2.” LA Weekly, Feb. 11, 2000, p. 35.
Jones, Jonathan. “Lonesome Cowboys—Matthew Barney.” Untitled (London), no. 21 (spring 2000), pp. 4–6; republished at www.postmedia.net (Milan).
Porter, Amy Jean. “Fluid Talk: A Conversation with Matthew Barney.” CIRCA (Belfast), no. 92 (summer 2000), pp. 30–31.
Obrist, Hans-Ulrich. “Conversation.” In Matthew Barney, Safety Curtain, 2000/2001 (German and English brochures). Vienna: Wiener Staatsoper; and Vienna: museum in progress, 2000. Reprinted in KW Magazine (Berlin) 2, no. 1 (2001), pp. 48–50 (English and German).
Relyea, Lane. “Openings: Matthew Barney.” Artforum (New York) 30, no. 1 (May 1991), p. 124.
Saltz, Jerry. “Wilder Shores of Art.” Arts Magazine (New York) 65, no. 9 (May 1991), pp. 29–31.
Bonami, Francesco. “Matthew Barney: The Artist as a Young Athlete.” Flash Art (Milan) 25, no. 162 (Jan.–Feb. 1992), pp. 100–01, 103.
Weil, Benjamin. “Matthew Barney.” Flash Art (Milan) 25, no. 162 (Jan.–Feb. 1992), p. 102.
Adams, Brooks. “Matthew Barney: Nouvel Androgyne.” Art Press (Paris), no. 167 (March 1992), pp. 36–39 (French).
Vogel, Sabine B. “Matthew Barney: Sport, Sex, und Kunst.” Artis (Bern) 44 (June 1992), pp. 40–42 (German).
Saltz, Jerry. “The Ten Commandments of Taste.” Art and Auction (New York) 15, no. 4 (Nov. 1992), pp. 104–09.
Gallagher, Ed. “Fine Tune: Notes on Matthew Barney.” Publicsfear (New York) 1, no. 1 (1992), pp. 71–73.
Smolik, Noemi. “Matthew Barney und Constantin Zvezdochotov.” Kunstforum International (Ruppichteroth), no. 119 (1992), pp. 155–57 (German).
Fleissig, Peter. “Lèche-Vitrine.” Parkett (Zurich), no. 35 (March 1993), pp. 102–07 (English), 108–13 (German).
Lewis, Jim. “Anatomy of an Artist.” Harper’s Bazaar (New York), no. 3,375 (March 1993), pp. 272–77, 321.
Rankin-Reid, Jane. “Pocket Pool: A Matthew Barney Exclusive.” rt and Text (Sydney), no. 45 (May 1993), pp. 42–47.
Saltz, Jerry. “Ten Artists for the ’90s.” Art and Auction (New York) 15, no. 10 (May 1993), pp. 122–25, 155.
Rees, Michael. “Yale Sculpture.” Flash Art (Milan) 26, no. 170 (May–June 1993), pp. 65–67.
Rosen, Roee. “The Spectacle of the Heroic Masturbator: On Matthew Barney’s Climb.” Studio Israeli Art Magazine (Tel Aviv), no. 45 (July–August 1993), pp. 20–27.
Burn, Gordon. “Barney is Their Darling.” Observer Magazine (London), Sept. 12, 1993, pp. 30–33.
Siegel, Jeanne. “Dévoiler le corps masculin/Unveiling the Male Body.” Art Press (Paris), no. 183 (Sept. 1993), pp. 25–29 (French), E12–E15 (English).
Haus, Mary. “Fast Forward: Matthew Barney.” Artnews (New York) 92, no. 9 (Nov. 1993), pp. 123–24.
Wooster, Ann-Sargent. “Face to Face: Matthew Barney.” Du (Zurich) 53, no. 1 (Jan. 1994), p. 16 (German).
Holert, Tom. “Too Much, Too Young? Barneys Raum.” Texte zur Kunst (Cologne), no. 13 (March 1994), pp. 102–11 (German).
Wakefield, Neville. “Matthew Barney’s Fornication with the Fabric of Space.” Parkett (Zurich), no. 39 (March 1994), pp. 118–24 (English), 125–30 (German).
Watney, Simon. “Aphrodite of the Future.” Artforum (New York) 32, no. 8 (April 1994), pp. 75–76, 119.
Cameron, Dan. “Self-Determination.” Vogue (New York), July 1994, pp. 152–58.
McKenna, Kristine. “This Boise Life, or Hut Hut Houdini.” Los Angeles Times, Nov. 20, 1994, Calendar, pp. 85, 92.
Morgan, Stuart. “Of Goats and Men.” Frieze (London), no. 20 (Jan.–Feb. 1995), pp. 35–39.
Barker, Nicola. “Perfect Body Language, Androgynous Faeries, TT Racers and a White-Suited Satyr.” The Guardian (Manchester), April 30, 1995, p. 5.
Boyer, Charles-Arthur. “Matthew Barney: Histoires d’hommes sur l’île de Man.” Tribus Magazine (Bagnolet, Belgium), June 1995, pp. 6–7 (French).
Karcher, Eva. “Narziss und Fegefeuer.” Art: Das Kunstsmagazin (Hamburg), no. 6 (June 1995), pp. 72–80 (German).
Tazzi, Pier Luigi. “Berichten uit de polymorfe zone. De mythografie van Matthew Barney.” Metropolis M (Amsterdam) 16, no. 5 (Oct. 1995), pp. 18–23 (Dutch).
Als, Hilton. “Downtown Artthrob.” The New Yorker, Nov. 6, 1995, pp. 61–62.
Hainley, Bruce. “Best and Worst of 1995: Creamy Kids’ Stuff.” Artforum (New York) 34, no. 4 (Dec. 1995), p. 64.
Bryson, Norman. “Matthew Barney’s Gonadotrophic Cavalcade.” Parkett (Zurich), no. 45 (December 1995), pp. 29–35 (English), 36–41 (German).
Goodeve, Thyrza Nichols. “Matthew Barney 95: Suspension [Cremaster], Secretion [Pearl], Secret [Biology].” Parkett (Zurich), no. 45 (December 1995), pp. 67–69 (English), 70–73 (German).
Onfray, Michel. “Mannerist Variations on Matthew Barney.” Parkett (Zurich), no. 45 (December 1995), pp. 42–49 (German), 50–57 (English).
Seward, Keith. “Mathew Barney and Beyond.” Parkett (Zurich), no. 45 (December 1995), pp. 58–61 (English), 61–66 (German).
Aukeman, Anastasia. “Rising Stars Under 40.” Artnews (New York), special issue (1995), pp. 30–41.
Woods, Vicki. “Matthew Barney’s Personality Parade.” Vogue (New York), Jan. 1996, pp. 160–63.
Span, Paula. “Becoming a Player.” Washington Post, Feb. 18, 1996, section G, p. 6.
Ammann, René. “Kunstgeburt.” Das Magazin (Bern), May 11, 1996, pp. 32–42 (German).
Saltz, Jerry. “The Next Sex.” Art in America (New York) 84, no. 10 (Oct. 1996), pp. 82–91.
Alphen, Ernst van. “Mannen zonder kloten.” De Gids (Amsterdam), no. 11–12 (Nov.–Dec. 1996), pp. 1,004–13 (Dutch).
Crump, James. “Third Person Singular: Profiles and Personae.” See: A Journal of Visual Culture (San Francisco) 2, no. 3 (Dec. 1996), pp. 57–61.
Pedrosa, Adriano. “Matthew Barney.” Poliester (Col. Condesa, Mexico) 5, no. 17 (winter 1996–97), pp. 22–25 (Spanish and English).
Erfle, Anne. “Matthew Barneys Plazentäre Phantasmagorien- die Fünfte.” Neue Bildende Kunst (Berlin), no. 4 (April 1997), pp. 48–52 (German).
Hasegawa, Yuko. “Utopistics: Non-Determinative Eros.” Bijutsu Techo (Tokyo) 49, no. 742 (June 1997), pp. 39–41 (Japanese).
Frankel, David. “Hungarian Rhapsody.” Artforum (New York) 36, no. 2 (Oct. 1997), pp. 76–79.
Madoff, Steven Henry. “After the Roaring 80’s in Art, A Decade of Quieter Voices.” New York Times, Nov. 2, 1997, Arts and Leisure, pp. 1, 45.
Camhi, Leslie. “Crossover Artists.” The Village Voice (New York), Dec. 16, 1997, p. 76.
Romney, Jonathan. “Sheep or Goat?” The Guardian (Manchester), March 13, 1998, Friday Review, pp. 4–5.
Van Alphen, Ernst. “Matthew Barney: Cremaster 4.” Museum Boijmans Van Beuningen Rotterdam, no. 49 (April 1998), unpaginated (Dutch and English).
Van Proyen, Mark. “Matthew Barney’s Blarney: Sartoriasis and Self-Spectacle in Contemporary Art.” Bad Subjects (Berkeley), no. 38 (May 1998), www.eserver.org/bs.
Cereijido, Fabiàn. “Just Because Nobody Claims to Be Able to Bring You the Future Doesn’t Mean that It Isn’t Coming . . .” Flash Art (Milan) 31, no. 200 (May–June 1998), pp. 65–67.
Sladen, Mark. “Unspeakably Beautiful.” Art Monthly (London), no. 217 (June 1998), pp. 1–4.
Russell, Bruce Hugh. “Matthew Barney’s Testicular Anxieties.” Parachute (Montreal), no. 92 (Oct.–Dec. 1998), pp. 36–43.
Rickels, Laurence A. “Phantoms of Opera.” Art/Text (Sydney), no. 63 (Nov. 1998–Jan. 1999), pp. 60–66.
Siegel, Katy. “Nurture Boy.” Artforum (New York) 37, no. 10 (summer 1999), pp. 132–35.
Plagens, Peter. “Barney for Grown-ups.” Newsweek (New York), Aug. 23, 1999, p. 64.
Poschardt, Ulf. “Schläge für den Menschenpark.” Süddeutsche Zeitung (Munich), Oct. 1, 1999, p. 18 (German). Reprinted in KW Magazine (Berlin) 2, no. 1 (2001), pp. 40–44 (English and German).
Kimmelman, Michael. “The Importance of Matthew Barney.” The New York Times Magazine, Oct. 10, 1999, pp. 62–69.
Syman, Stefanie. “Matthew Barney’s Garden of Earthly Delights.” Feed (New York), Dec. 7, 1999, www.feedmag.com.
“Best of the ’90s.” Artforum (New York) 38, no. 4 (Dec. 1999), pp. 114, 116, 118, 122. (Lists compiled by Daniel Birnbaum, Alissa Quart, David Rimanelli, and Robert Rosenblum, and statement by Karen Cooper.)
Pollack, Barbara. “The Wizard of Odd.” Artnews (New York), 98, no. 11 (Dec. 1999), p. 138.
Knöfel, Ulrike. “Showmaster der Mutanten.” Der Spiegel (Hamburg), Feb. 14, 2000, pp. 236–38 (German).
Hodge, Roger D. “Onan the Magnificent: The Triumph of the Testicle in Contemporary Art.” Harper’s Magazine (New York) 300, no. 1,798 (March 2000), pp. 77–80.
Muller, Vannessa Joan, Matthias Muhling, Anke Kempkes, and Heiki Foll. “Matthew Barney/Cremaster 2.” Texte zur Kunst (Cologne) 10, no. 38 (June 2000), pp. 112–18 (German).
Levine, Karen A. “Matthew Barney’s Cremaster 2: A Conversation with David Ireland.” Open: The Magazine of the San Francisco Museum of Modern Art, no. 2 (summer 2000), pp. 44–47.
Kim, Hong-hee. “Odyssey Toward the Third Sex.” Monthly Art Magazine (Seoul) 2, no. 8 (Sept. 2000), pp. 74–81 (Korean).
Coleman, Beth. “Soft Machines.” Artbyte Magazine (New York) 3, no. 3 (Sept.–Oct. 2000), pp. 42–49.
Becker, Ilka. “Einblendung.” In Tom Holert, ed. Jahresring 47. Cologne: Oktagon, 2000, pp. 176–91 (German).
Spector, Nancy. “Matthew Barney.” In Matthew Barney, Safety Curtain, 2000/2001 (German and English brochures). Vienna: Staatsoper; and Vienna: museum in progress, 2000. Reprinted in KW Magazine (Berlin) 2, no. 1 (2001), pp. 45–47 (English and German).
Poels, Jan-Willem. “Master, Let Me Enter.” Frame (Amsterdam), no. 23 (Nov.–Dec. 2001), pp. 78–85.
Frankel, David. “Engine.” 2wice: Inside Cars (New York) 5, no. 2 (2001), pp. 38–45.
2002-03
“Matthew Barney: The CREMASTER Cycle,” organized by the Solomon R. Guggenheim Museum, New York; opens at Museum Ludwig, Cologne and travels to Musée d’Art Moderne de la Ville de Paris and Solomon R. Guggenheim Museum, New York
1999
“CREMASTER 2: The Drones’ Exposition,” Walker Art Center, Minneapolis
Travelled to San Francisco Museum of Modern Art, 2000
1998
“March with the Anal Sadistic Warrior”, KunstKanaal, Amsterdam
“CREMASTER 5,” Fundació La Caixa, Barcelona, Spain
1998
“CREMASTER 5,” Regen Projects, Los Angeles
“CREMASTER 1,” Öffentliche Kunstsammlung Basel, Kunstmuseum
1997
“CREMASTER 5," Portikus, Frankfurt
“CREMASTER 5,” Barbara Gladstone Gallery, New York
“CREMASTER 1,” Kunsthalle Wien, Wien, Austria
1996
"Transexualis and REPRESSIA";
"CREMASTER 1 and CREMASTER 4," San Francisco Museum of Modern Art
1995
Barbara Gladstone Gallery, New York
The Tate Gallery, London
Fondation Cartier, Paris
"PACE CAR for the HUBRIS PILL,' Museum Boymans-van Beuningen, Rotterdam,
Holland, travelled to Musée d'art Contemporain, Bordeaux and Kunsthalle Bern (1996), Catalogue
1994
"Portraits from CREMASTER 4," Regen Projects, Los Angeles
1991
Barbara Gladstone Gallery, New York
Stuart Regen Gallery, Los Angeles
"Matthew Barney: New Work," San Francisco Museum of Modern Art, Artist's Book
1989
"Field Dressing," Payne Whitney Athletic Complex, Yale University, New Haven, CT
1988
“Scab Action," Video exhibition for the New York City Rainforest Alliance, Open Center, New York
2003
"Imperfect Innocence," Contemporary Museum, Baltimore
2002
“Penetration.” Friedrich Petzel/Marianne Boesky Galleries, New York, curated by Mark Fletcher
"Shortcuts: Works from The Dakis Joannou Collection," Nicosia Municipal Arts Centre, Nicosia, Cyprus
"Arte Contemporáneo Internacional," Museo de Arte Moderno, México
"Hautnah: The Goetz Collection," Museum Villa Stuck, Munich
"Visions from America: Photographs from the Whitney Museum of American Art," Whitney Museumof American Art, New York
"Moving Pictures," Solomon R. Guggenheim Museum, New York
"Tempo," MoMA Queens, Long Island City, New York
"Sand in der Vaseline: Künstlerbücher II: 1980 - 2000," Kaiser Wilhelm Museum, Krefeld
"Life Death Love Hate Pleasure Pain," MCA Chicago
2001
“Ten Photographers,” Galleri K, Oslo, Norway
“American Art from the Goetz Collection,” Galerie Rudolfinum, Prague
"Uniform: Order and Disorder" May 20, 2001 - September 2001, P.S.1 Contemporary Art Center, New York
“Parkett, Collaborations and Editions since 1984,” Museum of Modern Art, New York
“The Glen Dimplex Artists Award Exhibition 2001,” Irish Museum of Modern Art, Dublin
“Affecting Invention,” Carrie Secrist Gallery, Chicago, IL
“Public Offerings,” Los Angeles Museum of Contemporary Art
“Heads and Hands,” Decatur House, Washington D.C.
“Hypermental. Rampant Reality 1950-2000. From Dali to Koons,” Kunsthaus Zurich, Zurich
"Arte Contemporaneo Internacional," Museo de Arte Moderno, Mexico City
2000
“Matthew Barney, Jennifer Pastor, Charles Ray,” Barbara Gladstone Gallery, New York
“Staged, Constructions in Comtemporary Photography,” Bonakdar Jancou Gallery, New York
“Recent Aqusitions,” Kunstwerke, Berlin
“MUSEUM,” Astrup-Fearnley Museet for Moderne Kunst, Oslo
“Age of Influence: Reflections in the Mirror of American Culture,”
Museum of Contemporary Art, Chicago
“media_city seoul 2000”, Contemporary Art and Technology Biennial, Seoul, Korea
“Voilà: Le monde dans la tête”, Musée d’art Moderne de la Ville de Paris
“What’s New: Recent Acquisitions in Photography”, Whitney Museum of American Art, New York
“Outbound: Passages from the 90’s," Contemporary Arts Museum, Houston
1999
Carnegie International, Carnegie Museum of Art, Pittsburgh
“Regarding Beauty”, Hirshhorn Museum and Sculpture Garden, Washington, D.C., catalogue
“The Promise of Photography: Selected Works from the DG Bank Collection”, PS1 Contemporary Art Center, New York
1998
“Wounds: Between Democracy and Redemption in Contemporary Art,” Moderna Museet, Stockholm, catalogue
“Scratches on the Surface of Things,” Museum Boymans van Beuningen, Rotterdam
“Die Rache der Veronika,” Fotosammlung Lambert, Deichtorhallen, Hamburg
“Emotion: Young British and American art from the Goetz collection,”
Deichtorhallen, Hamburg, Germany, catalogue
“+Zone,” Palazzo ReRebaudengo, Guarene d’Alba
“Global Vision, New Art from the 90’s - with new acquisitions from the Dakis Joannou Collection,” Deste Foundation, Athens
“Extensions: Aspects of the Figure," The Joseloff Gallery, Hartford Art School, CT
1997
“De-Genderism,” Setagaya Art Museum, Tokyo, Japan, catalogue
“A Rrose is a Rrose is a Rrose: Gender Performance in Photography," Solomon R Guggenheim Museum, New York; travelled to the Andy Warhol Museum, Pittsburgh, catalogue
“Sous le Manteau,” Gallery Thaddaeus Ropac, Paris, catalogue
“Loco-Motion,”Cinema Accademia Dorsoduro, Venice
Biennale de Lyon, Lyon, France
1996
“Hugo Boss Prize Exhibition,” Guggenheim SoHo, New York
Tenth Biennale of Sydney, Sydney Australia (CREMASTER 1 screening)
"Matthew Barney, Tony Oursler and Jeff Wall," Sammlung Goetz, Munich, catalogue
"Foreign Body," Museum fur Gegenwartskunst, Basel
"Hybrids," De Appel, Amsterdam, catalogue
"Defining the Nineties: Consensus-making in New York, Miami and Los Angeles," Museum of Contemporary Art, Miami
"Picasso: a Contempoary Dialogue,” Galerie Thaddeaus Ropac, Salzberg, Austria
"Passions Privees," Musée d'Art Moderne de la Ville de Paris
"Faustrecht der Freiheit," Neues Museum Weserberg, Bremen
“Art at Home, Ideal Standard Life,” The Spiral Garden, Tokyo, catalogue
1995
"Drawing on Chance: Selections from the Collection," Museum of Modern Art, New York
"DASAMERICAS II,” Museu de Arte de Sao Paulo, Brasil
"Ripple Across the Water 95,” WATARI-UM Museum of Tokyo
Biennial Exhibition, Whitney Museum of American Art, New York
"ARS '95," Museum of Contemporary Art, Helsinki, Finland, catalogue
"The Masculine Masquerade," MIT List Visual Center, Cambridge, MA
"Altered States: American Art in The 90's," Forum For Contemporary Art, St. Louis, catalogue
1994
"Hors Limites," Centre Georges Pompidou, Paris, catalogue
"Of the Human Condition: Hope and Despair at the End of the Century," Spiral Gallery, Tokyo
"Acting Out : The Body in Video, Then and Now," Royal College of Art, London
"Sammlung Volkmann," Berlin
"The Ossuary," Luhring Augustine, New York
"Drawing on Sculpture," Cohen Gallery, New York
1993
"Exhibition to Benefit the Mapplethorpe Laboratory for AIDS Research," Barbara Gladstone Gallery, New York, February 10 - February 20
"Aperto '93," 45th Venice Biennale, Venice
Biennial Exhibition, Whitney Museum of American Art, New York
"Don't Ask, Don't Tell, Don't Pursue," Fairfield University, Fairfield, Conn.
"Action/Performance and the Photograph,” Turner-Krull Galleries, Los Angeles
"Works on Paper," Paula Cooper Gallery, New York
1992
Documenta IX, Kassel, Germany, catalogue
"Périls et Colères," capC Musée, Bordeaux, France
"Post Human," FAE Musée d'Art Contemporain, Pully/Lausanne, Switzerland, catalogue
Travelled to Castello di Rivoli; Dete Foundation, Athens; and Deichtorhallen, Hamburg
"Matthew Barney, Sam Reveles, and Nancy Rubins," SteinGladstone Gallery, New York
"Spielhölle," U-Bahn Station, Frankfurt am Main, Germany
1991
Barbara Gladstone Gallery, New York
Regen Projects, Los Angeles
Paula Cooper Gallery, New York, "ACT-UP Benefit Art Sale"
1990
"Viral Infection: The Body and its Discontents," Hallwalls
Contemporary Arts Center, Buffalo
"Drawings," Althea Viafora Gallery, New York
"Video Library," Andrea Rosen Gallery
Matthew Barney: New Work (exh. cat.). San Francisco: San Francisco Museum of Modern Art, 1991. With introduction by Robert R. Riley.
“Headlever Near Side Cradle.” Verbal Abuse (New York), no. 2 (fall 1993), pp. 26–27.
CREMASTER 4 (exh. cat.). Paris: Fondation Cartier pour l’art contemporain; London: Artangel; and New York: Barbara Gladstone Gallery, 1995. With introduction by James Lingwood (English and French).
Drawing Restraint 7 Ostfildern, Germany: Cantz, 1995. With essay by Klaus Kertess (English and German).
PACE CAR for the HUBRIS PILL (exh. cat.). Rotterdam: Museum Boijmans Van Beuningen, 1995. With essays by Richard Flood and Neville Wakefield (English and Dutch, English and French, and English and German editions).
CREMASTER 1 (exh. cat.). Vienna: Kunsthalle Wien; and Basel: Museum für Gegenwartskunst, 1997. Insert, with essays by Alexander Horwarth and Gerald Matt (German).
CREMASTER 5 (exh. cat.). Frankfurt am Main: Portikus; and New York: Barbara Gladstone Gallery, 1997. With introduction by Thyrza Nichols Goodeve.
Statement in “Flash Art XXXI Years: Three Decades Inside Art.” Flash Art (Milan) 32, no. 201 (summer 1998), pp. 78–79.
“Die Verwandlung.” Süddeutsche Zeitung Magazin (Munich), Nov. 13, 1998, pp. 1–33.
“Art in the News.” The Tampa Tribune (Fla.), March 21, 1999, Baylife, p. 9.
CREMASTER 2 (exh. cat.). Minneapolis: Walker Art Center, 1999. With introduction by Richard Flood.
Der Standard (Vienna), Sept. 2–3, 2000, pp. 8–9.
CREMASTER 3, New York: Solomon R. Guggenheim Museum, 2002.