2003
The Ando Collection, The Museum of Fine Arts, Gifu, Japan.
Fieldwork: Australian Art 1968-2002, The Ian Potter Centre: National Gallery of Victoria.
Home & Away: Place and Identity in Recent Australian Art, Monash University Museum of Art Touring Exhibition, 2003-2004.
MCA UNPACKED 11, six artists select from the MCA collection, MCA, Sydney.         

2002
Veczoennections: Contemporary Artists from Australia, House of Croatian Artists, Zagreb.
Australia at Arco 2002, Anna Schwartz Gallery.
A Person Looks At A Work Of Art, The Michael Buxton Contemporary Australian Art Collection, Heide Museum of Modern Art, Melbourne.
Four Decades of Collecting: Monash University Collection, MUMA, Melbourne.
Sublime: 25 Years of the Westfarmers Collection of Australian Art, Art Gallery of Western Australia.

2003            
In the Presence of Passion Helen Maxwell Gallery, Canberra
Spoiled Earth Helen Maxwell Gallery, Canberra
Reclaiming the Mainstream: contemporary humanist ideals Counihan Gallery, Melbourne VIC
Shimmer: Annie Franklin & Nicole Vandersteegen Spiral Gallery, Bega NSW

2001            
Low-down, Recent Acquisitions, Monash University Collection, Monash University Gallery, Monash, Melbourne.
Anxiety: The drawn figure, Ivan Dougherty Gallery, The University of New South Wales, College of Fine Arts, Sydney.
Art Chicago 2001, Sherman Galleries Booth # C225, Art Chicago 2001, Chicago IL USA.
Lightness of Being: Contemporary Photographic Art from Australia, Monash University Gallery, Monash, Melbourne.

2000          
The 12th Biennale of Sydney, Sydney Biennale 2000, Art Gallery of New South Wales; Museum of Contemporary Art; Artspace and other  venues.
Zeitgenoessische Fotokunst aus Australien/Contemporary Photographic Art from Australia, Neuer Berliner Kunstverein, Berlin, Museum Schloss Hardenberg, Velbert, Kunstsammlungen Chemnitz und Kulturzentrum der Stadt Stuttgart.
Spitting and Biting, Ten Contemporary Artists and the Print, Monash University Gallery, Monash, Melbourne.         
Rencontre Internationale D’Art Performance 2000, LELIEU, Centre en Art Actuel, Quebec, Canada.

1999           
Other Stories: Five Australian Artists, Hokkaido Museum of Modern Art, Sapporo, Japan [Asialink exhibition], Curator: Alison Carroll.
Parr Sachs Tillers Young, Orange Regional Gallery, Orange.
Home and away, Auckland Art Gallery, Auckland, New Zealand.
Five Continents and One City, [curator: Gao Minglu], Mexico City Gallery, Mexico.
Trace: The Liverpool Biennale of Contemporary Art, Liverpool, U.K.
Global Conceptualism: Points of Origin, Queens Museum, The Walker Arts Centre, Miami Arts Centre, MIT List Visual Arts Center, MIT, Cambridge, MA, 99/00.        

1998            
Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Museet, Stockholm, Sweden.
Southern Reflections: An Exhibition of Contemporary Australian Art to Northern Europe, Kulturhaus, Stockholm, Sweden; Konathallen Götsberg, Gothenberg, Sweden; Arhus Konstmuseum, Arhus, Denmark; Museum Tamminiementle (City Art Museum), Helsinki; Neues Museum, Bremen, Germany; Staatliche Sammlung fur Kunst, Chemnitz, East Germany.
Telling Tales, Ivan Dougherty Gallery, College of Fine Art, University of New South Wales, Sydney and Neue Galerie am Landesmuseum Joanneum, Graz, Austria.

1997                
Anon, Sherman Galleries Goodhope, Sydney.
Dead Sun, Art Gallery of New South Wales, Sydney. Curator: Mike Parr; Dead Sun, performance, Art Gallery of New South Wales, Sydney. Performer: Mike Parr.
Body, Art Gallery of New South Wales, Sydney. Curator: Anthony Bond.
Tokyo International Art Festival (TIaF), Tokyo International Forum, Tokyo, Japan.
In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford; Art Gallery of Western Australia, Perth. Curators: Howard Morphy, David Elliott.        
The Fukui Biennale 7, Media and Human Body, Fukui City Art Museum, Fukui, Japan.
Havana Biennale, Havana, Cuba.
The Real Thing, Museum of Modern Art at Heide, Melbourne. Curator: Julia Engberg.
Episodes, Gallery, Hobart, Tasmania.

1996              
Systems End: Contemporary Art in Australia, OXY Gallery, Osaka; Hakone Open-Air Museum, Tokyo; Dong-Ah Gallery, Seoul, Korea. Organisers: Sherman Galleries, Sydney; Curators: William Wright, Takeshi Kanazawa.
Spirit & Place: Art in Australia 1861-1996, Museum of Contemporary Art, Sydney. Curators: Nick Waterlow, Ross Mellick.
No Exit: The Guinness Contemporary Art Project, Art Gallery of New South Wales, Sydney. Curator: Victoria Lynn.

1995              
Antipodean Currents: 10 Contemporary Artists from Australia, Guggenheim Museum SoHo, New York.
Kedumba Drawing Award 1995, Fairmont Resort, Leura, New South Wales.

1994              
25 Years of Performance Art in Australia, Ivan Dougherty Gallery, Sydney; Institute of Modern Art, Brisbane; Perth Institute of Contemporary Arts, Perth; Experimental Art Foundation, Adelaide; Australian Centre for Contemporary Art, Melbourne.
Tell me a Story, Plimsoll Gallery, Centre for the Arts, Hobart. Curator: Pat Brassington.
Adelaide Installations, the 1994 Adelaide Biennial of Australian Art, Adelaide.

1993              
The Joan and Peter Clemenger Triennial Exhibition of Contemporary Australian Art, National Gallery of Victoria, Melbourne. Curator: John McPhee.
Identities: Art from Australia, Taipei Fine Arts Museum, Taipei, Taiwan; Wollongong City Gallery, Wollongong. Curator: Deborah Hart.
The Black Show, Geelong Art Gallery, Warrnambool Art Gallery, Waverley City Art Gallery, Mildura Arts Centre, La Trobe Regional Gallery, Orange Regional Gallery, Wollongong City Gallery, Nolan Gallery Canberra. Curator: Peter Timms.

1992          
Pages, The Museum Collection, Museum of Contemporary Art, Sydney. Curator: Linda Michael.
My Head is a Map – A Decade of Australian Prints, National Gallery of Australia, Canberra. Curator: Roger Butler.

1991            
Early and Recent Work by 8 Contemporary Artists, City Gallery, Melbourne.
The Corporeal Body, The Drill Hall, Canberra. Curator: Christopher Chapman.
Off the Wall / In the Air: A Seventies' Selection, Monash University Gallery and Australian Centre for Contemporary Art, Melbourne. Guest Curator: Jennifer Phipps.
Opening Transformations, Museum of Contemporary Art, Sydney. Curators: Bernice Murphy, Linda Michael.
Contemporary Art Archive, Museum of Contemporary Art, Sydney. Curator: Sue Cramer.

1990
EDGE 90: The New Work (Art & Life in the Nineties), Newcastle-upon-Tyne, Great Britain.
Fifth Biennial Michelton Print Exhibition, National Gallery of Victoria, Melbourne, with tours to the Benalla and Shepparton Art Galleries and then to Canberra, Adelaide, Sydney and Brisbane. Curator: Janie Gillespie.
Group Show, Roslyn Oxley9 Gallery, Sydney.
On Kawara Today and Works from the Museum of Contemporary Art, Biennale of Sydney satellite exhibition,
Ivan Dougherty Gallery, Sydney. Curator: Linda Michael.
Acquisitions 1984–90: A Collection of Contemporary Australian Art, Griffith University, Brisbane.
Inland, Australian Centre for Contemporary Art, Melbourne. Curator: Robert Owen.

1989
Prints and Australia: Pre-Settlement to Present, Australian National Gallery, Canberra. Curator: Roger Butler.
Inhibodress 1970–72, Institute of Modern Art, Brisbane; P.I.C.A., Perth; Art Gallery of South Australia, Adelaide; National Gallery of Victoria, Melbourne;
Ian Potter Gallery, The University of Melbourne Museum of Art, Melbourne. Curator: Sue Cramer.

1988
1988 Australian Biennale. From the Southern Cross: A View of World Art c. 1940–1988, The Seventh Biennale of Sydney, Art Gallery of New South Wales; Pier 2/3, Walsh Bay, Sydney, 18 May–3 July; National Gallery of Victoria, Melbourne, 4 August–18 September. Artistic Director: Nick Waterlow.
Edge to Edge: Australian Contemporary Art to Japan, National Museum of Art, Osaka; Old and New Hara Museums, Tokyo; Nagoya City Museum, Nagoya; Hokkaido Museum, Sapporo.
Tenth British International Print Biennale, Britain and Australia, Bradford Art Galleries and Museums, Great Britain, 30 April–26 June.
ROSC 1988, Museum of Modern Art, Dublin, Ireland.
Australian Drawings and Watercolours, in the collection of the Australian National Gallery, Australian National Gallery, Canberra. Curator: Andrew Sayers.
Australian Contemporary Art to China, State Museums of Beijing, Wuhan, Shanghai and Guangzhou, 1988–89. Exhibition managed by Darling Downs Institute of Advanced Education.
The Great Australian Art Exhibition 1788–1988, Queensland Art Gallery, Brisbane; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney; Tasmanian Museum and Art Gallery, Hobart; National Gallery of Victoria, Melbourne; Art Gallery of South Australia, Adelaide.           
Advance Australian Painting, Auckland City Art Gallery, Auckland, New Zealand.

1987
Parallax, Artspace, Sydney. Curator: Gary Sangster.
Light of Day/Between Lindy Lee and Mike Parr, Australian Centre for Photography, Sydney. Curator: Denise Robinson.
The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney, 14 October–29 November, 1987; Art Gallery of Western Australia, Perth, 5 March–17 April, 1988; Frankfurter Kunstverein, Steirnernes Haus, Frankfurt, 14 December–22 January 1989;
Württemburgischer Kunstverein, Stuttgart, 22 February–2 April, 1989. Curator: Anthony Bond.

1986
Prospect ’86, An International Exhibition of Contemporary Art, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt, 9 September–2 November. Curator: Peter Weiermair.
Origins, Originality & Beyond, The Sixth Biennale of Sydney, 16 May–6 July, Art Gallery of New South Wales; Pier 2/3, Walsh Bay, Sydney. Director: Nick Waterlow.
5/5, Fünf Vom Fünften, Art Gallery of New South Wales, Sydney; Art Gallery of Western Australia, Perth; Art Gallery of South Australia, Adelaide; Curator: René Block. Australian Curator: Anthony Bond.
Jahres Gaben, International drawing show, Frankfurter Kunstverein, Frankfurt am Main. Curator: Peter Weiermair.

1985
5/5, Fünf Vom Fünften, daadgalerie, Berlin, 2 September–6 October. Curator: René Block.          
Australian Perspecta 85, Art Gallery of New South Wales, Sydney. Curator: Anthony Bond.

1984
An Australian Accent, Three Artists, Mike Parr, Imants Tillers, Ken Unsworth, P.S.1 (Project Studios One), The Institute of Art and Urban Resources, Inc., New York, 15 April–10 June; Corcoran Gallery of Art, Washington, 20 June–August; Art Gallery of Western Australia, Perth, 22 September–11 November; Art Gallery of New South Wales, Sydney, December–January, 1985. Curator: John Kaldor, John Kaldor Art Project 7.
An International Survey of Recent Painting and Sculpture, The Museum of Modern Art, New York, 10 May–19 August. Curator: Kynaston McShine.
Dreams and Nightmares: Australian Art in the 1980s, Roslyn Oxley9 Gallery, Sydney, April–May. Australia: Nine Contemporary Artists, Los Angeles Institute of Contemporary Art, Los Angeles, 30 June–15 August. Curator: Bob Smith.
New Talent, Hal Bromm Gallery, New York, June–July.
Australian Works on Paper, Govett-Brewster Art Gallery, New Plymouth, New Zealand, and three other galleries. Curator: Jennifer Phipps.

1983
Presence & Absence: Survey of Contemporary Australian Art, No. 1, installation, Art Gallery of Western Australia, Perth, February–March.
Attitudes to Drawing, Ivan Dougherty Gallery, Sydney, 19 April–7 May; The Lewers Bequest and Penrith Regional Gallery, Emu Plains. Curator: Chris Gentle.
Tall Poppies, an exhibition of five pictures, University Art Gallery, University of Melbourne, 26 April–3 June. Guest curator: Paul Taylor.
Continuum ’83: The 1st [sic] Exhibition of Australian Contemporary Art in Japan, 15 galleries in Tokyo, 22 August–3 September 1983. Curator: Emiko Namikawa.
D’un autre continent ‘L’Australie, Le rêve et le réel’, ARC/Musée d’Art Moderne de la Ville de Paris, 4 October–4 December. Curators: Suzanne Pagé, Leon Paroissien.
Australian Art in Amsterdam, Galerie Biederberg-Mueller and two other galleries, Amsterdam, October.

1982
Eureka! Artists from Australia, Institute of Contemporary Art and Serpentine Gallery, 13 March–25 April, London. Exhibition Director: Sandy Nairne.
Film as Art, Victorian College of the Arts Gallery, Melbourne, September, together with Australian tour. Curator: Alison Fraser.
The Temple of the Winds, n-space, The Temple of the Winds, Royal Botanic Gardens, Melbourne, 3 October. Curators: Imants Tillers, John Nixon.
Vision in Disbelief, The 4th Biennale of Sydney, Art Gallery of New South Wales, Sydney, 7 April–23 May. Director: William Wright.
ACT 3: Ten Australian Performance Artists, Canberra School of Art, Canberra, 8–10 October. Curator: Ingo Kleinert.

1981
The First Australian Sculpture Triennial, Preston Institute of Technology and La Trobe University, Melbourne, 28 February–12 April. Director: Tom McCullough.
Australian Perspecta 1981: A biennial survey of contemporary Australian art, Art Gallery of New South Wales, Sydney, 29 May–21 June. Curator: Bernice Murphy.
Survey 15: Relics and Rituals, National Gallery of Victoria, Melbourne, 17 July–13 September. Curator: Robert Lindsay.
ANZART: Australia New Zealand Art Encounter, Canterbury University and Robert McDougall Art Gallery, Christchurch, New Zealand, 17–30 August. Curator: Ian Hunter.
Artists’ Photographs, Crown Point Press Gallery, Oakland, California. Curator: Tom Marioni. (Catalogue issued as VISION #5).
Second International Drawing Triennial, Museum of History, Wroclaw, Poland, 30 November 1981–15 February 1982. Curator: Natalia LL.

1980
Performance Week, Carclew House, Adelaide, 23–28 March for Adelaide Festival of the Arts. Curator: Noel Sheridan.
XXXIX Biennale di Venezia, Giardini, Venice, June–October. Australian Art Curators: Visual Arts Board of the Australia Council.
Videotapes dall’Australia, Ca’ Corner della Regina, Venice, 23–31 July. Curators: Anna Canepa, Bernice Murphy, Stephen Jones.
Self Portrait/Self Image, Victorian College of the Arts Gallery, Melbourne, July–August, together with Australian Gallery Directors' Council Tour 1980–81. Curator: Janine Burke.
Project 30: Some Recent Australian Videotapes, Art Gallery of New South Wales, Sydney. Curators: Bernice Murphy, Stephen Jones.

1979
3rd Biennale of Sydney: European Dialogue, Art Gallery of New South Wales, Sydney, 14 April–27 May. Curator: Nick Waterlow.
Videotapes from Australia, Australian Gallery Directors' Council exhibition tour, The Kitchen Center for Video and Music, New York; Los Angeles Institute of Contemporary Art, Los Angeles; Video Inn, Vancouver. Curators: Bernice Murphy, Stephen Jones.
Contemporary Australian Art, Franklin Furnace, New York; Roads Gallery, New York; Chicago Art Institute, Chicago; Los Angeles Institute of Contemporary Art, Los Angeles. Curator: Jill Scott.

1978
Österreichischer Kunstverein Performance Art Festival, Vienna, February.
Act 1: An Exhibition of Performance and Participatory Art, Australian National University Arts Centre, Canberra, 4–12 November.
Curator: Ingo Kleinert.
Artists’ Books: Book Works, George Paton Gallery, The University of Melbourne, 5–22 September, and touring to Experimental Art Foundation, Adelaide; Institute of Modern Art, Brisbane; Franklin Furnace, New York. Curator of Australian additions to American show: Noel Sheridan.

1977
10th biennale de paris, Musée d’Art Moderne de la Ville de Paris, 17 September – 1 November. General Curator: Georges Boudaille; Performance Curator: Tommaso Trini.

1976
Post-Object Art in Australia and New Zealand: A Survey, Experimental Art Foundation, Adelaide, 5–30 May. Curators: Noel Sheridan, Jim Allen.

1975
Survival Kits, Ewing and George Paton Galleries, The University of Melbourne, Melbourne 2–20 June.
Documents, Film, Video, Performance, National Gallery of Victoria, Melbourne. Curator: Jennifer Phipps.
Project 9: Documents, Film, Video, Art Gallery of New South Wales, Sydney, 15 November–14 December. Curator: Jennifer Phipps.

1974
Concepts, Contemporary Art Society Gallery, Adelaide, 9–30 March.

1973
Artists’ Books, Philadelphia Museum of Art. Curator: Lucy Lippard.
Recent Australian Art, Art Gallery of New South Wales, Sydney, 18 October–18 November. Curators: Frances Lindsay, Daniel Thomas.

1972
Action, Film, Video, Galerie Impact Lausanne, Switzerland.          
Summer Festival Exhibition, Galerie Sum, Reykjavik, Iceland.

1971
The Situation Now, Contemporary Art Society, Central Street Gallery, Sydney.          
John Kaldor Art Project 2: Szeemann: I want to leave a nice welldone child here (20 Australian Artists), Bonython Gallery, Sydney, 29 April–13 May;
National Gallery of Victoria, Melbourne, June. Curator: Harald Szeemann.

1970
Contemporary Art Society Annual Exhibition, David Jones Gallery, Sydney.

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Bibliography (selected)

2009
Tilted Stage, Detached and Tasmanian Museum and Art Gallery, 2009

2008
Mike Parr, Performances 1971 – 2008, Schwartz City, 2008

2004
Edward Scheer, The Reich Stuff, catalogue essay for The Mass Psychology of Fascism, Zip-a-dee-doo-dah, Zip-a-dee-ay, Geczy/Parr, AGNSW Contemporary Projects 8 February – 15 March.
Julie Robinson, 2004 Adelaide Biennial of Australian Art, Contemporary photo-media, catalogue essay for 2004 Adelaide Biennial of Australian Art, Contemporary Photo-Media, Art Gallery of SA.
Mike Parr, UnAustralian, 2004 Adelaide Biennial of Australian Art, Contemporary Photo-Media, Art Gallery of SA.
Edward Scheer, A Vast Field of Lyrical Aggression… Recent Durational Art by Mike Parr, Contemporary Visual Arts + Culture Broadsheet, June-August 2004, Vol 33 No 2.
Andrew Sayers, Mike Parr, catalogue for 2004 Drawing Biennale, ANU Drill Hall Gallery, Canberra.

2003
Cathy Leahy, Mike Parr, On Paper, Australian Prints and Drawings in the National Gallery of Victoria.
Adam Geczy, Mike Parr: Close the Concentration Camps, Artlink, Contemporary Art Quarterly, vol 23 no 1.
Julie Robinson, Mike Parr: Aether/Awe, Imprint, Autumn 2003, vol 38, no1.
Mike Parr, Letter from Mike Parr, Imprint, Autumn 2003, vol 38, no1.
Russell Storer, Bleed, Bled, Said, Adam Geczy/Mike Parr, BLEED, BLED, SAID, Power Publications, Power Institute: Foundation for Art and Visual Culture, The University of Sydney.
Russell Storer, Interview with Adam Geczy & Mike Parr, Adam Geczy/Mike Parr, BLEED, BLED, SAID.
Michelle Helmrich, Mike Parr: Walking at the Edge of a Cliff Face, catalogue essay for LATEMOUTH Mike Parr, Works on paper 1987-2003, University Art Museum, The University of Queensland, Brisbane.

2002
Branka Stipancic, Connections: Contemporary Artists from Australia catalogue for the exhibition, VECZOENNECTIONS: Contemporary Artists from Australia, House of Croatian Artists, Zagreb.
Ashley Crawford, Contemporary Art in Australia: An Odd Creature from Down Under catalogue Australia Arco 2000, published Art & Australia, Quarterly Journal, Sydney.
Ewen McDonald, The ever-expanding field: contemporary Australian art, Monash University Collection: Four Decades of Collecting, MUMA, Melbourne.
Cathy Leahy, The offset image: Prints in the Collection, Monash University Collection: Four Decades of Collecting, MUMA, Melbourne.
Ashley Crawford, Mike Parr, A Person Looks at a Work of Art, The Michael Buxton Contemporary Art Collection, Heide Museum of Modern Art, Melbourne.
Simon Rees, Drawing and Anxiety-Mike Parr’s Self-Portraits c.2001, Art & Australia, vol. 40/1.
Katherine McDonald, Contemporary Print Collecting: Melbourne’s Print Workshops and Publishers, Art & Australia, vol. 40/2.
Ashley Crawford, Mike Parr interviewed by Ashley Crawford, Art Monthly Australia, number 153.
Helen Carroll, introduction, Sublime, 25 Years of the Westfarmers Collection of Australian Art, Art Gallery of Western Australia.
Mike Parr, Language & Chaos 1, 1989-90, Australian Art in the National Gallery of Australia.         
Masa Strbac, Interview with Mike Parr, Zivot Umjetnosti, 67/68-02, casopsis za suvremena likovna zbivanja, Zagreb, Croatia.

2001
Juliana Engberg, Overview, catalogue, Low-down: Recent Acquisitions Monash University Collection, Monash University.
David Bromfield, migrations, catalogue for the exhibition Bloody Idiot Parr, of course, prints from The Self Portrait Project 1987-2001 at Sydney College of the Arts Gallery, SCA University of Sydney.
Peter Hill, Anxiety: The Drawn Figure catalogue for the exhibition Anxiety: The Drawn Figure, Ivan Dougherty Gallery, The University of New South Wales, College of Fine Arts.
Mike Parr, Reflections on my Installation Art of the 1970’s, in What is Installation? An Anthology of Writings on Australian Installation Art, editors, Adam Geczy and Benjamin Genocchio, pub. Power Institute, Sydney University.
Andrew Sayers, Australian Art, Oxford History of Art, Oxford University Press.
Ashley Crawford, A Person Looks At A Work of Art, exhibition catalogue for A Person Looks At A Work Of Art, The Michael Buxton Contemporary Australian Art Collection.
Cathy Leahy, ‘A New Mike Parr for the Collection’, The Now Schizophrenic, Gallery Members Magazine of the National Gallery Society of the National Gallery of Victoria published Fairfax Custom Magazines.
Terry Smith, What is Contemporary Art? Contemporary Art, Contemporaneity and Art to Come, Critical Issues Series, published by Artspace Visual Arts Centre Ltd., Sydney.Edward A. Scheer, The Veil of the Liminal. Mike Parr’s Brides, Parkett No 62, 2001, Parkett-Verlag AG, Zurich, Switzerland.

2000
Mike Parr, Some Notes, catalogue 12 th Biennale of Sydney, Biennale of Sydney 2000, Art Gallery of New South Wales; Museum of Modern Art; Artspace and other venues.
Nick Waterlow, Introduction, catalogue 12th Biennale of Sydney, Biennale of Sydney 2000.
BerniceMurphy , Zeitgenoessische Fotokunst aus Australien/ Contemporary Photographic Art from Australia,  catalogue Zeitgenoessische Fotokunst Aus Australien, NBK BRAUS.
Cathy Leahy, On the Art of Collaboration, catalogue, Spitting and Biting : Ten Contemporary Artists and the Print, Monash University Gallery Melbourne.
Mike Parr, Artist’s Statement, Tracey Warr, Amelia Jones, The Artist’s Body, Phaidon Press Ltd, 2000.
Francois Pluchart, Risk as the Practise of Thought, The Artist’s Body, Phaidon Press Ltd, 2000
Edward Scheer and Nicholas Tsoutas, Breaking through Language: Interview with Mike Parr, 100 Years of Cruelty: Essays on Artaud, ed. by Ed Scheer, published by Power Institute: Centre for Art & Visual Culture and ARTSPACE, 2000.
Sonia Pelletier, Mike Parr Performance, catalogue for Rencontre Internationale D’Art Performance 2000, LELIEU centre en art actuel, Quebec, Canada.

1999
Gao Minglu, Self-Images: Mirroring the Relation between Extensionality and Intentionality, catalogue, Five Continents and One City, Museo de la Ciudad, Mexico City.          
Kelly Gellatly, The Layering of Absence: Mike Parr’s Shadows of a Monument 1, catalogue, Mike Parr 1998 Lowenstein Sharp Arts 21 Fellow, Heide Museum of Modern Art, Melbourne.

1998
Jackie Dunn, ‘Telling Tales’, catalogue Telling Tales, pub. Ivan Dougherty Gallery, Sydney Australia.
Mike Parr, ‘Notes on my Performance Art, 1971-1998’, Endurance, Exit Art, New York.
Catrin Lundqvist, Mike Parr, catalogue Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Museet, Stockholm.
David Bromfield, It’s Only Natural: Mike Parr’s Genetic Garden, The Future of Australian Landscape, Ideal Work, E.A.F., Adelaide.
Mike Parr, The Genetic Garden, Ideal Work, E.A.F., Adelaide

1997
Elizabeth Fortescue, 'Body & Soul' Daily Telegraph, 13 September 1997.
Joanna Mendelssohn, 'Body of Work the Cat's Whiskers', The Australian, 19 September 1997.
John McDonald 'Art of Body Experience' The Sydney Morning Herald, 20 September 1997.
Joyce Morgan, 'Yen for the Big League', The Sydney Morning Herald, 31 October 1997.
Jason Smith, catalogue, In Relief: Australian Wood Engravings, Woodcuts and Lino, published by The National Gallery of Victoria, Melbourne.
Nick Waterlow, catalogue, Spirit and Place: Art in Australia 1861-1996, published by the Museum of Contemporary Art, Sydney.
Robyn McKenzie, 'The Emetics: Primary Vomit, I am Sick of Art (Red, Yellow and Blue)', interview with Mike Parr, Like, No. 3; David O'Halloran, 'Episodes', catalogue introduction, published by Gallery, Hobart.
Anthony Bond, catalogue, Body, published by Bookman Schwartz, Melbourne.
David Bromfield, 'Posing the Question: Rodin's Iris and the Modern Body', catalogue, Body, published by Bookman Schwartz, Melbourne.
Anthony Bond and Mike Parr, 'A Conversation', catalogue, Body, published by Bookman Schwartz, Melbourne.
Howard Murphy and David Elliott, catalogue, In Place (Out of Time): Contemporary Art in Australia, published by the Museum of Modern Art, Oxford.
David Bromfield, 'Waving not Drowning: Mike Parr's 'Bride' Performances', catalogue, In Place (Out of Time): Contemporary Art in Australia,  published by the Museum of Modern Art, Oxford.
Mike Parr, 'The Construction of Difference', catalogue statement, 'Media and Human Body', Fukui Biennale 7, published by the Fukui City Art Museum, Fukui, Japan.
Mike Parr and Peter Ross, catalogue interview, Dead Sun, published by the Art Gallery of New South Wales, Sydney.
Jeremy Sibbald, ' An Interview with Mike Parr ', Art Write, Issue 12, December 1997.           
Joyce Morgan, ‘A brush with greatness’, Sydney Morning Herald, 3 April 1998.

1996
Chris Ashton, 'Off again, on again', The Bulletin, , 16 April 1996.
'News Brief Australia', Guiness Art Project, Asia-Pacific Sculpture News, Spring 1996, pp. 9-10.
David Bromfield, 'Mike Parr in the Philippines: The Artist Dances', Art Asia Pacific, Vol. 3, No.1, 1996.
Patrick Flores, 'Mike Parr in the Philippines: The Perils of Performance', Art Asia Pacific, Vol. 3, No. 1, 1996.
Sebastian Smee, 'Break down the Wall', Sydney Morning Herald Metro, 17-23 May, p. 13.
'Australian Art Exhibition Tours Japan in 1996', The Boat (Bridge between Osaka and Australia Today), April-June.
'Sherman to Asia', Asian Art News, May-June 1996.
T.J McGuire, 'Down under Asia', Asahi Evening News , 27 June 1996.
Neilton Clarke, 'Beginning at the end', The Daily Yomiuri , 7 June 1996.
Bruce James, 'No Exit', Art & Australia, Vol.34, No.2, 1996.           
Victoria Lynn, 'Tixw On', The Guinness Contemporary Art Project, catalogue, published by The Art Gallery of New South Wales, Sydney.

1995
Pepe Karmel, 'Antidotes for a Cartoonish Image', The New York Times, 23 June 1995.
Ben Curnow, 'Closer Up. Into the Sunset', Artlink (Hensley Beach, SA) Vol. 15, No. 2&3, 1995, pp. 30-33.
Mike Parr, 'Daybreak. Manilla Performance, January 20-21, 1995', Art Monthly Australia (Canberra) No. 81, July 1995, pp. 10-14.
David Hansen, 'My dog, your car, our art collection', Art Monthly Australia (Canberra) No. 81, July 1995, pp.19-20.
The Print Collector's Newsletter, Vol. XXVI, No. 4, September-October 1995, p.139.
Joanna Mendelssohn, 'Kedumba Drawing Award', The Australian (Sydney), 13 October 1995.
Miriam Cosic, 'To all foreigners: we have Art as well as Outback', The Sydney Morning Herald, 28 October 1            Stephen Rainbird, 'Contemporary Prints, Post - 1960' 'The Lung (Subject/Object)no.3', 1991; from Selected Australian Works ; published by Queensland University of Technology Art Collection, Queensland.

1994
John Barrett-Lennard, '1994 Adelaide Biennial of Australian Art', for the Adelaide Installations, incorporating the 1994 Adelaide Biannial of Australian Art, catalogue, published by the 1994 Adelaide Festival.
John Barrett-Lennard, 'Mike Parr: Performing the Labyrinth', for the Adelaide Installations, Vol. 1.
Daniel Thomas, 'Adelaide Installations', for Adelaide Installations, vol. 2.
Mike Parr, 'The Hole of the Vanishing Point (Notes on the Recuperation of Body Art)', catalogue, 25 Years of Performance Art in Australia, published by the Ivan Dougherty Gallery, Sydney.
Sarah Miller, 'A Question of Silence: approaching the condition of performance', catalogue, 25 Years of Performance Art in Australia
Charles Green, 'Words and Images: The Fate of Australian Performance', catalogue, 25 Years of Performance Art in Australia.
Mike Parr, 'Notes on my Recent Work', catalogue, 25 Years of Performance Art in Australia.
Graham Coulter-Smith, 'Mike Parr: Works from the Self Portrait Project', catalogue, published by Brisbane City Hall Art Gallery and Museum, Brisbane.
Graham Coulter-Smith, 'Mike Parr: The Self Portrait Project', published by Schwartz City (a division of Bookman Press), Melbourne.
Deborah Hart, 'Mike Parr: The Labyrinth of Memory', Art & Australia, Vol. 32, No. 2, Summer 1994, Sydney.
Ashley Crawford, 'Rememberance of Things Parr', World Art: Magazine of Contemporary Visual Arts, inaugural US edition, November 1994.
Jonathan Fineberg, 'Art since 1940: Strategies of Being', Prentice Hall, Englewood Cliffs, N.J. 07632, USA.           
Jonathon Holmes, catalogue, Tell me a Story, published by the Plimsoll Gallery for the Arts, Hobart.

1993
Mike Parr, 'The Self Portrait Project', Australian Art Monthly No. 61, July 1993.
Deborah Hart, 'Identities: Art from Australia', for Identities: Art from Australia, catalogue published by the Taipei Fine Arts Museum, Taipei, Taiwan.
Deborah Hart, 'Mike Parr', catalogue, Identities: Art from Australia, published by the Taipei Fine Arts Museum, Taipei, Taiwan.           
David Bromfield, 'Gone West: Essays and Criticism 1981–1992', PICA Press, Perth, 1993.

1992
Evelyn Juers, 'Mike Parr', Art & Text No 41, Summer, January 1992, Melbourne.           
Anne Marsh, ‘Techno Bodies: Spectacles, Dreams and Desires', Binocular: Focusing.Time.Lapses, Ewen McDonald and Juliana Engberg (eds), Moët & Chandon Contemporary Editions, 1992.

1991
Graham Coulter-Smith, ‘Mike Parr, Language and Chaos II’, 1990. Contemporary Masterworks, Colin Naylor (ed.), St James Press, Chicago/London.
David Bromfield, Identities: A Critical Study of the Work of Mike Parr 1970–1990, University of Western Australia Press, Perth.
Merryn Gates, ‘Gramattica Jocosa’, catalogue, Mike Parr, Artist in Residence 1990–1991, The University of Melbourne Museum of Art, Melbourne, July 1991.
Mike Parr, ‘Installation Works 1979–1991’, catalogue, Mike Parr, Artist in Residence 1990–1991, The
University of Melbourne Museum of Art, Melbourne, July 1991.
Mike Parr, ‘Excerpts from a letter to Merryn Gates’, catalogue, Mike Parr, Artist in Residence 1990–1991, The University of Melbourne Museum of Art, Melbourne, July 1991.
Jennifer Phipps, 'Off the Wall / In the Air: A Seventies Selection', catalogue, Off the Wall / In the Air: A Seventies Selection, 1991, Monash University Gallery, Melbourne, 1991.
Charles Green, 'Living in the Seventies', catalogue, Off the Wall / In the Air: A Seventies Selection, 1991, Monash University Gallery, Melbourne, 1991.           
Anne Marsh, 'Desire and Discontent: Performance Art in the 1970s', catalogue, Off the Wall / In the Air: A Seventies Selection, 1991, Monash University Gallery, Melbourne, 1991.

1990
Charles Green, ‘Mike Parr at City Art Gallery’, Artforum International, USA, February 1990.
Nicholas Zurbrugg, ‘Inhibodress’, Art & Text, No. 35, Summer 1990.
Jane Magon, Mike Parr and Antonin Artaud, themes of ‘text’ and disintegration in the work of Mike Parr from 1970–1983 with specific reference to the installation ‘A-Artaud (Against the Light) Self Portrait at 65’, 1983, unpub. thesis, School of Humanities, Griffith University.
David Bromfield, ‘Mike Parr’, catalogue, Cologne Art Fair 1990, published by Roslyn Oxley9 Gallery, Sydney.
Mike Parr, ‘Excerpts from My Diary’, Notes on Art Practice III, Kerb Your Dog, Issue 7, 1990, published by John Young, John Nixon, Sydney.
Ashley Crawford, ‘Inland’, Tension 24, December 1990–February 1991.

1989
Sue Cramer, ‘Inhibodress 1970–72’, introductory essay, catalogue, Inhibodress 1970–72, Institute of Modern Art, Brisbane, 1989.
Mike Parr and Sue Cramer, ‘Interview with Mike Parr, catalogue, Inhibodress 1970–72, Institute of Modern Art, Brisbane, 1989.           
Jacques Delaruelle, ‘Parr and Rrap’, Art Monthly Australia, No. 24, September 1989.

1988
Bruce Adams, ‘Swine Fever (The Patch)/The History of Photography’, catalogue, From the Southern Cross: A View of World Art c. 1940–1988, The 1988 Australian Biennale, Sydney.
Mike Parr, ‘Reproduction Zero’, catalogue, British International Print Biennale, Bradford Museum, Bradford, Great Britain.
Victoria Lynn, introduction to British International Print Biennale, catalogue, Bradford Museum, Bradford, Great Britain.
Graham Coulter-Smith and Jane Magon, ‘Mike Parr’s Self Portraits: Unma(s)king the Self’, Eyeline, June 1988.
Mike Parr, ‘Historical Times (Criticising the Critic)’, Agenda: Contemporary Art, Issue 2, Vol. 1, August 1988.
Anne Marsh, ‘Body Art, in and against itself: A Psychoanalytic Reading on Narcissism and Aggressivity’, Agenda, Contemporary Art, Issue 2, Vol. 1, August 1988.
Mike Parr, 'Crosswords (Hack Journalism versus Criticism)', Tension 13, June 1988, Melbourne.
Mike Parr, 'The Map', catalogue, Prints by Twenty-five Australian Artists, published by the Australian National Gallery, Canberra, and the Australian Bicentennial Authority.
Andrew Bogle, 'Advance Australian Painting', catalogue, Advance Australian Painting, Auckland City Art Gallery.
Daniel Thomas, 'Twentieth Century Art: The Individual', Creating Australia, 200 Years of Art, Art Gallery of South Australia, Adelaide.
Andrew Sayers, ‘Australian Drawings’, Australian Drawings and Water-colours, A Souvenir Book from the Australian National Gallery, 1988.
George Petelin, ‘Australia: Beyond the Mundane’, catalogue, Contemporary Australian Art to China, 1988.

1987
Eleanor Heartney, Mike Parr at Ruth Siegel, Art in America, January 1987.
Gary Sangster, 'Parallaxis' catalogue, Parallaxis, Artspace, Sydney, 1987.
Mike Parr, ‘The Isolation of Fruit & Vegetables (Half Life)’, catalogue, Parallaxis, Artspace, Sydney, 1987.
Rex Butler, ‘Light of Day/between Lindy Lee and Mike Parr’, catalogue, Light of Day, Australian Centre for Photography, Sydney.
John McDonald, ‘Is there No Serious Criticism Here?’, Australian and International Art Monthly, first issue, June 1987.
Mike Parr, ‘The Art of John Nixon: A Reply to John McDonald’, Australian and International Art Monthly, third issue, August 1987.
Mike Parr, ‘Beleaguered Transcendence (The Art of John Nixon)’, catalogue, The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney.
Bernice Murphy, ‘Babel/Nuremberg (The Photographic Winter) In the Wings of the Oedipal Theatre Part 4’, catalogue, The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney.

1986
Nick Waterlow, 'Origins, Originality + Beyond', catalogue, Origins, Originality + Beyond, the Sixth Biennale of Sydney, 1986.
Bernice Murphy, ‘The Installation Works of Mike Parr’, catalogue, Prospect 86, eine internationale Ausstellung aktueller Kunst des Frankfurter Kunstvereins im Steinernen Haus und der Schirn am Römerberg,
Frankfurt am Main, 1986.
Anthony Bond, ‘Mike Parr’s Drawings’, catalogue, The Satellites of Death, Michael Milburn Galleries, Brisbane.
Ellen Lee Klein, ‘Mike Parr’, Arts Magazine, New York City, December 1986.

1985
Mike Parr, Portage, catalogue, ‘Portage’, Roslyn Oxley9 Gallery, Sydney.
Jonathan Holmes, introduction to Portage, catalogue, Fine Arts Committee, University of Tasmania.
Anthony Bond, introduction to 5/5: Fünf vom Fünften, catalogue, daadgalerie, Berlin.
Bernice Murphy, ‘Mike Parr: in extremis/in parenthesis’, catalogue, 5/5: Fünf vom Fünften, daadgalerie, Berlin.
Bernice Murphy, catalogue, Australian Perspecta 85, Art Gallery of New South Wales, Sydney.
David Bromfield, ‘An Australian Accent in Perth’, Art Network, Summer 1985, Sydney.

1984
Daniel Thomas, ‘The Artists and Their Australian Context’, An Australian Accent, Three Artists, Mike Parr, Imants Tillers, Ken Unsworth, P.S.1 (Project Studios One), The Institute for Art and Urban Resources, Inc., John Kaldor Art Project 7, 1984.
Jonathan Fineberg, ‘A Critical Examination of the Artists’ Current Work from an International Perspective’, An Australian Accent, Three Artists, Mike Parr, Imants Tillers, Ken Unsworth, P.S.1 (Project Studios One), The Institute for Art and Urban Resources, Inc., John Kaldor Art Project 7, 1984.
Mike Parr, 'Photo(Graphed)', in Australia: Nine Contemporary Artists, Los Angeles Institute of Contemporary Art, Los Angeles, 1984.
Paul Taylor, ‘A Culture of Temporary Culture’, Australia: Nine Contemporary Artists, Los Angeles Institute of Contemporary Art, Los Angeles, 1984.
John Russell, ‘Three Vigorous Artists from Down Under’, New York Times, April 20, 1984.
Kim Levin, ‘PS1’s Report Card’, Village Voice, May 1, 1984.
Kay Larson, ‘Seeing Australia’, New York Magazine, May 7, 1984.
Robert Atkins, ‘Australians Arrive at PS1’, Newsday, May 11, 1984.
Benjamin Forgey, ‘The Edge of Night’, Washington Post, July 22, 1984.
Eric Gibson, 'An Australian Accent?', New Criterion, New York, September 1984.
Thomas McEvilley, ‘An Australian Accent’, Artforum, New York, October 1984.

1983
Mike Parr, ‘In the Eye of the Beholder’, Presence and Absence, Art Gallery of Western Australia, Perth, 1983.
Leon Paroissien, 'Report from Sydney: The Fourth Biennale', Art in America, February 1983, Marion, Ohio.
Paul Taylor, Tall Poppies, University Art Gallery, The University of Melbourne, 1983, Melbourne.
Bernice Murphy and Janet Parfenovics, Australian Perspecta 1983: A Biennial Survey of Contemporary Australian Art, Art Gallery of New South Wales, 1983, Sydney. (Includes '1981 update: A supplementary overview of artists who exhibited in Australian Perspecta 1981').
Bruce Adams, ‘Presence and Absence: The Gallery as Other Place’, Art & Text, No. 10, Winter (June) 1983, Melbourne.
Mike Parr, 'A-Atrophy' (concrete poem), Aspect, No. 26–27, Winter (June), 1983, Sydney.
Sue Cramer, ‘Masterpieces and Tall Poppies’, Art Network, Winter (June) 1983, Sydney.
Bernice Murphy, ‘Mike Parr: A gear-shift in the 'Diabolus ex Machina'’, catalogue, Mike Parr, Institute of Modern Art, Brisbane, 1983.
Terence Maloon, 'Recent Australian Art and its background'; Tetsuo Kogawa, 'Urban Culture in Australia'; and other essays in Continuum ’83, Gallery Lunami, Tokyo, 1983.
Meaghan Morris, 'Jetsam', Suzanne Pagé, Leon Paroissien and other essays in D’un autre continent: ‘L’Australie, Le rêve et le réel’, Paris, ARC/Musée d’Art Moderne de la Ville de Paris, 1983. (Includes 'On Going Overboard' and 'Contra Mensurability' by Mike Parr, April, 1983.)
Paul Taylor, 'Art News: Artists in Paris', Vogue Australia, October 1983, Sydney.
‘Mike Parr, le moi créateur et l’Autre’, interview by Catherine Millet and ‘From Deserts the Profits Come’, interview by Paul Taylor, in ‘Special Australie: Art, Musique, Literature, Peinture, Aborigene’, Art Press, No. 74, October 1983, Paris.
Studio International, Vol. 196, No. 1002, (special issue 'Australian Art: Beyond the Cringe') October 1983, London.
Mike Parr, Young Blood: Notes on Art Practice, Art Projects, Melbourne, 1983.
Leon Paroissien, 'Australia', World Art Trends 82, New York, Abrams, 1983 (First issued as Art 82:
Les evenements de l’art contempopraine dans le monde, Paris le Robert).
Australian Art Review 2, Warner Associates, Sydney.

1982
Nancy Underhill, Ian Burn, Paul Taylor, catalogue, Eureka! Artists from Australia, London, ICA/Arts Council, 1982.
4th Biennale of Sydney: Vision in Disbelief, The Biennale of Sydney, 1982, Sydney.
Mike Parr, ‘Sydney Biennale Review’, Flash Art, June 1982, Milan.
Mike Parr, ‘Glossolalia/Stroke: The Art of Dale Frank, Part 1’, introduction to Dale Frank, Roslyn Oxley9 Gallery, Sydney, July 1982. Also in Aspect, No. 25, 1982, Sydney.
Mike Parr, ‘Epithelium’, Notes on Art Practice, Art Projects, 1982, Melbourne.
Australian Art Review, Sydney, Warner Associates, 1982.

1981
Suzi Gablik, ‘A Report from Australia’, Art in America, Vol. 69, No.1, January 1981, Marion, Ohio. Also in Art and Australia, Vol. 18, No. 4, Winter (June) 1981, Sydney.
Mike Parr, First Australian Sculpture Triennial, Preston Institute of Technology, 1981, Melbourne.
Bernice Murphy, Australian Perspecta 1981: A biennial survey of contemporary Australian art, catalogue, Art Gallery of New South Wales, 1981, Sydney.
Mike Parr, ‘The Teeth of Ophion’, Survey 15: Relics and Rituals, National Gallery of Victoria, 1981, Melbourne.
Mike Parr, ‘Parapraxis II: Donkey’s Blood (Evolution towards Silence and Absence); Pater Physics Number 1 (From Eight Atomic Personages Face the Sun), 1981’, Plain Images, Ivan Dougherty Gallery, 1981, Sydney.

1980
Mike Parr, ‘Notes on the Structure of Content. Black Box: The Theatre of Self Correction Parts 1 & 2’, Venice Biennale 1980: Art from 1968–1980. Australia: Mike Parr, Kevin Mortensen, Tony Coleing, Visual Arts Board of the Australia Council, Sydney, 1980. Also in general catalogue published by Biennale di Venezia.
Janine Burke, 'Taken At Face Value: Self Portraits and Self Images', introduction to Self Portrait/Self Image, Victorian College of the Arts Gallery, Melbourne, together with Australian Gallery Directors' Council Tour.
Jennifer Phipps, 'Films by Artists', Art and Australia, Vol. 18, No. 1, Spring (September), 1980, Sydney.
Mike Parr, ‘Robert Owen’s 'Apposition', Sydney, September 1980’, Aspect, Vol. 5, No. 3, 1980, Sydney.

1979
Mike Parr (statement), European Dialogue, The Third Biennale of Sydney, catalogue, 1979.
Mike Parr, ‘Interstices 1–6 (Theatre of Self Correction)’, Flash Art, No. 90–91, 1979, Milan.
Nick Waterlow, ‘European Dialogue’, The Third Biennale of Sydney, Flash Art, No. 90–91, 1979, Milan.
Mike Parr, ‘Parallel Fictions: The Third Biennale of Sydney’, Art and Australia, Vol. 17, No. 2, December 1979, Sydney.

1978
Mike Parr, ‘Notes on Recent Work’, Flash Art, No. 80–81, February–April 1978, Milan.
Michael Nicholson, ‘Status Quo’, Aspect, Vol. 3, No. 3, July 1978, Sydney.
Mike Parr, ‘Beyond the Pale – Reflections on Performance Art’, Aspect, Vol. 3, No. 4, 1978, Sydney.
Elwyn Lynn, 'Letter from Australia', Art International, Vol. 22, No. 5–6, September 1978, Lugarno.
Graeme Sturgeon, 'The Development of Australian Sculpture', London, Thames and Hudson, 1978.
Paul McGillick, 'Performance Art: Some Sceptical Reflections'; Terry Smith, 'Private Art and Public Work', in Act 1: An Exhibition of Performance and Participatory Art, Canberra, Arts Council of Australia, A.C.T. Division.

1977
Tommaso Trini, ‘Domani L’Australia (Australia Next)’, Data, No. 26, April–June 1977, Milan.

1976
Mike Parr, ‘ABASEX to ZYMASEX (Homage to Sigmund Freud)’, Art and Australia, Vol. 13, No. 4, April–June 1976, Sydney.
Mike Parr, ‘Three Questions’, Aspect, Vol. 2, No. 1, 1976, Sydney.
Mike Parr, ‘Rules & Displacement Activities: Problems of Socialization’, Data, No. 26, December 1976, Milan.

1975
Mike Parr, ‘Other Dimensions’, interview by Rudi Krausmann, Aspect, Spring (September) 1975, Sydney.
Patrick McCaughey, ‘Art and Sanctuary’, Aspect, Spring (September) 1975, Sydney.

1974
Terry Smith, 'The Provincial Problem', Artforum, September 1974, New York.

1973
Donald Brook, ‘Idea Demonstrations: Body Art and 'Video Freaks' in Sydney’, Studio International, Vol. 185, No. 956, June 1973, London.          
Lucy Lippard (ed.), Six Years: The Dematerialization of the Art Object from 1966 to 1972, New York, Praeger, 1973.

1971
Mike Parr, 'Shadow Piece'. John Kaldor Art Project 2: Harald Szeeman in Australia, 14–27/4/72 (sic 1971). Catalogue publisher: John Kaldor.          
Terry Smith, Donald Brook, Noel Hutchinson, Bruce Pollard, Mike Parr, Peter Kennedy (introductions and interviews) in The Situation Now: Object or Post-Object Art?, Contemporary Art Society, One Central Street, Sydney, 1971.

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