Catalogue essay for O’Grady’s first gallery solo exhibition, “Lorraine O’Grady,” INTAR Gallery, 420 W 42nd Street, New York City, January 21 – February 22, 1991. more

Brochure article for the one-person exhibit “Lorraine O’Grady / MATRIX 127,” The Wadsworth Atheneum, Hartford, CT, May 21 – Aug 20, 1995. more

Catalogue essay for the group exhibit New Histories, Institute of Contemporary Art, Boston, MA. 1996. Lia Gangitano and Steven Nelson, eds. more

Discussion of O’Grady’s performance ART IS. . . in a book examining “complicit art.” Johanna Drucker, Sweet Dreams, Chicago: University of Chicago Press, 2005. pp. 82-84, 87-88. more

Article in New Observations #97: COLOR. September/October 1993. Special issue, edited by Adrian Piper. more

An article in dialogue with O’Grady’s “Olympia’s Maid: Reclaiming Black Female Subjectivity.” In Generations: Academic Feminists in Dialogue, Devoney Looser and E. Ann Kaplan, eds. University of Minnesota Press, 1997. more

Analytic reading of two “works” — Gayatri Spivak’s description of her clothing, and Lorraine O’Grady’s Flowers of Evil and Good. Unpublished paper read to a symposium at Louisiana State University, March 2000. more

An article on work by artists responding to racial hybridity that features a discussion of O’Grady’s diptych, The Clearing. Published in Third Text: Critical Perspectives on Art and Culture 53, Winter 2000-01, pp 43–54. more

Seminar paper on the need for subjectivity and agency to restore critical judgement faced with knowledge acquisition and production that are compromised forms of power relations. Studio Art, UC Irvine, 2005. more

Handout written by a professor of Greek and Latin for the premiere of O’Grady’s installation Miscegenated Family Album in Body As Measure, The Davis Museum and Cultural Center, Wellesley, MA, Oct-Nov 1994. more

Excerpts from paper for “Diaspora and Hybridism: Paradigms for a Global 21st Century,” a faculty symposium on issues emerging from viewing Miscegenated Family Album in Body As Measure, Davis Museum, Wellesley, MA, Oct 1994. more

Handout on the historical and critical treatment of Jeanne Duval, accompanying “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23, 1996–Jan 5, 1997. Curator: Milena Kalinovska. more

Handout on O’Grady’s “unmasking” as a response to the critical tradition of fetishizing the fetish. Written to accompany “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23,1996–Jan 5, 1997.
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The founder of the “diggindeepquartet” DJ collective and lead DJ of the closed Davenport Lounge in San Antonio — and O’Grady’s collaborator on the installation — emails a description of Persistent to his list. more

Highlighted box review, taking a retrospective look at O’Grady’s 1983 performance Art Is . . .. In “Sniper’s Nest,” Z Magazine, July-August 1988, p 102. more

A review of O’Grady’s first solo exhibit at INTAR Gallery, NYC, that focuses on her work in performance. Selected from Gretchen Faust’s column, "New York in Review," ARTS Magazine, vol 65, no 8, April 1991, p 98. more

“Lorraine O’Grady, The Space Between, MATRIX/127,” The Wadsworth Atheneum, Hartford, CT, May 21 – Aug 20, 1995. Review discusses this two-part installation exhibit: Miscegenated Family Album and Mlle Bourgeoise Noire. more

Reviews O’Grady’s first NYC show of digital cibachrome studies for this work, in Review, vol 4, no 3, October 15, 1998, pp 6-7.
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Lorraine O'Grady, "Studies: For a Work-in-Progress on Charles Baudelaire, the first Modernist Poet, and his Haitian-born wife Jeanne Duval," Sep 12 - Oct 31, 1998, at Thomas Erben Gallery, NYC. Review published on the internet. more

Daily newspaper review of O’Grady’s video installation Persistent, at Artpace, San Antonio, TX, July 2007. A work on dance, music, economics, and race that recalls O’Grady’s own past as a club dancer and rock critic. more

Patricia S. Jones discusses a downtown gallery performance series at Just Above Midtown, NYC, Oct 1980 in a late 70s-early 80s annual journal. Article makes special note of O’Grady’s first performance of Nefertiti/Devonia Evangeline. more

Review of The Body As Measure, The Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, Sep 23 – Dec 18, 1994. Refers to O’Grady’s first exhibition of Miscegenated Family Album as “the most extraordinary work in the show.” more

A review of three simultaneous shows presented by the Daniel Reich Gallery, NYC, which singles out O’Grady for special mention in the third. more

Opening of the first-ever museum show of feminist art at the Museum of Contemporary Art, Los Angeles. Holland Cotter’s feature-length review was illustrated by four works, including Mlle Bourgeoise Noire. more