Artist feature, CAA Art Journal, Summer 2012 — Based on her lecture in conjunction with the exhibit This Will Have Been: Art, Love and Politics in the 1980s, the article puts several early works in historical context and explains O'Grady's reverse trajectory from "post-black" to "black."
Binder statement for Daniel Reich exhibit — At curator Nick Mauss’s request, O’Grady first exhibited five of the 26 cut-outs that she’d done on successive Sundays, from June 5 to November 20, 1977, in a group show nearly 30 years later — Between the Lines, in March 2006 at Daniel Reich Temporary (The Chelsea Hotel). She wrote a binder statement about her original work method and state of mind.
Unpublished statement, for Tony Whitfield — A letter to Tony Whitfield in preparation for Just Above Midtown’s Afro- Pop catalogue interview is O’Grady’s most self-conscious to that point. Experiencing a lack of clear precedents for her work, in it she attempts to theorize her relationship to performance art and the paucity of role models, and to face the question of the audience for black avant-garde art.
Carolyn Tennant, New Media Director, Hallwalls — Catalogue essay for Beyond/In Western New York on O’Grady’s two-part exhibit: The Clearing: or Cortez and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, photomontage diptych, 1991; and her new complement to it: Landscape (Western Hemisphere)