Carpenter Center Exhibition Booklet — One reviewer called it an "Indispensable brochure." Besides checklist and illustrations, Lorraine O'Grady: Where Margins Become Centers contains an incisive essay by the CCVA's curator James Voorhies, an article by O'Grady and interview by Cecilia Alemani,, as well as Andil Gosine's foundational essay, "Lorraine O'Grady's New Worlds."
Lisa Scanlon on O'Grady's archive at Wellesley College — Associate editor Scanlon, writing on the newly opened Lorrraine O'Grady Papers, the College's first major alumnae archives, calls the collection a means to preserve the records of the artist's "permanent rebellion."
Holland Cotter, Art in Review — Cotter, long familiar with O'Grady's work, points to a new aspect of the photomontages shown in New Worlds, their "deep ambivalence." And his description of the effect of Landscape (Western Hemisphere), the video-projection, is the most allusive yet.
Goings On About Town: Art — Considers the New Worlds show relevant in view of the recent shooting of Trayvon Martin.
Emily Nathan, The New York List — Analysis of New Worlds focusing on how the works' resistance of "easy classification" and their straddling of "artificial divides of genre and type" serve to replicate O'Grady's thoughts on the contemporary world, one "shaped and inflected by miscegenation."
Lumi Tan, Critics' Picks — A brief, astute statement that indicates O'Grady's intentions in naming her Alexander Gray, NY solo show New Worlds.
Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the subject's treatment in her New Worlds show at Alexander Gray, NY.
Jeu de Paume invited blog — Rice's familiarity with O'Grady's work over 30 years results in a theoretically astute and rotundly feminist look at how New Worlds extends the artist's ongoing critique of cultural stability from the lens of the hybridized political-personal and the colonized body.
Alana Chloe Esposito, Unnatural Attitudes — A sensitive summary of O'Grady's biography and its effect on her art, Esposito's piece sees the work as emerging from the artist's pressure to understand and become herself.
Lorraine O'Grady's Hair Stare Fare, Village Voice — Davis's career evaluation and review of New Worlds at Alexander Gray, NY, O'Grady's show comprised of The Fir-Palm, The Clearing, and the projected video Landscape (Western Hemisphere), is suggestively sub-titled "A veteran artist turns identity into abstract art."
Lorraine O'Grady Papers, Wellesley College Library — Front page article on the college website about the artist's visit to campus for the celebration of the opening of her archive and to give a lecture.
Lorraine O'Grady's Persistent, Artpace San Antonio — Rondeau, guest curator of New Works 07.2, Artpace San Antonio, 2007, analyzes O’Grady’s residency project, the 6-channel video installation Persistent, memorializing a local multi-ethnic dance club controversially shut down.
Exhibit reflects downtown dance club — 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.