Gregory Green is internationally recognized for his challenging work and the numerous controversies it has spawned in the USA and Europe.  Since the mid-1980’s, Gregory has created artworks and performances exploring systems of control and the evolution of individual and collective empowerment.  Green’s work considers the use of violence, alternatives to violence, and the accessibility of information and technology as vehicles for social or political change. Referencing historical precedents and disturbingly anticipating various historical events, such as the tragedy of 9/11 and the Arab Spring, Green’s provocative works expand the parameters between art and activism, culture and social commentary.

With over 30 one-person exhibitions and 100’s of group exhibitions Gregory has played a significant role in the Contemporary Art discourse of the last 20 years.   His work is included in major public and private collections, including among others the Museum of Contemporary Art, Los Angeles, the Tate Gallery, London, the Saatchi Gallery, London, the Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the Mori Museum in Tokyo and MAMCO, Geneva among others; and his work is represented by numerous commercial Galleries in Europe and the United States. 

Associate Professor Green was born in New York State and raised in Europe.  He was a working Artist in New York City for 18 years until joining the faculty at the University of South Florida, Tampa, in the fall of 2006 where he now resides.  Gregory attended undergraduate school at The Art Academy of Cincinnati and graduate school at The School of the Art Institute of Chicago. 

Education

1982-1984    MFA Time Arts, School of the Art Institute of Chicago
1977-1981    BFA Sculpture, Art Academy of Cincinnati

Gallery Representation

Aeroplastics Contemporary, Brussels, Belgium
Kavi Gupta, Chicago, IL / Berlin, Germany
Kienz + Tillow Fine Arts, New York, NY
Mindy Solomon Gallery, Saint Petersburg, FL

Public Collection Highlights

The Museum of Modern Art, New York, NY
The Whitney Museum of American Art, New York, NY
The Museum of Contemporary Art, Los Angeles, California
The Altoids Collection, The New Museum, New York, NY
Center Art Gallery, Calvin College, Grand Rapids, Michigan
The Schwartz Art Collection, Harvard University, Cambridge, Massachusetts
Smart Museum of Art, University of Chicago, Illinois
Victoria & Albert Museum, London, UK
The Tate Gallery, London, UK
The Saatchi Gallery, London, UK
Hayward Gallery, London, UK
MAMCO, Geneva, Switzerland
Collezione Maramotti, Reggio Emilia, Italy
Rik Reinking Collection, Reinking Projekte, Hamburg, Germany
Weserburg Museum fur Moderne Kunst, Bremen, Germany
MAC’s Musee des Arts Contemporains de la Communaute Francaise, Mons, Belgium
Watertoren Aktuele Kunst, Vlissingen, Netherlands
Stadsgalerij, Heerlen, Netherlands
Mori Art Museum, Tokyo, Japan
MONA, Museum of Old and New Art, Hobart, Tasmania

One Person Exhibition Highlights       

2008         “Caroline, A New Future: a project of the New Free State of Caroline”, John Erickson Museum of Art (a site variable Museum), Belfast, Northern Ireland
2005         “In the Name of God”, Stadsgalerij, Heerlen, Netherlands
2003         Locust Projects, Miami, Florida
2002         “The Potential for Chaos”, de Watertoren Aktuele kunst, Vlissingen, Netherlands
2001         Torch Gallery, Amsterdam, Holland
         “Terror and Empowerment”, Cultuur Centrum Stadshallen, Bruges, Belgium, (catalog)
2000         Feigen Contemporary, New York, New York
1999         Aeroplastics Contemporary, Brussels, Belgium
         Cubitt Gallery, London, UK
1998         Feigen Contemporary, New York, New York
1997         Ars Futura Galerie, Zurich, Switzerland
         AKA Gallery, Saskatoon, Saskatchewan, Canada
1996         Max Protetch, New York, New York
         Cabinet Gallery, London, UK
1995         Feigen Inc., Chicago, Illinois
1994         Tom Cugliani Gallery, New York, New York
         Kim Light Gallery, Los Angeles, California
1993         Ella Sharpe Museum, Detroit, Michigan
1992         Dooley Le Cappellaine, New York, New York
1991         Dart Gallery, Chicago, Illinois

Selected Public Project Highlights

1997         “Gregnik Proto II”, Williamsburg, Brooklyn, for The Public Art Fund, New York, New York
1996         “Gregnik Proto 1”, Meadowell Projects and The University of Newcastle upon Tyne, for Locus+, Newcastle, UK

Selected Group Exhibition Highlights

2011         “Monanism” MONA Museum of Old and New Art, Hobart, Tasmania
2010         “Just Love Me”, MUDAM, Musee d Art Moderne Grand-Duc Jean, Luxembourg City, Luxembourg
         “Museum All-Over John Erickson Museum of Art: Next Chapter”, Museo Raccolte Frugone, Genoa, Italy
              “Hopey Changy Things”, Bemis Center for Contemporary Arts, Omaha, NE
2009         “That’s All Folks!”, Stadshallen, Brugge, Belgium
         “Broadcast”, Pratt Manhattan Gallery, Pratt Institute for the Arts, New York, NY; Hoffman Gallery & Lewis and Clark College, Portland, OR
2008         “That Was Then… This Is Now”, P.S.1 MoMA Museum of Modern Art, New York, New York
         “Call It What You Like”, The Art Centre Silkeborg Bad, Silkeborg, Denmark,
         “Material Evidence”, The Collection, Lincoln, UK
         “Broadcast”, Museum of Contemporary Art Detroit, Detroit, Michigan
2007         “Grow Your Own”, “ETATS (faites-le vous-meme)”, Palais de Tokyo, Paris, France, (catalog)
         “Kim Light Gallery - Early 90's”, Kim Light/Lightbox, Los Angeles, California
2006         “Down by Law“, The Wrong Gallery as part of the “Whitney Biennale”, The
             Whitney Museum of American Art, New York, New York
         “How to Improve the World. 60 Years of British Art, Arts council Collection”, The Hayward Gallery, London, England
         “Classified”, The Cartin Collection, Hartford, Connecticut
2005         “Oracle of Truth”, Aeroplastics Contemporary, Brussels, Belgium
              “Risk: Creative Action in Political Culture”, Centre for Contemporary Arts, Glasgow, Scotland
              “Rik Reinking Collection”, Art Cologne 2005, Cologne, Germany
         “Thought Crimes: The Art of Subversion, DiverseWorks, Houston, Texas
2004         “Bad Behavior”, The Hatton Gallery, University of Newcastle, England,    
         “DETOX Crossover Jam Culture”, Sorlandets Art Museum, Kristiansand, Norway
         “Building the Unthinkable”, Apex Art, New York, New York
2003         “Bad Behavior”, Longside Gallery, Yorkshire Sculpture Park, Yorkshire, UK    
         “Away From Home”, Wexner Center for the Arts, Columbus, Ohio
         “5 years of the Altoids Curiously Strong Collection 1998 – 2002”, The New Museum, New York, New York
2002         “The Culture of Violence”, University Gallery, fine Arts Center, University of Massachusetts, Amherst, Massachusetts
         “Pictures, Patents, Monkeys and More…On Collecting”, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA,
         “Thresholding”, Smart Project Space, Amsterdam, Netherlands
2001         “DANGER”, Exit Art, New York, New York
         “Digital Deviance”, Magasin Centred’Art Conemporain, Grenoble, France
         "Flesh & Blood", De Witte Zaal, Gent, Belgium
            “Wald / Explosionen”, Helmhaus Zurich, Zurich, Switzerland
2000         “Art Unlimited”, Art 31 Basel, Basel, Switzerland
         “Micropolitiques”, Magasin Centred’Art Conemporain, Grenoble, France,    
         “If Not Now, Wha’?”, LACMA Los Angeles County Museum of Art, Los Angeles, California
          “Katastrofen und Desaster”, Folkwang Museum, Essen Germany
         “The End:  An Independent Vision of Contemporary Culture”, 1982-2000, Exit Art, New York, New York
1999          “Against the Double Blackmail: Gregory Green, Slavoj Zizek”, Cubitt Gallery, London, UK
          “POWER”, Galerie fur Zeitgenossiche Kunst Leipzig, Leipzig, Germany,    
         “High Red Center”, Center for Contemporary Art, Glasgow, Scotland
         “Weird Science”, Cranbrook Art Museum, Detroit, Michigan
1998         “Young Americans 2”, Saatchi Gallery, London, England
         “Transatlantico:  Diseminacion, Cruce y Desterritorializacion”, Centro Atlantico de Arte Moderno, Los Palmas, Gran Canaria, Spain
         “Mostra d’Arte Conemporanea”, Centro Storico di Citta Sant’ Angelo, Sant’ Angelo, Italy
         “Transmissions”, Exit Art, New York, New York
1997         “Lawyers, Guns and Money”, Experimental Art Foundation, Adelaide, Australia
          “Life / Live”, Centro Cultural de Belem, Lisbon, Portugal
         "Art in Chicago, 1945-1995", The Museum of Contemporary Art, Chicago, Illinois
1996         "Young Americans", Saatchi Gallery, London, UK
              "Life / Live" Musee d'Art Moderne de la Ville de Paris, Paris, France,        
         "Landscape Reclaimed", The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
         "Obsession", The Tannery, London, UK
1995         "Cutting Up", Max Protetch, New York, New York
         "Dialog Der Kulturen (Dialog of Cultures)", Configura 2, Erfurt, Germany,    
         "Shift", De Appel Foundation, Amsterdam, Netherlands
         "... It's How You Play the Game", Exit Art, New York, New York
1994         "META-material", P.S.1, Long Island, New York, New York
         "Fever", Wexner Center, Ohio State University, Columbus, Ohio
         "Rum for Aktuell Konst (Room for Current Art)", Gothenburg Museum of Art, Gothenborg, Sweden, (catalog)
               "Please, Don't Hurt Me", Galerie Snoei, Rotterdam, Netherlands
1993         "The Nature of The Machine", The Chicago Cultural Center, Chicago, Illinois,    
             "Le principe de realite (a reality show)", Villa Arson, Nice France
              "Fontanelle - ( ) Incidents of Art", Kunstspeicher, Potsdam Germany,          
1992         "Fever", Exit Art, New York, New York
              "Beyond Glory, Representing Terrorism", Maryland Institute College of the Arts, Baltimore, Maryland
1990         "New Generations: Chicago", Carnegie Mellon Art Gallery, Pittsburgh, Pennsylvania
         "Images of Death in Contemporary Art", The Haggerty Museum, Milwaukee, Wisconsin, cat.

Selected Print Media Bibliography Highlights

2010         Ruiz, Cristina. “Art’s Subterranean Disneyland”, The Art Newspaper, London,
         UK, Issue 215, July - August 2010.
     Anderson, John. “How to Start Your Own Country”, Variety Magazine, Los
         Angeles, California, September 2010.
     Dierkes, Von Thomas, “The Obvious Result”, Die Tageszeitung Junge Welt,
Leipzig, Germany, October 28, 2010, pg. 13.
    2009         “Art 21’s As Seen On TV:  Week 2 Roundup”, Bomb Magazine, New York NY,
February 13, 2009.
     Hendrickson, Matthew. “Gregory Green:  The Mad Bomber of American Art”,
         Jettison Quarterly, Chicago Il, Winter 2009, pg. 32 – 45.
     Malone, Micah. “Broadcast”, Artforum, New York, NY, October 2009.
    2008         Tscharner, David de. “Radioactivite – ACSR, Silence Radio & Radio Free
Robot”, Code, Issue 6, Brussels, Belgium, April 2008.
     Maliszewski, Lynn. “That Was Then… This is Now”, Whitehot Magazine of
Contemporary Art, Issue 2, New York, NY, October 2008.
             Reinking, Rik, Nommensen. Sven, “Call It What You Like” published by
         Kenstcentret Silkeborg Bad, Silkeborg, Denmark, 2008, ISBN:
108791252237
    2007         Pardue, Derek. (Editor) “Ruminations on Violence”, Waveland Press, 2008,
                 ISBN: 978-1-57766-508-3.
             Currie. Tyler, “Installation Nation”, The Washington Post, Washington Post
                 Magazine, Spring Home and Design, Washington DC, April 24, 2007
             Ciuraru, Carmela. “Broadcast”, Art News, New York, NY, October 2007, pg.
58.
     Ashton, Sean. “Report: Arms, Art & Automobiles”, Map Magazine, London,
UK, Berlin, Germany, Winter 2007.
    2006         Gilbert, Alan. “Another Future, Poetry and Art in a Postmodern Twilight”,                      Wesleyan University Press, 2006, cover page, pg. 103, back cover, ISBN
0-8185-8784-1.
             Ardenne, Paul. “Extrême: Esthétqiue de la Limite Dépassée” (Extreme:
                 Esthetics of the Exceeded Limit), Flammarion, France, 2006, ISBN 1
85332 230 X.
             Luddemann, Stefan. “Bilderwelten einer Jahrhundertwende: Texte zur
Kunstkritik, Kunstkritiken 1996-2006”, Vandenhoeck & Ruprecht,
Germany, 2006, ISBN: 3899712900.
             Dunne, Anthony. “Hertzian Tales”, MIT Press, Boston Massachusetts, 2006,
ISBN: 0-262-04232-0.
    2005         Smith, Roberta. “We Could Have Invited Everyone”, New York Times, Art in
Review, New York, NY, July 15, 2005.
             Princenthal, Nancy. “Taking Liberties”, Art in America, New York, NY,
December 05, 2005, pg. 70-71.
             Najafi, Sina. “The New Free State of Caroline”, Cabinet: A Quarterly of Art                      and Culture, issue 18, 2005, pg. 98.
    2004         Princenthal, Nancy. “The Underside of Innocence”, Art in America, New
York, NY, September 2004, pg. 118 – 121.
     Smith, Roberta. “Building the Unthinkable”, The New York Times, Art in
Review, New York, NY, October 1, 2004.
             Perry, Gillian. Wood, Paul. “Themes in Contemporary Art”, Open University
Art of the 20th Century, Yale University Press, New Haven, CT, 2004,
ISBN: 0300102976.
     Conrad, Peter. “The Art of Pain”, The Observer, London, UK, April 4, 2004.
             Eccles, Tom. Cameron. Dan, Kastner. Jeffery, Siegel. Katy, “Plop Recent
Projects of the Public Art Fund”, Public Art Fund, New York, NY, Merrell Publishers Limited, 2004, pg. 104-108, ISBN 1 85894 248 9.
    2003             Wientraub, Linda. “In The Making, Creative Options for Contemporary Art”,
D.A.P., New York, NY, 2003, ISBN: 1891024590.
             Johnstone, Isobel. “Arts Council Collection Acquisitions 1989 - 2002”,                          Hayward Gallery Publishing, London, UK, 2003, ISBN: 1 85332 230 0.
             Massie, Annetta. “Away From Home”, published by Wexner Center for the
Arts, The Ohio State University, Columbus, Ohio, 2003, ISBN: 1 881390
33 0.
             Mahoney, Emma. “Bad Behavior”, published by Hayward Gallery Publishing,                      London, UK, 2003, ISBN: 1 85332 235 0.
    2002         Jones, Jonathan. “Magic Mushrooms”, The Guardian, London, UK, August 6,
2002, section G2, pg. 18-19.
             Wilson, Stephen. “Information Arts:  Intersections of Art, Science and
Technology”, MIT Press, Cambridge, Mass., ISBN: 0262731584.
             Candida-Smith, Richard. “Art and Performance of Memory:  Sounds and
                 Gestures of Recollection”, published by Routledge, London, Englad, pg.
177, ISBN 0-415-27796-5.
             Posner, Helaine. editor, “The Culture of Violence” published by the University                      of Massachusetts, Amherst and D.A.P., New York, NY ISBN: 0 929597
15 X.
    2001         Ostrow, Saul. “Gregory Green Terror and Empowerment”, published by
Cultuur Centrum (Stadshallen), Bruges, and Aeroplastics Contemporary,         Belgium, Feigen Contemporary, New York, New York, Torch,
Amsterdam, Netherlands, 2001.
             Van Mourik Broekman, Pauline. Ratnam, Niru. Stallabrass, Julian. “Locus
Solus: Site, Identity and Technology in Contemporary Art”, Black Dog    
Publishing Ltd, London, UK, 2001, ISBN: 9781901033618.
             Douglas, Sarah. “Desperately Craving Outsider Status”, The Art Newspaper,
London, UK, June 01, 2001, pg. 1.
             Maurer, Simon. “Wald/Explosionen”, published by Helmhaus Zurich,                          Switzerland, 2001, ISBN 3 906396 54 1.
             Valdez, Sarah. “Outlaws in Art Land”, Art in America, New York, NY,
November 2001, pg. 76 – 79.
             Frances, Richard. “Art at the Edge of the Law”, ArtForum, October 2001, pg.                      161 - 162.
             “Jailbait Artists Given Museum Parole”, Art Review, London, UK, July/August,
            2001.
    2000         Vendrame, Simona. “Gregory Green, Feigen Contemporary”, Tema Celeste                      Arte contemporanea, Italy, No. 81 July-September, 2000, pg. 86.
             Ardenne, Paul. Christine, Macel. “Micropolitiques”, Magasin Centre National                      d’Art Contemporain, Grenoble, France, 2000, ISBN 2 906732 66 4.
             Miller, John. “Gregory Green:  Feigen Gallery, New York”, Frieze, London,
UK, Sept/October, 2000, pg. 134.
             Finckh, Gerhard. Hunt, Barbara. “Katastrophen und Desaster, Das                          Jahrhundert am Ende”, published by Museum Folkwang, Essen,
Germany, 2000, pg. 6, 42-51, 74 – 75.
             Giovannotti, Micaela. “Gregory Green” Temaceleste, Italy, vol. 81, 2000.
    1999         Cochran, Rebecca Dimling. “The Scorned White Male Finally Has His Day”,                         Flash Art, Milan, Italy, March/April 1999, pg. 39.
             Wilson, David. Hofmann, Irene. “Weird Science, A Conflation of Art and
         Science”, published by Cranbrook Art Museum, Detroit, Michigan, ISBN:
0 9668577 0 4.
             Winkelmann, Jan. “Power” published by Galerie fur Zeitgenossische Kunst                      Leipzig, Germany, ISBN 3 9805959 8 6.
             Wetterwald, Elisabeth. “Power to the People”, NU: The Nordic Art Review,
Stockholm, Sweden, number. 3 1999, pg. 62-65.
             Marcelis, Bernard. “Gregory Green” Art Press, Paris, France, May 1999, pg.
77.
             Decker, Andrew. “Art’s Next Wave,” Cigar Aficionado, Miami, FL, April 1999.
    1998         Gianmarco, Del Re. “Young Americans 2: Parts I&II,” Flash Art, Milan, Italy,
            Nov/December, 1998, pg. 66.
             Collings, Matthew. “It Hurts:  New York Art from Warhol to Now”, 21
Publishing, London, UK, December, 1998, ISBN: 1901785033.
     Rugoff, Ralph. “That Sinking Feeling”, Frieze Magazine, London, UK, Issue
38, January / February 1998.
             Zaya, Octavio. “Transatlantico Deseminacion, Cruce y Destorritorializacion”,                      Centro Atlantico De Arte Moderno, Las Palmas, Gran Canaria, pg. 94-
100, ISBN 84 89152 25 X.
              Pollack, Barbara. “Leaping off the Pedestal” Artnews, New York, NY June
1998, pg.106-110.   
    1997             Wahler, Marc-Olivier. “Une Rentree Fall in Zurich”, Art Press, Zurich,                          Switzerland, September, 1997 pg 69.
             Princenthal, Nancy. “Landscape Reclaimed, New Approaches to an Artistic                      Tradition”, published by The Aldrich Museum of Contemporary Art,
Ridgefield, Connecticut, 1997, ISBN I 888332 03 4.
             Knode, Marilu. “A Scattering Matrix:  Richard Heller Gallery” Zing Magazine,                      New York, NY, Summer 1997, pg. 316 – 320.
             Fuller, Mathew. “War Fever”, World Art, the Magazine of Contemporary                      Visual Arts, London, UK, number 14, 1997, pg. 8 – 9.
             Vikhmon, Felix. “D.I.Y. mass destruction”, Shift, Toronto, Canada, September
1997, pg. 22.
             Simone, Moir. “Gregory Green”, MIX The Magazine of Artist-run Culture,
Toronto, Canada, fall, 1997, pg. 31.
             Flint, James. “Gregnik”, Wired Magazine, US & UK Editions, New York, May
1997, pg. 46.
    1996         Sherlock, Maureen. Weil, Benjamin. “Manual 2 Gregory Green“, published by
         Locus+, Newcastle, England, 1996, ISBN 1 899377 08 5.
             Samantha, Wilkinson. editor, “LOCUS+ 1993-1996”, published by Locus+,
Newcastle, UK, July, 1996 pg. 112-113, ISBN: 1899377 06 9.
             Bradley, Will. “Insane Stupid Phat Fuct Pervert, Concrete Skates”, Circa Art
Magazine, Number 77, Special Scottish Edition, Dublin, Ireland, Autumn
1996, pg. 27
             Deitch, Jeffrey. “Young Americans, New American Art in the Saatchi                          Collection”, published by The Saatchi Gallery, London, England, 1996,
pg. 11 - 12, 39 - 46, ISBN: 0 9527453 0 5.
                 von Mourik Broekman, Pauline. “The Big Packet Switch”, Mute Digital Art                        Critique, London, UK Issue 4, Winter/Spring 1996, pg. 8.
                 Coulter, Alex. “Bombs For Sale”, P.O.V., September 96, pg. 46 – 49.
                 Zaya, Octavio. “From Terror to Non-Participation, A conversation between    
                 Gregory and Octavio Zaya”, Atlantica, Las Palmas de Gran Canaria,
Spain, Number 14, Fall, 1996, front cover, pg. 61-70, pg. 153-161.   
                 Finlay, Judith. “21 Days of Darkness”, Flash Art, Milan, Italy, summer, 1996,
pg. 99.
                 Johnson, Ken. “Bombs ‘R’ Us”, Art in America, New York, NY, July 1996, pg.
80-81.
                 “Gregory Green”, Studio Art Magazine, Tel Aviv, Israel, June/July 1996, pg.
67-69.
                 Maloney, Martin. “Young Americans: Parts I & II”, Flash Art, Milan, Italy, June
1996, pg. 108-109.
             Williams, Gilda. “Young Americans Part 1”, Art Monthly, London, UK, March
1996, pg. 24 – 26.
             Yood, James. “Gregory Green, Feigen Inc.”, Artforum, New York, NY,
February 1996, pg. 88 – 89.
             Snodgrass, Susan. “Gregory Green at Feigen”, Art in America, New York, NY,
January 1996, pg. 109.
    1995            Landi, Ann. “Art Talk: Acid Test”, ArtNews, New York, NY, October 95, pg. 29.
             “Front Page: Acid Test for LSD Art”, Art in America, New York, NY, October
1995, pg. 33.
             Morris, Griff. “Art Note: The Acid Test”, The New Art Examiner, Chicago, IL,
October 1995, pg. 56.
             Artner, Alan G. “Green brilliantly probes violence and power”, Chicago                      Tribune, Chicago, IL, September 22, 1995, Section 7, pg. 58.
             Hixson, Kathryn. “Reviews: Gregory Green,” The New Art Examiner, Chicago,
IL, November, 1995, pg. 34-35.
             “Shift”, Art Monthly, London, UK, June, 1995, pg. 30-31.
    1994         Norman, Geraldine. "Anarchic artist detonates shock waves in kitchen", The                      Independent, London, UK, December 19, 1994, pg. 12c.
             Lillington, David. “This will hurt me more than you”, The Independent, London,
UK, December 17, 1994.
             Weil, Benjamin. "After Terrorism", Purple Prose, Paris, France, autumn 1994,
pg. 76-79.
             Kuspit, Donald. "Act Out Turn Off, Act Out Turn On", Art Forum, New York,
NY, April 1994, pg. 70-75.
1993         Perrin, Frank. "Le Principe de Realite", Flash Art, Milan, Italy, Nov/December,
1993, pg. 108.
             Wulffen, Thomas. “Fonatanelle”, Flash Art, Milan, Italy, Nov/December, 1993,
pg. 78
             Tannert, Christoph. “Situation Berlinnoise”, Blocnotes, Paris, France,
November 4, 1993, pg. 97.
             Smith, Roberta. “Dark Side of the American Psyche”, The New York Times,
New York, NY, March 15, 1993, Arts Section.
            “Berlin, Explosive Artwork Seized”, Flash Art, Milan, Italy, October, 1993,
News Section, pg. 60.
Bernard, Christian. “Le Principe de Realite”, published by Villa Arson and                  Centre National des Arts Plastiques, Nice, France, 1993, ISBN:
2905075562.
             Brown, David J. Merrill, Robert. editors, “Violent Persuasions:  The Politics
         and Imagery of Terrorism“, Bay Press, Seattle, 1993, ISBN 0941920259.
             Tannert, Christoph. “Fontanelle, Kunst in (x) Zwischenfallen”, published by                      Kunstspeicher Potsdam, Germany, 1993, ISBN 3 929473 02 X.
    1992         Giuliano, Mike. “Exhibits focus on social and political pain, not pretty pictures”,
The Baltimore Sun, Baltimore Maryland, February 6, 1992,
1991         Hixson, Kathryn. “Chicago in Review: Gregory Green”, Arts Magazine, New
York, NY, December 1991, pg. 87 - 88.
             McCracken, David. “The aesthetics of violence made explicit”, Chicago                      Tribune, Chicago, IL, Sept 27, 1991, Section 7 pg. 68.