Frameworks – Air Conditioning, Art & Language Press, Coventry.
Hot-Cold, Art & Language Press, Coventry.
22 Sentences: The French Army, Art & Language Press, Coventry.
Six Negatives, The Society for Theoretical Art, New York.
Theories of Ethics, New York Cultural Centre, New York.
Handbook to Ingot, New York Cultural Centre, New York.
Art & Language: Texte zum Phänomen Kunst und Sprache, Selected essays by Art & Language (German-English edition), Verlag Dumont-Schauberg, Cologne.
Blurting in A & L, Art & Language Press, New York, and The Mezzanine, Nova Scotia College of Art, Halifax, Nova Scotia.
Art & Language: Proceedings, Kunstmuseum, Luzern.
Art & Language 1966-1975, Selected essays, Museum of Modern Art, Oxford.
Corrected Slogans, 21 songs written and produced by Art & Language, Music-Language, New York/Banbury.
– ‘And Now for Something Completely Different’, (film of 4 songs written and performed by Art & Language a contribution to Borba New York, a film by Zoran Popovic, Centar za Fotografija Film i TV, Zagreb).
Art & Language 1975-1978 (selected essays), Éric Fabre, Paris (French-English edition).
Art & Language, Selected essays 1966-80, Stedelijk Van Abbemuseum, Eindhoven.
Kangaroo?, (LP) Art & Language with The Red Crayola, Rough Trade Records, (Rough 19)
An Old Man's Dream, (Single record) Art & Language with The Red Crayola, Rough Trade Records (RT 073).
Portrait de V.I. Lenine, Éditions Éric Fabre, Paris.
Rattenmensch/Gewichtwachter, (Single record) Art & Language with The Red Crayola, Rough Trade Records Production, Phonogram GmbH.
– Art & Language, (Selected essays) Introduction by Christian Schlatter (Musée d'art moderne, Toulon (French-English edition).
Black Snakes, (LP) Art & Language with The Red Crayola, Recommended Records Switzerland, Pure Freud West Germany, distributed by Recommended Records, UK.
Art & Language, Ikon Gallery, Birmingham.
Art & Language, Los Angeles Institute of Contemporary Arts, Los Angeles.
– Art & Language Paints a Picture (VI), Arnolfini Gallery, Bristol.
– “La Conférence du Jeu de Paume (L'Origine du monde)”, Flammarion 4/Galerie de Paris, Paris.
– Volume 1 No. 1, May.
– Volume 1 No. 2, February.
– Volume 1 No. 3, June.
– Volume 1 No. 4, November.
– Volume 2 No. 1, February.
– Volume 2 No. 2, Summer.
– Volume 2 No. 3, September.
– Volume 2 No. 4 (‘Handbook to Going-On’), March.
– Volume 3 No. 1 (‘Draft for an Anti-Textbook’), September.
– Volume 3 No. 2, June.
– Volume 3 No. 3, June.
– Volume 3 No. 4 (‘Fox 4’), October.
– Volume 4 No. 1, May.
– Volume 4 No. 2, October.
– Volume 4 No. 3 (‘Ways of Seeing’), November.
– Volume 4 No. 4, June.
– Volume 5 No. 1, October.
– Volume 5 No. 2 (‘Victorine’) March.
– Volume 5 No. 3 (‘Blue Poles’), March.
Art-Language New Series:
– Number 1, June.
– Number 2, June.
– Number 3, September.
Analytical Art:
– Number 1, July.
– Number 2, June (discontinued).
The Fox:
– Number 1, March.
– Number 2, October.
– Number 3, April (discontinued).
– ‘Remarks on Air-Conditioning’, Arts Magazine, November.
– ‘Status and Priority’, Studio International, January.
– ‘Notes Towards Art Work’, Studio International, February.
– ‘Lecher System’, Studio International, July-August.
– ‘De Legibus Naturae’, Studio International, May.
– ‘A Question of Epistemic Adequacy’, Studio International, October.
– ‘Some Concerns in Fine Art Education’, Studio International, part I October, part II November.
– ‘Some Post-War American Work and Art & Language: Ideological Responsiveness’, Studio International, April.
– ‘Forget the Paintings’, Studio International, June.
– ‘Educating Artists’, Studio International, June.
– ‘Art and Terminology’, Studio International, November.
Uber Kunst, (Selected essays) Gerd deVries, editor, Verlag Dumont-Schauberg, Cologne 1973.
– ‘Proceedings’, Audio Arts (K7 magazine), No. 1, June.
– Letter to Artforum, September.
– ‘Deurle l l/7/'73’ (Art and its Cultural Context), Catalogue and conference organised by Anny De Decker, Fernand Spillemaekers and Paul Maenz.
– ‘The Problem of Context’, Frameworks Journal, London, June.
– ‘Possible Models for Propositional Attitudes’, Studio International, October.
– ‘Introduction to a Partial Problematic’ and ‘Artworks and Explications’, in Joseph Kosuth: Investigations uber Kunst und Problemkreise (4 volumes), Kunstmuseum, Lucerne.
– ‘Dialectical Materialism’, Extra No. 2, Cologne, October.
– ‘Review 5: Contemporanea’, Studio International, January.
– ‘Introduction to Art-Language, Vol. 1, No. 1’, in Germano Celant, Precronistoria 1966-69,  Florence.
– ‘Us, Us and Away’, Data, February-March.
– ‘Nous ne donnent pas notre travail’, Newcastle Writings, Robert Self Publications, London.
– ‘British Painting ’52-’77’, Art Monthly, November.
– Contribution to 'What do you Expect: A Question put to Seven Politically Orientated Artists’, Galerie Paul Maenz, Cologne.
– ‘Art for Society?’, Art Monthly, October.
– ‘Artists and Philosophers’  (reply to Willis Domingo), Art Monthly, May.
– ‘Art for Society?’, Issue,Trent Polytechnic, Nottingham).
– ‘Portrait of V. I. Lenin in the Style of Jackson Pollock’, Artforum, February.
– ‘The Ratification of Abstract Art’, in M. Compton ed., Towards a New Art: essays on the background to abstract painting 1910-20, Tate Gallery, London.
– ‘Joseph Stalin Gazing Enigmatically at the Body of V. I. Lenin as it Lies in State in Moscow in the Style of Jackson Pollock’, File, vol 4, No. 4, Toronto.
– ‘Manet’s ‘Olympia’ and Contradiction’, Block 5, September, Middlesex.
– ‘Art History, Art Criticism and Explanation’, Art History,vol 4, No. 4.
– ‘Letter to a Canadian curator’, and ‘Manet’s Olympia and Contradiction’, Style, Vancouver Art Gallery, March.
– ‘Future Pilots and Ratman the Weightwatcher’, Live to Air. Audio Arts (K7 magazine), Vol. 5, No. 3 and No. 4, August.
– ‘Kangaroo? (some songs by Art & Language and The Red Crayola)’, Art Journal (USA), Summer.
– ‘Painting by Mouth’, Artery (National Forum for College Art), December.
– ‘Art & Language Paints a Picture’, Gewad Informatief, Ghent, March.
– ‘A Cultural Drama: The Artist's Studio’ (transcript of a seminar), Ikon Gallery, Birmingham.
– ‘Portrait of V. I. Lenin’, ‘Abstract Expression’, and ‘Author and Producer Revisited’, in C. Harrison and F. Orton eds., Modernism, Criticism. Realism’, Harper & Row, London and New York.
– ‘Julian Opie’s Sculptures’, Julian Opie (exhibition catalogue) Lisson Gallery, London.
– ‘Art History, Art Criticism and Explanation’, in F. Frascina ed., Pollock and After; The Critical Debate, Harper and Row, London & New York.
– ‘Francis Bacon’, Artscribe International, July/Aug.
– ‘Art & Language Paints a Picture’, New Observations, USA, July‘Terry Setch’and ‘Keith Vaughan’ (exhibition reviews), Artscribe International, June/July.
– ‘Ronald Alley Hangs a Picture’, Artscribe International, June/July.
– ‘Andy Warhol, Anthony d'Offay Gallery’, Artscribe International, November.
– ‘Failed Town Planning’ (review of Montana and Oliveras, The Museums of the Last Generation), Artscribe International, March-April.
– ‘To Say of a Painting That It Is A Fake...’ (review of Arts Council Exhibition: ‘Don’t Trust the Label’), Artscribe International, May.
– “L’Art et l’argent”, Art Press, No. 118, October.
– ‘Ralph the Situationist’, Artscribe International, November/December.
– ‘Tales from the Pit’ (review of  J. Fekete ed., Life After Postmodernism; Essavs on Value and Culture, Macmillan Education, London, 1988),  Artscribe International, Nov/Dec.
– ‘Michael Baldwin and Mel Ramsden on Art & Language’, Art & Text, No. 35, Summer.
– ‘David: Unsightly Scenes’, Artscribe International, March-April.
– ‘Reply to Art in Ruins’, Frieze, No. 1, Summer.
– Excerpts from selected essays 1967-1982, in C. Harrison and P. Wood eds., Art in Theory 1900-1990; an anthology of changing ideas, Blackwell, Oxford; French edition, Art en Théorie 1900-1990, Hazan, Paris, 1997; German edition, Kunst/Theorie in 20 Jahrhundert, 2 vols., Hatje, Stuttgart, 1998.
– ‘Art & Language Paints a Picture (VI)’, Art & Language, Now They Are (exhibition catalogue), Galerie Isy Brachot and Labor, Brussels.
– Contribution to “69/96, Avant-Garde et fin de siècle” Art Press, hors série No. 17, Paris.
– “Rosalind Krauss: Un Pétard Mouillé”, Art Press, hors série No. 17.
– ‘Tied to the Mast’, Art Monthly, No. 203, February.
– ‘(False) Memory and (Self) Patronage’, Tate Magazine, No. 11, Spring.
– ‘Moti Memoria’,  in J. Roberts ed.,  The Impossible Document: Photography and Conceptual Art in Britain 1966-1976,  Camerawords, London.
– ‘Unstringing the Bow’ (review of The Artist in the Modern World by Oscar Batschman, Yale University Press) , Bookforum, Fall.
– Contributions to Conceptual Art: A critical Anthology (Alberro and Stimson eds.), MIT Press, Cambridge, Massachusetts.
– ‘Concept and Experiment in Britain?’, Modern Painters, Summer, 2000.
– ‘Blahy’,  Everything Magazine, Issue 3, No. 3, September, 2000.
– ‘When Management Speaks’ and ‘A Story, a Moral and a Postscript’ in Research and The Artist, Considering the Role of the Artschool (ed. Antonia Payne), Ruskin School of Drawing and Fine Art, University of Oxford, 2000.
– ‘Art & Language: Indizes und Andere Zahlen’ and ‘Postscript: Wrongs Healed in Official Hope’ Kunstforum International 155, June-July.
– ‘Roma Reason; Luhmann’s Art as a Social System’, Radical Philosophy 109, September / October, pp. 14-21.
Blurting in A&L Online, (English/German).
A website (organised by Thomas Dreher) of Art & Language within the website of ZKM (Zentrum für Kunst und Medientechnologie, Karlruhe). The booklet ‘Blurning in A&L’ (1973) is presented as an online version.
– Charles Harrison and Fred Orton, A Provisional History of Art & Language, Éditions Éric Fabre, Paris.
Art & Language, Ikon Gallery, Birminingham; text by Charles Harrison, ‘The Orders of Discourse: The Artist's Studio’.
Studies for the Studio at 3 Wesley Place, Art & Language (exhibition catalogue), Tate Gallery, London; text by Charles Harrison.
Confessions: Incidents in a Museum (exhibition catalogue), Lisson Gallery, London; text by Charles Harrison.
Art & Language. The Paintings (exhibition catalogue), Palais des Beaux-Arts, Brussels; texts by Charles Harrison and John Roberts.
Hostages (exhibition catalogue), Lisson Gallery, London; text by Charles Harrison.
– Charles Harrison, Essays on Art & Language, Blackwell, Oxford.
Hostages XXV - LXXVI (exhibition catalogue), Lisson Gallery, Galerie de Paris, Marian Goodman Gallery; interview by David Batchelor, essay by Christian Schlatter.
Art & Language, Now They Are (exhibition catalogue), Galerie Isy Brachot and Labor, Brussels; texts by Paul Wood and Art & Language.
Art & Language, Now They Are (exhibition catalogue), Galerie Grita Insam, Vienna; texts by Charles Harrison and Art & Language.
Art & Language (exhibition catalogue), Galerie Nationale du Jeu de Paume, Paris; texts by Charles Harrison, Paul Wood and Art & Language; Libretto for Victorine (French and English versions).
Art & Language: Conceptual Art from 1965 to 1974 (exhibition catalogue), Mulier Mulier Gallery, Knokke; text by Art & Language .
Art & Language and Luhmann, Institut für soziale Gegenwartsfragen, Freiburg, and Kunstraum Vienna, eds., Passagen Verlag, Vienna; texts by Art & Language, Paul Wood, Charles Harrison, Thomas Dreher, Niklaus Luhmann, Catherine David, Peter Weibel.
– Sighs Trapped by Liars (exhibition catalogue) Mulier-Mulier Gallery, Knokke; text by Art & Language.
– ‘Art & Language in Practice’, Volume 1, Illustrated Handbook, Volume 2, Critical     Symposium, Fundació Antoní Tàpies, Barcelona.
Thomas Dreher:Intermedia Art.
Website (in German) includes pictures and texts on Art & Language and Conceptual Art.
– James Collins, Revision and Prescription (distributed by mail), New York, June.
– Jack Burnham, The Structure of Art, Braziller, New York.
– Lucy Lippard, Changing: essays in art criticism, Dutton, New York.
– Catherine Millet, Textes sur l’art conceptuel, Éditions Daniel Templon, Paris.
– E. Migliorini, Conceptual Art, Edizione D'Arte Fiorino, Florence.
– Ursula Meyer, Conceptual Art, Dutton, New York.
– Lucy Lippard, Six Years: the dematerialization of the art object, Praeger, New York.
– John Walker, Art Since Pop, Thames and Hudson, London and New York.
– Lea Vergine, Dall Informale alla Body Art: Dieci dell'arte Contemporanea 1960/70, Cooperativa Editoriale Studio Forma, Turin.
– Filberto Menna, L'Arte Moderna 109: L’Arte Concettuale, Fabbri Editions, Milan.
– John A Walker, Cross-overs: Art into Pop, Pop into Art, Methuen, London and New York.
– S. Compton ed., British Art of the Twentieth Century: The Modern Movement, Royal Academy, London and Prestel Verlag, Munich.
Starlit Waters (exhibition catalogue), Tate Gallery, Liverpool; texts by Lewis Biggs, Richard Francis, Charles Harrison, Martin Kunz, Lynne Cooke and Iain Chambers.
Synnyt. Sources of Contemporary Art, Museum of Contemporary Art, Helsinki.
L’Art conceptuel, une perspective (exhibition catalogue), Musée d'Art Moderne de la Ville de Paris, Paris; texts by Benjamin Buchloh, Charles Harrison, Gabriele Guercio and Seth Siegelaub
Giancarlo Politi ed., Flash Art. Two Decades of History, XXI Years;  text by Charles Harrison, ‘Art & Language’, from Flash Art, No. 35-6, Sept-Oct 1972.
– I. Lavin ed., World Art; Themes of Unity in Diversity (Acts of XXVIth International.
Congress of the History of Art) Vol II., Pennsylvania State University Press, University Park and London; text by Charles Harrison, ‘Art and Language: The Contest for the Modern’.
L’Exposition imaginaire, The Art of Exhibiting in the Eighties,  SDU Uitgeverig Rijksdienst Beeldende Kunst, The Hague; text by Charles Harrison,‘Thoughts in the Black Museum’.
Glasgow’s Great British Art Exhibition (exhibition catalogue), Glasgow Museums and Art Galleries, Glasgow.
– Ian Burn, Dialogue, Writings in Art History, Allen and Unwin, Sydney.
Postmodernism, Politics and Art, Manchester University Press; text by John Roberts, ‘Realism, painting, dialectics: Art & Language's Museum Series’.
Approaches to Realism (exhibition catalogue), Bluecoat Gallery, Liverpool; text by John Roberts.
Team Spirit (exhibition catalogue), Independent Curators Incorporated, New York; texts by James Hillman, Irit Rogoff, Susan Sollins and Nina Castelli Sundell.
Rhetorical Image (exhibition catalogue), The New Museum of Contemporary Art, New York.
– Juan Vte. Aliaga and Jose Miguel G. Cortes eds., Arte Conceptual Revisado, Universidad Polytecnica de Valencia; ‘Interview with Art & Language’.
Art conceptuel, formes conceptuelles (exhibition catalogue), Marcel Fleiss and Galerie 1900-2000, Paris; texts by Christian Schlatter and Charles Harrison.
– Thomas Dreher, Konzeptuelle Kunst in Amerika und England Zwischen 1963 und 1976, Peter Lang, Frankfurt am Main, Bern, New York, Paris.
The Cutting Edge (exhibition catalogue), Barbican Art Gallery, London.
Le Sens figuré (exhibition catalogue),  Fonds régional d’art contemporain d'Ile-de-France, Conseil des Arts Communauté Urbaine de Montreal; texts by Bernard Goy and Fabrice Hergott.
– Thorsten Scheer, Postmoderne als kritisches Konzept,Wilhelm Fink Verlag, Munich[?].
Repetición/Transformación (exhibition catalogue), Museo Natioal Centro de Arte Reina Sofia, Madrid; texts by Franciso Calvo Serraller, Aurora Garcia, and Michael Tarrantino.
– Ine Gevers ed., Place, Position, Presentation, Public, Jan Van Eyck Akademie, Maastricht; text by Charles Harrison, ‘The Legacy of  Conceptual Art’.
– W. J. T. Mitchell ed., Landscape and Power, University of Chicago Press; text by Charles Harrison, ‘The Effects of Landscape’      .
– P. Wood, C. Harrison, F. Frascina and J. Harris, Modernism in Dispute: Art Since the 40s, Yale University Press, New Haven & London; text by Paul Wood and Charles Harrison, ‘Modernism and Modernity Revisited’.
From Here (exhibition catalogue), Waddington Galleries and Karsten Schubert Gallery, London; text by Andrew Wilson.
– Brandon Taylor, The Art of Today, Everyman Library.
Herausgeber 1994 bis 1996, Kunstraum Wien Projekt; Kunstraum, Vienna.
Artists Think: The Late Works of Ian Burn (exhibition catalogue), Power Publications, Sydney, Monash University Gallery, Melbourne; Ann Stephen, ed.
– Anne Moeglin-Delcroix, Esthétique du livre d’artiste 1960/1980, Jean Michel Place, Bibliothèque Nationale de France.
– ‘Myfanwy Kitchen’ (review of ‘Dematerialisation Show’), The Guardian, October 4.
– G.R. Lansell.’Pseudo-Science’, Nation Australia, August 11.
Joseph Kosuth, ‘Art after Philosophy’, Studio International, October/November/December.
– Catherine Millet,“L’Art conceptuel”, L'Art Vivant, Paris, January.
– Willis Domingo, ‘In the Museums’, Arts Magazine, May.
– Carter Ratcliffe, ‘Conceptual Art and Conceptual Aspects’, Art International, Summer.
– Catherine Millet, “L’Art conceptuel comme sémiotique de l’art”, VH101, Paris, January.
– Donald Karshan, ‘The Seventies: Post-Object Art’, Studio International, September.
– Ian Burn, ‘Conceptual Art as Art’, Art and Australia, September.
– Charles Harrison, ‘A Very Abstract Context’, Studio International, May.
– Charles Harrison, ‘Virgin Soils and Old Land’ (Introduction to ‘The British Avant-Garde’), Studio International, May.
– D. Shirey, ‘British Avant-Garde in 100 Work Show’, The New York Times, May 21.
– Germano Celant; ‘The Book as Art Work’, Data, No. 1, September.
– E. Migliorini; ‘Art-Language’, L’Art Vivant, October/November.
– René Huyghe, “Fin de l'art ou Art nouveau”, La Galerie, October.
– Catherine Millet, ‘Appunti Su Art-Language’, Flash Art, October/November.
– I. Tomassioni, ‘Dall Oggetto Al Concetto Elogio Della Tautologia’, Flash Art, December.
– Thomaso Trini, ‘Art & Language: Galleria Daniel Templon’, Domus, February.
– Linda Morris; ‘Art & Language’, Art Press, March.
– Charles Harrison, ‘Art & Language Press’, Chroniques de l'art vivant (Special/Grande Bretagne), April.
– John Stezaker, ‘Priorities’, Frameworks, No. 1, London.
– Lizzie Borden, ‘3 Modes of Conceptual Art’, Artforum, June.
– Max Kozloff, ‘The Trouble with Art as Idea’, Artforum, October.
– Peter Berry, Paul Wood, Kevin Wright, ‘Remarks on Art Education’, Studio International, November.
– Anthony Everitt; ‘Four Midland Polytechnic Fine Art Departments’, Studio International.
– Rudi H. Fuchs, ‘More on the New Art’, Studio International, November.
– Lucy Lippard, ‘Some of 1968’, Arts Magazine, January.
– Andrew Menard, Preston Heller, ‘Kozloff: Criticism in Absentia’, Artforum, February.
– Bruce Boice, ‘Books: Art & Language’, Artforum, March.
– James Collins, ‘Things and Theories’, Artforum, May.
– Ian Jeffrey, ‘Art Theory and the Decline of the Art Object’, Studio International, October.
– Susan Steadman-Jones, ‘De Legibus Philosophicus’, Studio International, October.
– John Stezaker and Rosetta Brooks, ‘The British Avant-Garde’, Studio International, October.
– Caroline Tisdall, ‘Word Play’, The Guardian, November.
– Terry Smith, ‘Art and Art & Language’, Artforum, February.
– Paul Wood, ‘Art & Language at the Lisson Gallery’, Studio International, February.
– Alan Kaprow, ‘The Education of the Un-Artist III’, Art in America, February.
– G. Contessi, ‘Nuova Pittura Arte Conceptuale’, Flash Art, April.
– Joseph Kosuth, ‘Uber Eine Anthropologisierte Kunst’, Extra, No. 1, Cologne.
– Ian Burn, ‘The Art Market: Affluence and Degradation’, Artforum, April.
– Terry Atkinson, ‘Reply to Joseph Kosuth’s ‘Uber Eine Anthropologisierte Kunst’, Extra, No. 3.
– Annette Kuhn, ‘Culture Shock’, Village Voice, August 18.
– Mona da Vinci, ‘The Fox and Other Fairy Tales’, SoHo Weekly News, December 25.
– Brandon Taylor; ‘Textual Art’, Artscribe,  January.
– Kay Larson, ‘Art Critics of the World Unite, You have nothing to lose but your Formalism’, The Boston Phoenix, October 5.
– Werner Lippert, ‘Is There an Art Scene in New York?’, Heute-Kunst, October/December.
– D. Davis, ‘The Size of Non-Size’, Artforum, December.
– Peter Smith, Review of Art & Language at the Robert Self Gallery, Art Monthly December/January.
– Nancy Marmer, ‘Artpolitics 77’, Art in America, September/October.
– John McEwan, ‘Ingrowing’ (review of Art & Language at the Robert Self Gallery), The Spectator, London, July 16.
– Ralph Rumney, ‘Un Certain Art Anglais; Showing the Flag in France’, Art Monthly, March.
– Clive Philpot, ‘Art Magazines and Magazine Art’, Artforum, February.
– Paul Groot, ‘Guerrilleros van de Kunstwereld’, Museum Journaal, August.
– Lynn Hanna, Review of  ‘Kangaroo?’, New Musical Express, May 30.
– ‘Aux Arts, Citoyens’, Actuel, Paris, June.
– Jim Pallette, “Le Monde merveilleux d'Art  & Language”, Libération, July 20, Paris.
– Jacob Berger, “L’Ironie comme produit culturel”, TUB-Hebdo, No. 23, Geneva.
– Stuart Morgan, ‘Art & Language at Dokumenta 7’, Artforum, September.
– Heidi Grundmann ‘Ein Interview mit Art & Language’, Artig, No. 1, Vienna.
– Jean-Christophe Ammann, ‘Dokumenta: Reality and Desire’, Flash Art, November.
– John Roberts, ‘Three Men in a Studio’, Art Monthly, July/August.
– Colin Gardner, ‘Levels of Discourse’, Art Week, October 8, Los Angeles.
– Sanda Miller, ‘Art & Language, Michael Baldwin and Mel Ramsden: Extracts from a conversation with Sanda Miller’, Artscribe International, July/August.
– E. H. Gombrich, ‘Image and Word in the 20th Century Art’, Word and Image, Vol 1, No. 3, July.
– Donald Kuspit, ‘Of Art & Language’, Artforum, May.
– Richard Francis, ‘Your 'if' is the only Peacemaker ... Art & Language's Museum Paintings,’ Artscribe International, June/July.
– Matthew Collings and Stuart Morgan, ‘True Brit: An Enquiry into National Character’, Artscribe International, No. 61, January/February.
– Michel Baudson, “Incidents au musée”, Art Press, No. 114, May.
– Richard Dorment, ‘The Painting of Theories’, The Daily Telegraph, May 8, London.
– David Batchelor and Paul Wood, ‘Realism’ (review of Art & Language exhibition at the Palais des Beaux-Arts, Brussels), Artscribe International, September/October.
– Charles Harrison, “L'Atelier des artistes: transformation du repertoire”, Les Cahiers du musée national d'art moderne, No. 21, September, Paris.
– Charles Harrison, “Le Modernisme: aux limites”, Les Cahiers du musée national d'art moderne, No. 22, December, Paris.
– Holland Cotter, ‘Museum Talk: Art & Language’, Art in America, June.
– Allan Shields, ‘Art-Language’, Art Press, No. 129, October.
– Brian Hatton, ‘Art & Language; a Critical Allegory of ‘Self Criticism’ Itself’, FlashArt, October.
– Michael Archer, ‘Art & Language, Lisson Gallery’, Artscribe, November/December.
– Mary Anne Staniszewski. ‘Conceptual Art’; ‘Conceptual Questionnaire’ (response by Michael Baldwin); ‘Mel Ramsden Interview’, Flash Art (Conceptual Supplement), November/December.
– J. R. R. Christie and Fred Orton, ‘Writing on a Text of the Life’, Art History, Vol 2, No. 4, December.
– John Miller, ‘Art & Language, Marian Goodman’, Artscribe International, March/April       .
– Miško Šuvakovic, ‘Lawrence Weiner and Art & Language’, Moment, No. 10, Beograd, April.
– Didier Arnaudet, ‘Art conceptuel I, CAPC Bordeaux’, New Art International, January.
– Charles Harrison, ‘On the Surface of Painting’, Critical Inquiry, Vol 15, No. 2, Winter, Chicago.
– Thomas Dreher, ‘Art & Language, Art as a Series of Festivals or Art as a Project of Work’, Art Factum, April/May.
– David Batchelor, ‘Art & Language’ (interview with Michael Baldwin and Mel Ramsden), Journal of Contemporary Art, Vol.. 2, No. 1, Spring/Summer.
– Charles Harrison, ‘Some other sense: on Hostage: Incident and a People’s Flag’, Artscribe International, Summer.
– Catherine Millet, “Le Montant de la rançon”, Art Press, No. 139, September.
– Thomas Dreher, ‘Art & Language’, Noema, No. 5, Sept/Oct.
– Luc Lang, “L'Art et les mots: notes de réserve sur l'histoire”, Artstudio, No. 15, Winter.
– Jean-Michel Foray, “Art conceptuel: une possibilité de rien”, Artstudio, No. 15, Winter.
– Mark Francis, “La Pauvreté de l’atelier et la richesse du musée”, Les Cahiers du musée national d'art moderne, Centre Georges Pompidou, Paris.
– Thomas Dreher, ‘Art & Language; Index: Incident in a Museum 1985-87’, Kunst & Unterricht, No. 138, December.
– Christophe Domino, “Objet du discours et discours de l'objet”, Artstudio, No. 19, Winter.
– ‘New York in Review’, Arts Magazine, May 1990.
– Charles Harrison, ‘Art Conceptuel et Jugement Critique’, Lund Art Press, Vol. 2 No. l, Autumn/Winter, Department of Theoretical and Applied Aesthetics, Lund University, Sweden.
– Charles Harrison, ‘Art & Language: Neki uslovi i preokupacije u prvoj deceniji’, Moment, 20, Belgrade.
– Miško Šuvakovic, ‘Diskurzivni Incidenti: rasprava diskurzivnij poredaka Charlesa Harrisona’, Dometi, 11, Rijeka.
– Miško Šuvakovic, ‘Charles Harrison: Diskurzivni rezovi’, Moment, 20, Belgrade.
– David Batchelor, ‘The Archaeology of Surf: Notes on Recent Paintings by Art & Language’, Artscribe International, Jan-Feb.
– Ian Brunskill, ‘Essays on Art & Language’, Artscribe International, December.
– David Cohen, ‘Art & Language’, Galleries, March.
– ‘Political Pick’n’ Mix’, The Independent on Sunday, 17 March.
– Andrew Graham-Dixon, ‘The writing is on the wall’, The Independent, 26 March.
– Richard Dorment, ‘Paintings packaged as a cultural sandwich’, The Daily Telegraph, 26 March.
– Adrian Searle, ‘Art & Language’, Time Out, 27 March.
– Matthew Collings, ‘Art & Language’, City Limits, 28 March.
– William Feaver, ‘It’s such fun to huff and bluff’, The Observer, 31 March.
– Charles Harrison, ‘Form and Finish in Modern Painting’, Filozofski Vestnik, No. 1, Slovene Academy of Arts and Sciences, Ljubljana.
– Linda Talbot, ‘Doing their level best to unsettle’, Hampstead & Highgate Express, 5 April.
– Michael Archer, ‘Hello, Terry Speaking’, Art Monthy, May.
– Michael Corris, ‘Art & Language, Lisson Gallery and ICA’, Artforum, May.
– Andrew Renton, ‘Art & Language, Lisson, ICA’, Flash Art, May/June.
– Andrew Wilson, ‘Art & Language, Lisson Gallery, London and ICA, London’, Forum International, May/August.
– Enrique Juncosa, ‘Exposiciones. Art & Language’, Lapiz, No. 78, June.
– Ruiko Harada, ‘From London’, Bijutsu Techno Magazine, June.
– Frank Popper; ‘Kollektive Absichten und Ausführungen in den Bildenden Kunsten der Gegenwart’, Kunstforum InternationaL, November/December.
– Carolyn Christov-Bakargiev, ‘Britannici tra i sette colli’, Domenica, 17 November.
– Francesca Romana Morelli, Il Giornale dell'Arte, December.
– ‘Operatori delle visioni’, Trovaroma, December.
– ‘The Hostage Series’, II Piacere dell'Occhio, December.
– Brian Hatton, ‘Approaches to Realism’, Artforum, March.
– Jorg Heiser, ‘Geiseln der Zukunft’, Heaven Sent, I, June.
– Art in Ruins,'The Seduction of Resistant Virgins’, Frieze, No. 1, Summer.
– Paul Wood, ‘Internal Exile, Art & Language’s Hostage Paintings’, Arts Magazine, January.
– Carolyn Christov-Bakargiev, ‘Art & Language, the British School’, Flash Art, February-March.
– Thorsten Scheer, ‘Gerhard Richter and Art & Language, Conceptual Aspects of Postmodernism’, Artefactum, February-March.
– Jacques Meuris, ‘Art & Language: Du Concept au constat’, Art et Culture, Belgium, June
– ‘Art & Language’, Sans Titre, France, No. 18, July/August/September.
– Danielle Gillemon; “Art & Language: les atermoiements du concept”, Le Soir, Brussels, August.
– Charles Harrison, ‘The Critic’s Part’, Kunst and Museumjournaal, Vol. l, No. 4, February.
– Charles Harrison, ‘On Painting a Landscape’, Kunst and Museumjournaal, November.
– David Batchelor, ‘Art & Language: What Painting Means’, Art Press, No. 185, November.
– Tom Holert, ‘Ausgangspunkte (Art & Language antworfen auf Fragen von Tom Holert)’, Texte zur Kunst, November, 3 Jahrgang No. 12.
– Yves Abrioux, ‘Art & Language’, Untitled, Winter, No. 3.
– Muriel Caron, ‘Art & Language’, Artefactum, 1 March, XI/51.
– Michael Finch, ‘Art & Language, Pulling Faces’, Contemporary Art, Spring.
– Tom Holert, ‘Art & Language, Painting by Mouth’, Flash Art, March/April.
– Adrian Searle, ‘Art & Language, Lisson Gallery’, Time Out, London, 22-29 June.
– Francoise Vallet, ‘Art & Language’, Fiche Artiste, No. 9, 22 Sept 1994, Geneva Geraldine Norman, ‘The British Set Trend With Pickled Bulls and Subversive Vases’, The Independent, 21 Nov 1994.
– Michael Archer, ‘The Cologne Art Fair: Two Views’, Art Monthly, Dec 1994/Jan 1995.
– Nonie Niesewand, ‘Back To The Easel’, Vogue, February, London.
– Michael Archer, ‘Licensed to Paint’, Art Monthly, May.
– Charles Harrison, ‘Art & Language Paints a Landscape’, Critical Inquiry, Vol. 21, No. 3,  Spring, Chicago.
– David Barrett, ‘From Here’, Everything, No. 16, London.
– Martin Maloney, ‘London – Current British Art’, Burlington Magazine, London, June.
– Rainer Metzger, ‘Art & Language and Luhmann’; Kunstforum, May-July.
– Rosalind Krauss, “Art & Language se met à la peinture: aléa de l'art conceptuel”, Art Press, hors série No. 16.
– Carles Guerra, ‘Pseudo-Pinturas Para Conversar’, Lapiz, February.
– Michael Newman, ‘Conceptual Art from the 1960s to the 1990s: An Unfinished Project’.
Kunst & Museum Journal, Volume 7, Numbers 1/2/3.
– Matthew Collings, ‘It May be Anti-art but they’re all Mad for it’, Independent, Tuesday 19th August.
– Drew Milne, ‘The Performance of Scepticism’ Act (Art, Criticism and Theory), No. 3
‘Endgames’ ed. Juliet Steyn, London, Pluto Press.
– ‘Pervy Pics are Art not Porn’ Milton keynes on Sunday, p. 9, January 25th.
– Matthew Collings, ‘Dropping Acid’, Observer Review, 8th November David Burrows ‘Art & Language/BANK’, Art Monthly, November-December, 1999.
– John Slyce, ‘Art & Language’, review of the Art & Language exhibitions at Fundacio Antoní Tàpies, Barcelona and PS 1, New York, Art Monthly, November.
– Peter Osborne, ‘Conceptual Art and/as Philosophy’, Rewriting Conceptual Art (Bird and Newman, eds.) Reaktion Books, London.
– William Wood, ‘Still you ask for More: Demand, Display and The New Art’, Rewriting Conceptual Art (Bird and Newman eds.) Reaktion Books, London.
– Jean-Christophe Royoux, “Aux Frontieres de l’exposition: le Modèle conversationnel entre construction du moi et espace public de communication”, Art press, hors série No. 21.     
– Charles Harrison, ‘The Condition of Finish in Modern Painting’ Twoninetwo, Number 2, Edinburgh College of Art.
– Charles Green, The Third Hand, Collaboration in Art from Conceptualism to Postmodernism, University of Minnesota Press, 2001.
– Anne Rorimer, New Art in the 60s and 70s: redefining Reality, Thames and Hudson.
– Charles Harrison, On Conceptual Art and Painting: Further Essays on Art & Language, MIT Press, Cambridge Massachusetts, 2002