A Brief History of Performance Art at the George Paton Gallery
in Janine Burke and Helen Hughes (eds.), Kiffy Rubbo: Curating the 1970s, Melbourne & London: SCRIBE, 2016, pp. 123-132.
Mike Parr: Performance, Ontology, Revolt
in Elspeth Pitt and Roger Butler (eds.), Mike Parr: Language and Chaos, National Gallery of Australia, Canberra, 2016, pp. 70-83.
Performance Art—Live and on Screen
in Adam Geczy (ed.), What is Performance Art?, Sydney: Power Publications, 2015.
Einhorn unter Tauben
in Angela Stief (ed.), Leigh Bowery: Verwandlungs-künstler, Bern/Wein: Piet Meyer Verlag, 2015, pp. 161-207 [‘A Unicorn among Pigeons’, Angela Stief (ed.), Leigh Bowery: Transfiguration-artist, Bern/Vienna: Pet Meyer Publishing.
Anne Marsh and Alex Heller-Nicholas, ‘Bill Henson and the Polemics of the Nude Child in Photography’
in Anne Marsh, Melissa Miles and Daniel Palmer (ed.), The Photographic Threat: Privacy, Paranoia and Public Space, Intellect, 2015, pp. 82-99.
Artist Run and Self-Organised: Some Speculations and Dichotomies
in Laura Castagnini and Vikki McInnes (ed.), BUREAU 2, South Bank: Margaret Lawrence Gallery, Victorian College of the Arts 2014, pp. 19-22.
Relations: Video / Performance / Document
in Matthew Perkins (ed.), Video Void: Australian Video Art 1970s-2010s, Australian Scholarly Publishing, 2014, pp. 111-130.
Mike Parr: Performance, Ontology, Revolt
in Synne Genzmer and Lucas Gehrmann (eds), Mike Parr: Edelweiss, Kunsthalle Wien/Verlag für Moderne Kunst Nürnberg, pp. 180-192, 2012.
The Power of Presence in a Remediated Past
Column, Sydney: Artspace Publishing, 2012, pp. 51-56.
Peter Kennedy: But the Fierce Blackman
in Michele Helmrich (ed.), NEWv2: Selected Recent Acquisitions 2009-2011, University of Queensland Art Museum, St Lucia, Queensland, 2012, pp. 22-23.
Julie Rrap: 360° Self Portrait
in Michele Helmrich (ed.), NEWv2: Selected Recent Acquisitions 2009-2011, University of Queensland Art Museum, St Lucia, Queensland, 2012, pp. 38-39.
Art, Power and Representation
in Geraldine Barlow, Max Delany and Kyla McFarlane (eds.), Change: Monash University Museum of Art, 2010, pp. 89-119.
Mirror with a Memory: Motel Room
in Natalie King (ed.), Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Heide Museum of Contemporary Art and Schwartz City, Melbourne, 2010, pp. 142-143.
Performance Art, Ritual and Shamanism
in Makarand Paranjape (ed.), Sacred Australia: Post-Secular Considerations, Melbourne: Clouds of Magellan Press, 2009, pp. 271-285.
The Medium as Ghost: Politics and Poetics in Peter Kennedy’s Work
in Hilde Van Gelder and Helen Westgeest (eds.), Photography between Poetry and Politics: The Critical Position of the Photographic Medium in Contemporary Art, Leuven UP, 2008, 99. 19-34.
Performance Art at the George Paton Gallery
in Helen Vivien (ed), When You Think About Art: The Ewing & George Paton Galleries 1971-2008, Melbourne: Macmillan, 2008, pp. 190-207.
Memos to the 21st Century: An Australian Story
in Return to Postmodernism: Theory - Travel Writing - Autobiography, eds Klaus Stierstorfer, Universitatsverlag, Winter GmbH, Heidelberg, Germany, 2006, pp. 35-42.
Body Memory and Time Zones
in Roy Ascott (ed.), Coded Characters: Media Art by Jill Scott, Senefelderstraβe, Germany: Hatje Cantz Verlag Publishers, 2003, pp. 030-039. German and English.
A Fantastic Real: Contemporary Photography and Theoretical Ideas
Rex Butler and Jacqueline Miller (eds) Critical Interventions: Biennale of Sydney 2002, Sydney: Artspace Visual Arts Centre Ltd., no pagination, 4,400 words
A Theoretical and Political Context
in Hilary Robinson, Feminist Art Theory, Blackwell Publishers, 2001, pp. 96-101.
Requiem Chorus: Peter Kennedy's Millennium Opus
in Adam Geczy and Benjamin Genocchio, (eds.) What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, 2001, pp. 101-106.
Obsolete Bodies and Prosthetic Gods
in Peta Tait (ed), Body Show/s,: Australian Viewings of Live Performance, Rodopi Theatre Series, Amsterdam, 2001, pp. 177-186.
Australian Performance Art, 1969-1998
Art Action 1958-1998, Quebec, Canada: Éditions Intervention and\Nouvelles éditions polaries Niepe, 2001, in French and English, pp. 186-197.
Re-configuring the Body: the Theatre of Photography
in Stuart Koop and Susan Fereday (eds), Post: Photography/Post Photography, Centre for Contemporary Photography, Fitzroy, 1995, pp. 27-38.
Camping Out to Queer the Scene: Nineteenth Century Photographs
in Stuart Koop (ed.), A Small History of Photography, Centre for Contemporary Photography, Fitzroy, 1997, pp. 45-50.
Considering Performance Art: The Absent Element - Fragments of History
in Roger Benjamin and David Bennett (eds.), Rhetoric of History: Modernity and Postmodernity, Papers of the Art Association of Australia, vol. 2, Melbourne, 1990, pp. 56-66.
