- Whitney Museum of American Art Independent Study Program
- MFA, Hunter College, New York City
- BFA, San Francisco Art Institute
- Paul Pfeiffer, Perrotin, Paris, France (Forthcoming)
- Paul Pfeiffer: Screen Series, Museum of Contemporary Art Chicago, Chicago IL
- Paul Pfeiffer, Thomas Dane Gallery, London, UK
- Three Figures in a Room, Paula Cooper Gallery New York, USA
- Paul Pfeiffer: Caryatids, Honolulu Museum of Art, Honolulu, Hawaii, USA
- Museo Madre, Naples Italy
- Three Figures in a Room, carlier | gebauer, Berlin, Germany
- Three Figures in a Room, Galerie Perrotin, Hong Kong
- Vitruvian Figure, Museum of Contemporary Art and Design, Malate Manila, Philippines
- Four Horsemen of the Apocalypse, U.S. Embassy, Vienna, Austria
- Jerusalem, Artangel
- The Drives, Thomas Dane Gallery, London, England
- Playroom, Paula Cooper Gallery, New York, NY
- The Rules of Basketball: Works by Paul Pfeiffer and James Naismith’s Original Rules of Basketball, Blanton Museum of Art, Austin, TX
- Sammlung Goetz, Munich, Germany
- Paul Pfeiffer: In the Zone, Albright-Knox Gallery, Buffalo, NY
- Perspective Machine, BAIBAKOV art projects, Moscow, Russia
- The Saints, Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart, Berlin
- Monologue, MUSAC. Museo de Arte Contemporáneo de Castilla y León, Léon, Spain
- Carlier l Gebauer, Berlin, Germany
- The Saints, Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universität, Vienna, Austria
- Thomas Dane Gallery, London, United Kingdom
- Live from Neverland, The Project, New York, NY
- The Saints, ArtAngel at The Junction, Engineers Way, Wembley, London, United Kingdom
- Morning After the Deluge, University of Iowa Museum of Art, Iowa City, IA
- Paul Pfeiffer, MC Kunst, Los Angeles, CA
- Pirate Jenny, Carlier l Gebauer, Berlin, Germany
- Morning after the Deluge, Middlebury College Museum of Art, Middlebury, VT
- Morning after the Deluge, National Gallery of Victoria, Melbourne, Australia
- Pirate Jenny, The Project, New York, NY
- Pirate Jenny, Gagosian Gallery, New York, NY
- Thomas Dane Limited, London, United Kingdom
- K 21 Kunstsammlung, Nordrhein-Westfalen, Dusseldorf, Germany
- Melina Mercouri Center, Athens, Greece
- The Contemporary Museum, Honolulu, HI
- Morning After the Deluge, Carlier l Gebauer, Berlin, Germany
- Museum of Contemporary Art, Chicago, IL
- List Visual Art Centre, MIT, Cambridge, MA
- Gio Marconi, Milan, Italy
- Sex Machine, The Project, Los Angeles, CA
- The Long Count (Rumble in the Jungle), MIT – List Visual Art Center, Cambridge (from HB catalogue)
- Orpheus Descending, Public Art Fund, World Trade & Financial Centers, New York, NY
- Kunsthaus Glarus, Glarus, Switzerland
- Barbican Art Centre, London, UK
- Hammer Museum, Los Angeles, CA
- Whitney Museum of American Art, New York, NY
- The Project, New York, NY
- Kunst-Werke, Berlin, Germany
- Duke University Museum of Art, Raleigh-Durham, NC (with Romuald Hazoumé)
- The Pure Products Go Crazy, The Project, New York, NY
- The Pure Products Go Crazy, Cendrillon, New York, NY
- Santo Niño Incarnate, Colonial House Inn, New York, NY
- Survival of the Innocents, Art In General, New York, NY (window installation)
- Art in the Age of the Internet, ICA Boston, Boston, MA (Forthcoming)
- Michael Jackson: On the Wall, National Portrait Gallery, St. Martin’s Place, London, England (Forthcoming)
- Versus Rodin: Bodies Across Space and Time, Art Gallery of South Australia
- Picture Industry, Hessel Museum at Bard College, Organized by Walead Beshty, Annandale-On-Hudson, NY
- The Un-Private Collection: Oracle, The Broad, Los Angeles, CA
- Jaguars and Electric Eels, Julia Stoschek Collection, Berlin, Germany
- The Extended Moment, carlier I gebauer, Berlin, Germany
- Get’cha Head in the Game, The Naughton Gallery, Belfast, UK
- The Game Show, Lyndon House Arts Center, Athens, GA
- March Madness, Fort Gansevoort Outpost, New York, NY (3/18-5/1/16)
- Open This End: Contemporary Art from the Collection of Blake Byrne, The Miriam and Ira D. Wallach Art Gallery at Columbia University, New York
- A Brief History of Humankind, Bundeskunsthalle, Bonn, Germany
- Arena, curated by Adam Shopkorn, Flight Club, New York, NY
- Brief History of Humankind, Israel Museum, Jerusalem, Israel
- ésxatic photo, Samsøñ Projects, Boston, MA
- Fireflies in the Night, Stavros Niarchos Foundation Cultural Center, Athens, Greece - ésxatic photo, Samsøñ Projects, Boston, MA
- Blood Sport, Elaine L. Jacob Gallery at Wayne State University, Detroit, MI
- All the Worldʼs a Stage. Works from the Goetz Collection, Sala de Arte Santander, Madrid, Spain
- Open This End: Contemporary Art from the Collection of Blake Byrne, Nasher Museum of Art at Duke University, Durham, NC
- HE: The Hergott Shepard Photography Collection, University of Michigan Museum of Art, Ann Arbor, MI
- America is Hard to See, Whitney Museum of American Art, New York, NY
- THE SEA, Brandts Museum For Kunst & Visuel Kultur, Odense, Denmark
- Under Erasure, Tel Aviv Museum of Art, Tel Aviv, Israel
- Lone Tree, Marlborough Chelsea, New York, NY
- Propaganda für die Wirklichkeit (Propaganda for Reality), Museum Morsbroich, Leverkusen, Germany
- SCORE: sports+art, Museum of Contemporary Art Georgia, Atlanta, GA
- Broken: Slapstick, Comedy and Black Humor, Haus der Kunst, Munich, Germany
- The Beautiful Game, Los Angeles County Museum of Art, CA
- Tatu: soccer and the culture of adversity in the caatinga, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil
- John Bock, Keren Cytter, Paul Pfeiffer, Gillian Wearing and Akram Zaatari, Regen Projects, Los Angeles, CA
- Wish You Were Here, Chanel Waikiki/Honolulu Museum of Art, HI
- Collection Sandretto Re Rebaudengo: Have you seen me before?, Whitechapel Gallery, London, UK
- Una Posibilidad de Escape. Para asaltar el estudio de la realidad y volver a grabar el universo. - (Possibility of scape. For storming the reality studio and retake the universe.), Museo de Arte Contemporáneo de Castilla y León, León, Spain
- Horizon, Frye Museum, Seattle, WA
- And I Feel Fine, Athens Institute for Contemporary Art, Greece
- We Could Be Heroes: The Mythology of Monsters and Heroes in Contemporary Art, Brigham Young University Museum of Art, Provo, UT
- Soccer, Museo de Arte Contempráneo de Monterrey, Mexico
- The Sports Show, Minneapolis Institute of Arts, curated by David Little, Minneapolis, MN
- Audience as Subject, Part 2: Extra Large, curated by Betti-Sue Hertz, Yerba Buena Center for the Arts, San Francisco, CA
- Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer, Carey Young, Paula Cooper Gallery, New York, NY
- Big Picture, Ständehaus, Düsseldorf, Germany
- Human Nature, Los Angeles County Museum of Art, Los Angeles, CA
- Why I Never Became a Dancer, Haus der Kunst, Munich, Germany
- On Your Marks, Deutsches Hygiene-Museum Dresden, Dresden, Germany
- Soft Machines, Pace Gallery, New York, NY
- The Luminous Interval, Guggenheim Museum Bilbao, Bilbao, Spain
- Anonymous Sculptures. Vídeo and Form in Contemporary Art, Galerie im Taxispalais, Innsbruck, Austria
- Entretiempos, La Regenta Arts Centre, Las Palmas de Gran Canárias, Spain
- Ball Game, Dunn and Brown Contemporary, Dallas, TX
- American Dream, DZ Bank Kunstsammlung, Frankfurt, Germany
- Passages. Travels in Hyperspace. A Selection of Works from the Thyssen-Bornemisza Art Contemporary Collection, LABoral Centro de Arte y Creación Industrial, Gijon, Spain
- The Nameless Hour; Places of Reverie, Paths of Reflection, VCUarts Anderson Gallery, Richmond, VA
- Entretiempos, Museo d’Arte Província di Nuoro, Sardinia, Italy; PhotoEspaña/Centro Cultural de La Villa, Madrid, Spain
- Anonymous Sculptures. Vídeo and Form in Contemporary Art, Kunstmuseen Krefeld, Germany
- Screening, 203-205 Brompton Road, London, England
- SWEAT, Patrícia Low Gallery, Gstaad, Switzerland
- LUSH LIFE, Salon 94 Freemans, New York, NY
- I WANT TO SEE HOW YOU SEE, Deichtorhallen, Hamburg, Germany
- The Library of Babel / In and Out of Place, 176 // Zabludowicz Collection, London, England
- Collecting Biennials, The Whitney, New York, NY
- Size DOES Matter, The FLAG Art Foundation, New York, NY
- Contemplating the Void: Interventions in the Guggenheim Museum Rotunda, Guggenheim, New York, NY
- Americana, NGKB, Berlin, Germany
- Hard Targets, Wexner Center for the Arts, Columbus, OH
- Paul Pfeiffer: The Machine in the Ghost, World Class Boxing, Miami, FL
- Pete and Repeat, 176 // Zabludowicz Collection, London, England
- The Eye in the Door, Nikolaj Contemporary Art Center, Copenhagen, Denmark
- Coral Visual, Casa de La Cultura, Buenos Aires, Argentina
- No Sound, Aspen Art Museum, Aspen, CO
- Video Journeys, Sister, Los Angeles, CA
- Flicks - The Cinematic In Art, Highlanes Gallery, Drogheda, Ireland
- Waiting for Video: Works from the 1960s to Today, The National Musuem of Modern Art (MOMAT), Tokyo, Japan
- The Kaleidoscopic Eye: Thyssen-Bornemizsa Art Contemporary Collection, Mori Art Musuem, Tokyo, Japan
- Un Certain Etat du Monde, Garage Centre for Contemporary Culture, Moscow, Russia
- Mixed Signals: Artists Consider Masculinity in Sports, Cranbrook Art Museum, Cranbrook Academy of Art, Bloomfield Hills, MI (traveling)
- Empire, Frye Art Museum, Seattle, WA
- Depletion: Works from the Doron Sebbag Art Collection, Tel Aviv Museum, Tel Aviv, Israel
- Revolutions – Forms That Turn, Biennale of Sydney, Sydney, Australia
- New at the Nasher, Nasher Museum of Art at Duke University, Durham, NC
- The Morning After: Videoarbeiten der Sammlung Goetz, Neues Museum Weserburg, Bremen
- Herz:Rasen, Kunstlerhaus, Wien, Germany
- Shadows, Dissappearances and Illusions, Miami Art Museum, Miami, FL
- Currents: Recent Acquisitions, Hirshhorn Museum, Washington, D.C.
- Reconstitutions, Reenactments, DHC/Art, Montreal, Quebec
- Stretching the Truth, John Michael Kohler Arts Center, Sheboygan, WI
- Ghost in the Machine, Kunstnernes Hus, Oslo, Norway
- Biennale of Sydney, Australia
- San Francisco Museum of Modern Art, San Francisco, CA
- When We Build, Let Us Think That We Build Forever — The Zabludowicz Collection, BALTIC The Centre for Contemporary Art, Gateshead, England
- Currents: Recent Acquisitions, Hirshhorn Museum, Washington, DC
- Existencias, MUSAC — Museo de Arte Contemporâneo de Castilla y León, León, Spain
- Passage du temps, Collection François Pinault Foundation, Tri Postal, Lille, France
- Automatic Update, Museum of Modern Art, New York, NY
- Invisible, Max Wigram Gallery, London
- Summer Show, James Cohan Gallery, New York, NY
- For the Love of the Game, Wadsworth Atheneum Museum of Art, Hartford, CT Art in America: Now, Shanghai Museum of Contemporary Art and the Shanghai Museum, Shanghai, China
- The Shapes of Space, Guggenheim Museum, New York, NY
- NO.1: DESTROY, SHE SAID, Julia Stoschek Collection, Düsseldorf, Germany
- Visions du Déluge, Le Musee Cantonal des Beaux-Arts de Lausanne Palais de Rumine, Lausanne, Switzerland
- Meditations in an Emergency, Museum of Contemporary Art Detroit, Detroit, MI
- The Gold Standard, P.S.1 Contemporary Art Center, New York, NY
- Fantastic Frameworks, Art Gallery of Greater Victoria, British Columbia, Canada
- The Expanded Eye, Kunsthaus Zürich, Zürich, Switzerland
- Choosing My Religion, Kunstmuseum Thun, Thun, Switzerland
- Full House: Views of the Whitney’s Collection at 75, The Whitney Museum of American Art, New York, NY
- The Skowhegan School of Painting and Sculpture: 60 Years, Colby College, Waterville, ME
- Strange Powers, Creative Time, New York, NY
- Time Frame, P.S.1 Contemporary Art Center, New York, NY
- Human Game. Winners and Losers, Stazione Leopolda, Florence
- Review: Collection Pierre Huber, Magasin, Grenoble
- IAMNOWHERE, Center for Curatorial Studies Museum at Bard College, curated by Erica Hope Fisher
- You Never Walk Alone: Football and Fan Culture, The O.K. Center for Contemporary Art Linz, Austria
- Work Zones: Three Decades of Contemporary Art from SFAI, San Francisco Art Institute, San Francisco, CA
- Amazing Friends, Galleria Maze, Turin, Italy
- Home Productions, Singapore Art Museum, Singapore, Republic of Singapore
- Filipiniana, Centro Cultural Conde Duque, Madrid, Spain
- 100 Artists See God, Cheekwood Museum of Art, Nashville, TN
- Superstars, Kunstalle Wien, Vienna
- Swarm, The Fabric Workshop and Museum, Philadelphia, PA
- Rundlederwelten, Martin-Gropius-Bau, Berlin, Germany
- VIDEO II: Allegorie, NRW — Forum, Düsseldorf, Germany
- Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal, Center for Art and Visual Culture, UMBC, Baltimore, MD
- Only Skin Deep — Changing Visions of the American Self, San Diego Museum of Art, San Diego, CA
- Closing Down, BORTOLAMI, New York, NY
- Girls on Film, Zwirner & Wirth, New York, NY
- Marking Time: Moving Images, Miami Art Museum, Miami, FL
- Logical Conclusion, PaceWildenstein, New York, NY
- 100 Artists See God, Contemporary Art Center of Virginia, Virginia Beach, VA
- Spielräume, Stiftung Wilhelm Lehmbruck Museum und Center International Sculpture, Duisberg, Germany
- Getting Emotional, Institute of Contemporary Art, Boston, MA
- Fast Forward / Colección Goetz, Centro Cultural Conde Duque, Madrid, Spain
- Honolulu to New York, The Contemporary Museum Honolulu, Honolulu, HI
- Faces in the Crowd - Picturing Modern Life from Manet to Today, Castello Rivoli, Turin, Italy; Milwaukee Art Museum, Wisconsin
- Log Cabin, Artists Space, New York, NY
- Faces in the Crowd - Picturing Modern Life from Manet to Today, Whitechapel Art Gallery, London, United Kingdom
- 100 Artists See God, ICA —Institute of Contemporary Arts, London
- CUT: Film as Found Object in Contemporary Video, North Miami Museum of Contemporary Art, Miami, FL; Milwaukee Art Museum, WI
- Contested Fields: Identity in Sports and Spectacle, Des Moines Art Center, Des Moines, IA
Pop Remix, SF Camerawork, San Francisco, CA
- Pirate Jenny, The Project, New York, NY
- Modern Means: Continuity and Change in Art, 1880 to the Present, Mori Art Museum, Tokyo, Japan
- Eclipse: Towards the edge of the visible, White Cube, London, United Kingdom
- Marilyn: From Anastasi to Weegee, Sean Kelly Gallery, New York, NY
- Love / Hate: From Magritte to Cattelan, Villa Manin. Centro d’arte contemporânea, Codroipo (UD), Italy
- Phantasmagoria, Butler Museum of American Arts Beecher Center of Art and Technology, Youngstown, OH
- Size Matters, Independent Curators International, New York, NY
- 10 Commandments, Hygiene Museum, Dresden, Germany
- Die Neue Kunsthalle III – Materiell – Immateriell, Städtische Kunsthalle Mannheim, Mannheim, Germany
- VI Cairo Biennial 2003, The Palace of Fine Art, Cairo, Egypt
- Honolulu to New York, The Contemporary Museum at First Hawaiian Center Honolulu, HI; Cairo Biennial 2003, The Palace of Fine Art, Cairo, Egypt
- Postproduction from Collage to Sampling, Dundee Contemporary Arts, Scotland, United Kingdom
- 100 Artists See God, Independent Curators International, New York, NY
- Black Belt, The Studio Museum in Harlem, New York, NY
- Fast Forward – Media Art, Sammlung Goetz ZKM Center for Art and Media, Karlsruhe, Germany
- Nuit Blanche Museum of Contemporary Art of the City of Paris, Paris, France
- A Simple Plan, James Cohan Gallery, New York, NY
- Uneasy Space, SITE Santa Fe, Santa Fe, NM
- Himmelsschwer. Transformationen der Schwerkraft, Kunsthaus, Graz, Austria
- The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN
- The Moderns, Castello di Rivoli, Torino, Italy
- Imperfect Innocence, Palm Beach Institute of Contemporary Art, Lake Worth, FL
- Imperfect Innocence ,Debra & Dennis Scholl Collection, Contemporary Museum, Baltimore, MD
- Interplay, Museo de Arte de Puerto Rico, San Juan, PR
- Social Strategies: Redefining Social Realism, University of California, LA, CA
- Graz 2003 (As Heavy as the Heavens), Graz, Austria
- Losing It, Fenton Gallery, Cork, Ireland
- Social Strategies: Redefining Social Realism, Richard E. Peeler Art Center, Greencastle, IN
- American Dream, Ronald Feldman Gallery, New York, NY
- Interplay, The Moore Space, Miami, FL
- Out of Place, Museum of Contemporary Art, Chicago, IL
- Pictures, Greene Naftali, New York, NY
- Model World, The Aldrich Contemporary Art Museum, Ridgefield, CT The Beach, The Gallery at Windsor, Vero Beach, FL
- Hair Stories, Adam Baumgold Gallery, New York, NY
- Tempo, Museum of Modern Art , New York, NY
- Busan Biennale, Busan, Korea
- Startkapital, K21, Dusseldorf, Germany
- Special Effects (2002 Media Art), Daejeon Municipal Museum of Art, Korea
- One Hand Clapping, Smackmelon, Brooklyn, NY
- NYC, Museum of Sex, New York, NY
- Miami Currents: Linking Collection & Community, Miami Art Museum, Miami, FL
- Interplay, The Moore Building, Miami, FL
- Sport in der zeitgenössischen Kunst, Kunsthalle, Nürnberg, Germany
- 49th Venice Biennale, Venice, Italy
- Original Language: Highlights from the MCA Collection, Museum of Contemporary Art, Chicago, IL
- Bitstreams, The Whitney Museum, New York, NY
- The Project, Maze Gallery, Torino, Italy; Gio Marconi Gallery, Milan, Italy; Sala Uno, Rome, Italy
- Casino 2001, SMAK, Gent, Belgium
- Printemps de Septembre, Toulouse, France
- Zero Gravity, Palazzo delle Esposizioni, Rome, Italy
- The Americans, Barbican Arts Centre, London, United Kingdom
- Subject Plural, Museum of Contemporary Art, Houston, TX
- Refresh, Cantor Centre for the Visual Arts, Stanford, CA
- Monitor, Gagosian Gallery, New York, NY
- Silliman University, Philippines
- Passion, Ascan Crone, Hamburg, Germany
- Hypermental, Hamburger Kunsthalle, Hamburg, Germany
- Race in Digital Space, MIT List Visual Art Center, MIT, Cambridge, MA
- Loop, Kunsthalle der Hypo-kultursiftung, Munich & Germany and P.S.1, Long Island City, NY
- Metropolis 2002, Istanbul, Turkey
- MIT List Visual Arts Center, MIT, Cambridge, MA
- False Start, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
- Cheekwood, Nashville, Tennessee
- American Art From the Goetz Collection, Galerie Rudolfinum, Prague, Czech Republic
- Metropolis Now, Borusan Art Gallery, Istanbul, Turkey
- The Whitney Biennial, The Whitney Museum of American Art, New York, NY
- Greater New York, P.S.1 Contemporary Art Center, Long Island City, NY
- Hypermental, Kunsthaus Zürich, Zurich, Switzerland
- City Visions, media city_seoul 2000, Seoul, Korea
- Extraordinary Realities, Columbus Museum of Art, Columbus, OH
- Scanner, Oliver Art Center, California College of Art & Culture, Oakland, CA
- Refresh, Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA
- Tete de Turkois, The Project, New York, NY
- Surface Tension, Art in General, New York, NY
- A Place Called Lovely, Greene Naftali, New York, NY
- Hocus Focus: New Video, Rare Gallery, New York, NY
- Warming, The Project, New York, NY
- At Home and Abroad: 21 Contemporary Filipino Artists, Asian Art Museum, San Francisco, CA
- Memories of Overdevelopment: Philippine Diaspora in Contemporary Art, Plug In Gallery, Winnipeg, Canada
- Travel Size, City College, New York, NY
- Fermented, Parsons School of Design, New York, NY
- Memories of Overdevelopment: Philippine Diaspora in Contemporary Art, UC Irvine Art Gallery, CA
- Neighbors, Boom Gallery, Honolulu, HI
- In a Different Light, University of California Berkeley Museum, Berkeley, CA(catalogue)
- Pervert, University of California Irvine Art Gallery, CA(catalogue)
- 14 Artists: Sugod sa Katapusan, End House Art Center, Dumaguete City, Philippines
- Extreme Unction Market Gallery, London, England: Curated by Shaheen Merali/Panchayat
- Reframing a Heritage, University of Hawaii, Manoa, HI
- Stonewalls, 494 Gallery, New York, NY
- Picturing Asia America: Communities, Cultures, Difference, Houston Center for Photography, Houston, TX
- Kayamanggi Presence, Skyline College, San Bruno, CA
- Beyond Borders, Skyline College, San Bruno, CA
- DisMantling Invisibility, A Space, Toronto, Canada:
- The Curio Shop: collaborative installation by Godzilla: Asian American Artists Network, Artists Space, New York, NY (catalogue)
- Kayumanggi Presence, Academy of Art, Honolulu, HI
- Altars, Divinations and Icons, Painted Bride Art Center, Philadelphia, PA
- Altars, Divinations and Icons, Guadalupe Cultural Center, San Antonio, TX (catalogue)
- (en)Gendered Visions: Race, Gender and Sexuality in Asian American Art Injustice, Guadalupe - Cultural Center, San Antonio, TX (catalogue)
- Made in America: Remembering Vincent Chin, Art In General, New York, NY
- Day Without Art, Lehman College Art Gallery, New York, NY; slide installation organized by Visual Aids and the Asian and Pacific Islander Coalition on HIV/AIDS
- Dismantling Invisibility: Asian Americans Respond to the AIDS Crisis, Art In General, New York, NY
- Hamburger Bahnhof Museum für Gegenwart, Berlin, Germany
- The Artangel Collection, UK
- The Los Angeles County Museum of Art, California, USA
- The Museum of Modern Art, New York, USA
- The Solomon R. Guggenheim Museum, New York, USA
- The Whitney Museum of American Art,New York, USA
- The Museum of Contemporary Art Chicago, Illinois, USA
- The Albright-Knox Art Gallery, Buffalo, NY, USA
- The Hirshhorn Museum and Sculpture Garden, Washington DC, USA
- Musée d'Art Moderne Grand-Duc Jean (MUDAM_, Luxembourg
- The Museo de Arte Contemporáneo de Castilla y León (MUSAC), León, Spain
- K21,Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
- Museo d´arte contemporanea Castello di Rivoli, Turin, Italy
- Ellipse Foundation Contemporary Art Collection, Lisbon, Portugal
- Inhotim Museu de Arte Contemporanea, Brumadinho, Brazil
- Thyssen-Bornemisza Art Contemporary (T-BA21), Vienna, Austria
- The Pinakothek der Moderne, Munich, Germany
- The Broad Art Foundation, Los Angeles, CA, USA
- The D.Daskalopoulos Collection, Greece
- Sammlung Goetz, Munich, Germany
- The Zabludowicz Collection, London, England, UK
- The Vanhaerants Art Collection, Brussels, Belgium
- The François Pinault Foundation, Paris, France
- The Rubell Family Colection, Miami, Florida, USA
- The Julia Stoschek Collection, Düsseldorf, Germany
- The Bucksbaum Collection, Sharon, Connecticut, USA
- USA Shari D. Behnke Fellow, Visual Arts
- American Academy in Berlin, Fellow, Berlin, Germany
- The Alpert Award in the Arts, Visual Arts
- Artpace Residency, San Antonio, TX
- MIT List Visual Arts Center Residency
- The Bucksbaum Award, The Whitney Museum, New York, NY
- Travel Grant, Asian Cultural Council
- The Public Art Fund
- World Trade Center Residency, Lower Manhattan Cultural Council, NY
- Fulbright-Hayes Fellowship to the Philippines
- Project Grant, Art Matters
- Travel Grant Pilot, National Endowment for the Arts and Arts International
Publications and Bibliography
Miller, Dana, and Adam D. Weinberg. Whitney Museum of American Art: Handbook of the Collection, New York: Whitney Museum of American Art, 2015, pp. 303; illus.
Open This End: Contemporary Art from the Collection of Blake Byrne, exhibition catalogue, Los Angeles: The Skylark Foundation, pp. 74-75; illus.
Come As You Are: Art of the 1990s, exhibition catalogue, Montclair: Montclair Museum of Art, 2014, p. 61; illus.
HE: The Hergott Shepard Photography Collection, Ann Arbor, Michigan: University of Michigan Museum of Art, 2015, pp. 36-39; illus.
The Twenty First Century Art Book, New York: Phaidon Press Inc., 2014, p. 207.
The International Review of African American Art.. Vol. 24 No. 2 ed. Hampton, Virginia: Hampton University Museum, 2013, pp. 61-63
The Twenty First Century Art Book, New York: Phaidon Press Inc., 2014, p. 207.
The International Review of African American Art. Vol. 24, No. 2, ed. Hampton, Virginia: Hampton University Museum, 2013. Print. pp. 61-63
Paul Pfeiffer – Munich, Sammlung Goetz, 2011
Foster, Hal, Rosalind Krauss, Yve-Alain Bois, Benjamin H.D. Buchloh, and David Joselit. Art Since 1900: Modernism, Antimodernism, Postmodernism, 2nd ed. London: Thames & Hudson, 2011, pp. 700-1
Paul Pfeiffer - The Saints. Berlin: Nationalgalerie im Hamburger Bahnhof—Museum für Gegenwart, 2010.
A Decade in Conversation: A Ten-Year Celebration of The Bucksbaum Award, 2000-2010: Interviews With Paul Pfeiffer, Irit Batsry, Raymond Pettibon, Mark Bradford, and Omer Fast, Vol. 1. New York: Whitney Museum of American Art, 2010.
I Want To See How You See: Julia Stoschek Collection. Deichtorhallen Hamburg, 2010. Perez Rubio, Agustin, ed. Discursive Variants: MUSAC Collection III. León: Museo de Arte Contemporáneo de Castilla y León (MUSAC), 2010.
Hard Targets, exh. cat. Ohio: Wexner Center For The Arts, 2010.
Zaya, Octavio, ed. Paul Pfeiffer. León: Museo de Arte Contemporáneo de Castilla y León (MUSAC), 2009.
Olivares, Rosa, ed. 100 Video Artists. EXIT Publications, 2009.
Hammer Projects 1999-2009. Los Angeles: UCLA Hammer Museum 2009.
Waiting for Video: Works from the 1960s To Today. Tokyo: The National Museum of Modern Art, 2009.
Bradford, Christopher. Mixed Signals: Artists Consider Masculinity in Sports, exh. cat. New York: ICI (Independent Curators International), 2009.
De Wachter, Ellen Mara and Neilson, Elizabeth, ed. Pete and Repeat: Works from the Zabludowicz Collection, exh. cat. London: 2009.
Contemporary Art at the Dodd: Paul Pfeiffer. Athens: University of Georgia Press, 2008.
Ebersberger, Eva, and Zyman, Daniela, ed. The Collection Book: Thyssen-Bornemisza Art Contemporary. Cologne: Verlag Der Buchhandlung Walther König, Köln, 2008.
Whitney Museum of American Art. Independent Study Program: 40 Years. New York: Whitney Museum of American Art, 2008.
Luri, Aya and Nili Guren, eds. Depletion: Works from the Doron Sebbag Art Collection, exh.cat. Tel Aviv: Tel Aviv Museum of Art, 2008, 98-99.
Flicks – The Cinematic In Art, exh. cat. Ireland: Highlanes Gallery, 2008.
Weintraub, Linda. “Paul Pfeiffer.” In EnvironMentalities: Twenty-Two Approaches to Eco-Art, 41-44. New York: Artnow Publications, 2007.
Art in America: Now, exh. cat. Shanghai: Museum of Contemporary Art, Shanghai, 2007, 52-53.
Año Filipinas – España, 2006: Casa Asia = Taon Ng Pilipinas – Espanya, 2006, exh. Cat.Barcelona: Casa Asia, 2006.
Cramm, Michael. 1x Art Now: Tear Off Calendar 2007, Taschen, Koln, August 2006.
Liebermann, Valeria. Paul Pfeiffer. Berlin: K21 Kunstsammlung Nordrhein-Westfalen, 2004.
Joas, Hans. “Die zehn Gebote.” Exh. cat. Deutsche Hygiene-Museum, Dresden, June 2004-5.
9th Cairo International Biennale, Exh. cat. The Palace of Fine Art, Cairo, December 13, 2003-February 13, 2004.
Dahlgren, Kari, ed. Paul Pfeiffer, Exh. cat. Chicago: Museum of Contemporary Art and Cambridge: MIT List Visual Arts Center, 2003.
Startkapital, K21, Exh. cat. Dusseldorf: Kunstsammlung Nordrhein-Westfalen, 2002.
Gillings, Andrew, ed. Race In Digital Space, exh. cat. New York: The Studio Museum in Harlem, 2002.
Second Sight: Selections of Artwork by Hunter College Alumni 1991-2001, exh. cat. New York: Hunter College, 2002.
Rosenblum, Robert. The Beach, Exh. cat. Vero Beach: The Gallery at Windsor, 2002.
Basilio, Miriam, and Roxana Marcoci. Tempo, exh. cat. Edited by Paulo Herkenhoff. New York: Museum of Modern Art, 2002.
“K21”, Exh. cat. Sammlung Ackermans Collection, 2002.
Grosenick, Uta, and Burkhard Riemschneider, eds. Art Now: 137 Artists at the Rise of the New Millenium. Köln: Taschen, 2002.
Schumacher, Rainald, ed. American Art: From The Goetz Collection. Munich: Sammlung Goetz, 2002.
Hough, Jessica, Ed. “Model World”, Exh. cat. The Aldrich Contemporary Art Museum, January 20- May 2002.
Kastner, Jeffrey, ed. Paul Pfeiffer: Orpheus Descending, exh. cat. New York: Public Art Fund, 2001.
Sport in Der Zeitgenossischen Kunst, exh. cat. Nuremberg: Kunsthalle Nürnberg, 2001.
“Paul Pfeiffer The Long Count:, Exh. cat. MIT LIST Visual Arts Center.
Als, Hilton, “Paul Pfeiffer”, Exh. cat. UCLA Hammer Museum.
Morsiani, Paola. Subject Plural: Crowds in Contemporary Art, exh. cat. Houston: Contemporary Arts Museum, Houston, 2001.
Greenberg-Rohatyn, Jeanne, et al. Casino 2001 exh. cat. Gent: Stedjelijk Museum voor Actuele Kunst, 2001.
Hypermental, exh. cat. Zurich: Kunsthaus Zurich, 2001.
Biesenbach, Klaus. Loop – Alles auf Anfang, exh. cat. Munich: Kunsthalle der Hypo-kultursiftung, 2001.
Pietromarchi, Bartolomeo, and Maria Grazia Tolomeo. Gravità Zero, exh. cat. Rome: Palazzo delle Esposizioni Editions, 2001.
The Americans, exh. cat. London: Barbican Art Center, 2001.
Whitney Biennial: 2000 Exhibition, Exh. cat. New York: Whitney Museum of American Art, 2000.
“Greater New York: New Art In New York Now”, Exh. cat. PS1/MOMA, New York.
“Quod Nomen Mihi Est: Fragments from a Conversation with Satan.” Felix: A Journal of Media Arts and Communication, vol. 2 no. 2, 1999.
“Where The Stains Begin.” Image/text collaboration with Lawrence Chua for The Passionate Camera: Photography and Bodies of Desire. New York: Routledge, 1998.
Friis-Hanson, Dana, Alice Guillermo, and Jeff Baysa. At Home And Abroad: 20 Contemporary Filipino Artists, exh. cat. San Francisco: Asian Art Museum of San Francisco, 1998.
Artist portfolio, MUAE II: Collapsing New Buildings. New York: Kaya Production, 1997.
Memories of Overdevelopment, exh. cat. Canada: Plug In Gallery, 1997
Chua, Lawrence, Ed. “Vitruvian Figure / Plan (After Palladio).” Muai 2: Collapsing New Buildings, New York, 1997, 168-171.
In A Different Light, exh. cat. Berkeley: University of California Museum/ City Lights, 1995.
Art In General Annual Catalogue, exh. cat. New York: Art In General, 1995.
Pervert, exh. cat. Irvine: University of California Gallery, 1995.
Extreme Unction, exh. cat. London: Panchayat, 1994.
“Our Lady of Perpetual Health.” Lavender Godzilla: Voices of Gay Asian & Pacific Islander Men (San Francisco, CA), Fall 1992.
“Out In the 90s.” Godzilla: The Magazine of the Asian American Artists Network, vol. 2 no. 1 Summer 1992.
“Is There An Asian American Aesthetic?” Artspiral (Asian American Arts Center), Fall 1992.
Asian American Arts Dialogue (cover reproduction), vol. 11 no. 1, January/February 1992.
Altars, Divinations and Icons, Exh. cat. Philadelphia: Painted Bride Gallery, 1992.
(En)Gendered Visions: Race, Gender and Sexuality in Asian American Art, exh. cat. San Antonio: Guadalupe Cultural Center, 1992.
Shaw, Catherine. Day of the fight: Paul Pfeiffer’s display of iconic boxing matches at Galerie Perrotin, Wallpaper, November 16, 2015; http://www.wallpaper.com/art/paul-pfeiffer-three-figures-in-a-room#135755.
Agnes T. Cruz, Jasmine. Questioning Images and Aesthetics, Business World, November-December 2014, p. 159; http://www.bworldonline.com/content.php?section= Arts&Leisure&title=questioning-images-and-aesthetics&id=104495.
Friedman, Julia. Teachable Moments from a Conference on Art and Education, Hyperallergic, March 2, 2015; http://hyperallergic.com/186876/teachable-moments-from-a-conference-on-art-and-education/.
Mehretu, Julie. “Collectors: The Painters,” Aperture, Fall 2014, pg. 19; illus.
Forbes, Alexander, “Paul Pfeiffer Debuts Online-Only Artwork for World Cup,” Artnet News, June 30, 2014
Coxhead, Gabriel. “Paul Pfeiffer: The Drives,” TimeOut London, May 3, 2013; illus.
Dowda, Stephanie. “Review: Paul Pfeifferʼs Morning After the Deluge at ATHICA in three parts”, Burnaway, March 7, 2013; illus.
“Exhibitions”, The Guardian, March 20, 2013; illus.
Hoinski, Michael. “GTT ★,” The New York Times, January 10, 2013
Faires, Robert. “Holy Hoops, ‘The Rules of Bastetball’ at the Blanton reviewed,” The Austin Chronicle, December 29, 2012.
Benway, Nova. “Paul Pfeiffer at Paula Cooper Gallery,” Modern Painters, December 2012; pg. 103, illus.
Princenthal, Nancy. “Paul Pfeiffer at Paula Cooper,” Art in America, December 2012, pg. 183-84; illus.
Farago, Jason. “Paul Pfeiffer, Paula Cooper Gallery,” Frieze, November-December 2012, pg. 171-2; illus.
Diaz, Eva. “Paul Pfeiffer,” Artforum, November 2012; illus.
Ko Hanae. “Paul Pfeiffer: Playroom,” Art Asia Pacific, November/December 2012, pg. 148; illus.
Rosenberg, Karen. “Paul Pfeiffer: ‘Playroom’,” The New York Times, October 5, 2012, pg. C29
“Paul Pfeiffer, ‘Playroom’,” Time Out New York, October 4-10, 2012, pg. 46
“Paul Pfeiffer,” The New Yorker, October 1, 2012, p.11
Matthews, Jessica. “Paul Pfeiffer, The Blanton Museum of Art, Austin,” …might be good, September 28, 2012.
Workneh, Sarah, “The Path and the Flash: A Conversation with Paul Pfeiffer,” Skowhegan Journal, 2012, pg. 11
Miller, Michael H. “Back on Home Court: Paul Pfeiffer Rebounds in New York with a Show Inspired by Basketball’s Most Prodigious Lothario, Welcome to the ‘Playroom’,” The New York Observer, September 17, 2012, pp. B1 and B7; illus.
Green, Tyler. “Moving Images: Before the London Olympics, artists tackle sports,” Modern Painters, July/August 2012, pp. 32-33; illus.
“50 Most Collectible Artists,” Art + Auction, June 2012, illus.
“Exhibitions At Blanton Museum Explore Tibetan Arts and Sport of Basketball” Antiques and the Arts weekly, August 10, 2012.
“Minneapolis Institute of Arts is the First Major Art Museum to Trace the Rise of a Global Sports Culture,” Artdaily, February 20, 2012
“’Audience as subject’ Puts Spotlight on the Spectator at Yerba Buena Center for the Arts,” The Huffington Post, February 15, 2012.
Riddle, Mason. “With ʻSports Show,ʼ MIA Throws a Change-up,” StarTribune, February 16, 2012
Phillips, Ian. “Modern English”. Elle Decor, April 2011, pp. 146-151, illus.
“Guggenheim in Bilbao Presents the Luminous Interval: The D. Daskalopoulos Collection,”Artdaily.org, April 11, 2011
Klein, Jeff Z. “Artist Elevates Stanley Cup in Artwork,” The New York Times April 13, 2011, illus.
Douglas, Sarah. “Politics, Doubt, and Daskalopoulos at the Guggenheim Bilbao,” Artinfo, April 13, 2011.
Stoilas, Helen. “Artists boycott Guggenheim Abu Dhabi project,” The Artnewspaper March 17, 2011, illus.
Berg, Ronald, “Paul Pfeiffer – The Saints”, Kunstforum, March 2010.
Volk, Gregory. “Paul Pfeiffer at the Hamburger Bahnhof.” Art in America, no. 1 January 2010, 129.
“The Art of Leaping Off The Page.” Art Asia Pacific Almanac, Vol 5, 2010, 55, 237, 238.
Ksenia Galouchko. “Monroe, NBA Icons Vanish at Red October Chocolate Factory.” The Moscow Times, October 28, 2009.
Curtin, Brian. “Accessing Other Dimensions: In the Hands of Digital Wizard Paul Pfeiffer, Images of professional athletes and celebrities get an uncanny makeover.” Art Asia Pacific, issue 64, July/August 2009, 62-63.
Volk, Gregory. “The Wheel is Turning.” Art in America, no. 10, November 2008, 63-69.
Del Río, Víctor. “Pfeiffer: “El Mal de las Imágenes.” El Cultural, October 2, 2008, 28-29.
Bennett, Jennifer, and Kim Shaw. “City of Art Sets Sail: Journey to Discovery to Heart of Art.” Central Sydney Magazine, Wednesday, June 25, 2008, 6-7.
Pfeiffer, Paul. “Paul Pfeiffer on Perspective.” Art Review, no. 22, May 2008, 40.
Chan, Yonina. “Society and Spectacle.” Imagine, Holiday, 2007, 228-230.
Sardo, Delfim. “Four Horsemen of the Apocalypse (12).” Unica, December 29, 2007, 12-13.
Sardo, Delfim. “Four Horsemen of the Apocalypse (12).” Courier Internacional, December 28, 2007, 40-41.
Zweig, Susan. “Idle Worship: Paul Pfeiffer’s Assessment of Us – And His Dealer’s Take on Pfeiffer Himself.” Clear Magazine, vol. VII no. 4, December 2007, 58-65.
Morrison, Richard. “Fame Game: A New Show Makes Our Critic Question Sporting Adulation and Glory.” The Times, October 6, 2007.
Camhi, Leslie. “Art: What People Are Talking About, ‘Live from London’.” Vogue (USA), October 2007.
Moore, Susan. “Collecting: ‘It’s Amazing What Adrenaline Can Do’.” Financial Times, September 29, 2007.
Ward, Ossian. “Paul Pfeiffer Critic’s Choice.” Time Out London, no. 936, September 28, 2007.
“Erase Errata.” Modern Painters, September 2007, 34.
Smith, Roberta. “Paul Pfeiffer: Live from Neverland.” New York Times, June 8, 2007.
“Paul Pfeiffer.” The New Yorker, June 11 -18, 2007, 24.
Rosenberg, Karen. “Paul Pfeiffer: Live From Neverland.” nymag.com, May 28, 2007.
Bedford, Christopher. “Paul Pfeiffer.” Tema Celeste, May/ June 2007, 76-77.
Kertess, Klaus, “A Velvet Glove Can Hold a Burning Issue.” Meditations in an Emergency, October 2006 – April 2007. 52-57.
Galleries, ArtAsiaPacific, Almanac 2007, 93.
Hebron, Micol. “Paul Pfeiffer MC Kunst.” Flash Art, no. 253, March- April, 2006, 126.
Grison, Brian. “Fantastic Frameworks: Architectural Utopias + Designs for Life.” Focus, November 2006.
Boukobza, Julie. “Paul Pfeiffer.”L’Officiel Hommes, Summer 2006, 18-19; 48-51.
Fairley, Gina. “Manila 2006.” Art & Australia Journal, vol.44 no.2, Summer 2006, 184-185.
Pollack, Barbara. “Spirited Away.” Time Out New York, no. 564, July 20-26, 2006, 24-25.
Scott, Andrea K. “Occluded Front.” Time Out New York, June 1-7, 2006, 75.
Cruz, Joselina.“Where.” In Home Productions. Singapore: Singapore Art Museum, 2006.
Cope, Lily. “Throngs of Praise.” Blueprint, no. 240, March 2006.
Lewison, Cedar. “A Perfect Match.” Art Review, vol.4 no. 2, February-March 2006, cover; 58 -63.
“Paul Pfeiffer: Shadows and Specters.” The Blow Up, no. 3, Spring/Summer 2005, 22-23.
“Paul Pfeiffer.” Modern Painters, February, 2005, 108.
Dube, Ilene. “Bzzz.” Time Off, December 20, 2005
Auricchio, Laura. Art Papers, reviews, May/June 2005, 48-49
Smith, Roberta. “A Medium in the Making: Slicing Familiar Films Into Something New.” New York Times, July 29, 2005.
Lee, Nathan. “Work in Progress.” Film Comment, March-April, 2005, 17.
Smith, Roberta. “Paul Pfeiffer ‘Pirate Jenny’.” New York Times, December 17, 2004.
Halle, Howard. “Light Touch.” Time Out New York, December 2 – 8, 2004, 61.
Coomer, Martin. “Paul Pfeiffer.” Time Out London, no. 787, November 17 -24 2004, 60.
Myers, Holly. “Human Behavior on Videotape.” The Los Angeles Times, November 5, 2004.
“Multimedia Paul Pfeiffer: Pirate Jenny.”Flavorpill, November 2004.
Hackworth, Nick. “Paul Pfeiffer.” Time Out London, no. 118, October 2004, 60.
Gleeson, David. “Crowd-pleaser.” Art Review, October 2004.
“The Sun is God: Paul Pfeiffer on Joseph Mallord William Turner (1775-1851).” Tate Etc., Autumn 2004, 90-93.
Lorch, Catrin. “Paul Pfeiffer im K21.” Kunst-Bulletin, September 2004.
Panaghiotaku, Afrodite. “Paul Pfeiffer.”Highlights, July-August 2004, 64.
Müller, Hans-Joachim. “Nichts, nur Killerschleim.” Die Zeit, 1 July 2004, 39.
Maak, Niklas. “Lehben ohne Marilyn.” Frankfurter Allgemeine Zeitung, 26 June 2004, 35.
“Kleinvieh macht Kunst.”NRZ, 12 June 2004, 3.
Meister, Helga. “Die Kunst der Leerstellen.” WZ Düsseldorfer Kultur, June 12, 2004, 17.
Sebastian, Klaus. “Duschkabine ohne Grusel.” Düsseldorfer Feuilleton, June 12, 2004, LF.
Wei, Lilly. “The Cairo Effect.” Art in America, May 2004, 67-73.
Joselit, David. “Apocalypse Not.” Artforum, vol. XLII no. 9, May 2004, 172-3.
Makai, Mauka. “Artist Explores Influence of Technology.”Honolulu Star Bulletin, vol. 9 no. 25, Sunday, January 25, 2004, G8.
Morse, Marcia. “Challenging Comforts.” Honolulu Weekly, vol. 14 no. 3, January 2004, 21-27.
Gail-White, Victoria. “Pfeiffer’s Provocative Images Not Meant to be Pretty.” The Honolulu Advertiser, January 18, 2004.
Mofokeng, Santu and, Thomas Wulffen. “Paul Pfeiffer.” Kunstforum, January-February 2004, 294.
Coxhead, Gabriel. “Paul Pfeiffer: The Morning after the Deluge.” Contemporary, November 2004, 71.
Pfeiffer, Paul. “Private View: The Sun is God — Paul Pfeiffer on Joseph Mallord William Turner (1775-1851).” Tate Etc., issue 3, 2004, 90-93.
Pahwa, Sonali. “Suggestions of the New.” Al-Ahram Weekly, 11-17 December 2003, 17.
Heuer, Megan. “Punchy Statements.”Art News, vol. 103 no. 7, Summer 2003.
Sellnow, Greg. “Put Up Your Dukes and Step Into ‘The Squared Circle’.” Post Bulletin, 26 July 2003.
Casciani, Stefano. “Are the Moderns Back?” Domus, June 2003.
Velez, Pedro. “Looking Good.” Artnet.com, June 12, 2003.
Pignatti, Lorenza. “The Art of Noise.” Kult, June 2003.
Cherubini, Laura. “Perche’ non possiamo non dirci moderni.” il Giornale, 5 May 2003.
Moliterni, Rocco. “Giubbotti e scarpe fatti d’arte.” La Stampa, 15 April 2003.
Fanelli, Franco. “Moderni si’, modaioli no: chi sono gli artisti della generazione post-Twin Towers’.” Il giornale dell’arte, April 2003.
“Castello di Rivoli.” Tema Celeste, March/April 2003.
McQuaid, Cate. “His Photographic Truth is the (Un)Real Thing.” The Boston Globe, February 23 2003.
Kennedy, Louise. “Visionary Video Artist is in the Loop.” The Boston Globe, Friday, February 7th 2003, C15; C19.
“Sun’s Gonna Rise: Paul Pfeiffer at MIT, and more.” The Boston Phoenix, January 31, 2003.
Gonzalez, Jennifer. “Paul Pfeiffer.” BOMB, no. 83, Spring 2003, 22-29.
Spector, Nancy, James Rondeau, and Michael Rush. Imperfect Innocence: The Dennis and Debra Scholl Collection. Contemporary Museum, Maryland and Palm Beach Institute of Contemporary Art, 2003.
Menin, Samue, and Valentina Sansoni. “Focus Video and Film.” Flash Art, January/February 2003.
Lloyd, Anne Wilson. “Art is a Necessity Amongst Techies, Too.” The New York Times, Sunday, December 15, 2002.
“Final Exhibition in Center’s Historic Fifth Street Space.” The Cincinnati Herald, August 31-September 6, 2002.
Wampler, Liberty. “Feeding into the Loop.” City Beat (Cincinnati), vol. 8 no. 49, October 17-23, 2002.
Stein, Jerry. “Art Experiments with Manipulating Time.” The Cincinnati Post, Friday, November 8, 2002.
Cotter, Holland. “Art in Review.” The New York Times, January 18, 2002.
Halle, Howard. “Prize Fighter.” Time Out New York, no. 328, January 10-17, 2002.
Melling, Frank. “Art at the Aldrich.” The News-Times, February 1, 2002.
Aquino, Belina, A. “A Fillipino-American Winner”, January 02, 2002.
Basilico, Stefano. “A Conversation With Paul Pfeiffer.”Documents, no. 21, Fall 2001/Winter 2002.
Chua, Lawrence. “Blondage.” Jalouse, September 2001, 68.
Derwent, Charles. “The Americans. New Art”, The Independent Reviews.
Yablonsky, Linda. “Making Microart That Can Suggest Macrotruths.” The New York Times, Sunday, December 9, 2001.
Miles, Christopher. “Paul Pfeiffer.” Tema Celeste, November-December, 2001.
Scott, Andrea. “Bitstreams.”Frieze, no. 61, September, 2001.
Gopnik, Blake. “Whatever Floats Your Boat.” The Washington Post , June 10, 2001.
“Lastbyte.” Artbyte, vol. 4 no. 1, May - June, 2001, cover image; 96.
Saltz, Jerry. “Byte Lite”, Village Voice (Bitstreams).
Segal, Katy. “Mediarealities”, KW Magazine, Vol 02/01.
Art Journal, College Arts Association, Fall Issue.
McQuaid, Cate. “Film’s Intelligence Fits Museum.” The Boston Globe, April 2001.
Sherman, Mary. “Visual Arts.” Boston Sunday Herald, May 6, 2001.
Pollack, Barbara. “Back to the Future With Bitstreams.” Art in America, September 2001.
Wilson, Michael. “The Technology is Already Inside Us.” Untitled, Spring 2001, 22-23.
Basilico, Stefano. “Just Another Day on the Farm.” Time Out New York, June 7-14, 58.
Knight, Christopher. “Voyeurism and Ghostly Visions From Paul Pfeiffer.” Los Angeles Times, October 5, 2001.
Griffin, Tim. “Technical Knockout.” Time Out New York, no. 275, December 28-January 4, 2001, 61.
Kee, Joan. “Processes of Erasure.” Art Asia Pacific, no. 32, October-December, 2001.
Coxhead, Gabriel. “Exhibitions.” Contemporary Visual Arts, vol. 33 no. 60, 2001, 60-61.
Richard, Frances. “Paul Pfeiffer – The Project.” Art Forum, March 2001.
Pagel, David. “Paul Pfeiffer.” ArtNews, October/November 2001.
Kimmelman, Michael. “Critics Notebook- The 49th Venice Biennale.” The New York Times, June 20, 2001.
Smith, Roberta. “Art in Review; Paul Pfeiffer.” The New York Times, December 15, 2000
Pedersen, Victoria. “Gallery Go ‘Round.” Paper Guide, November 2000, 132.
Sarkozy, Charlotte. “D’ Honolulu a Harlem.” Jalouse, October 2000, 90.
Starker, Melissa. “Reality, What a Concept.” Columbus Alive, September 14, 2000.
Gowans, Scott. “Extraordinary Realities.” The Advocate, September 2000, 272.
Piene, Chloe. “Paul Pfeiffer, Eating and Excreting.” Flash Art, October 2000.
Sheets, Hilarie M. “Making DeMille Dance. Whether Messing with Muhammad Ali or staging a scene from the Exorcist, Paul Pfeiffer uses digital tricks to make his subjects do his bidding.” Flash Art, 84-86, October 2000.
Mayr, Bill. “Jeepers, They’ re Keepers.” The Columbus Dispatch, August 17, 2000, E8.
Agan, Sheila. “Abstract Contemporary Art Comes to Life With ‘Extraordinary Realities’ Exhibition.” The Ohio State Lantern, August 10, 2000, 8.
Lehnart, Ilona. “Berliner Seiten.” Frankfurter Allgemeine Zeitung, July 4, 2000.
Rush, Michael. “New Media Rampant.” Art In America, July 2000.
Gilbert, Andrea. E Kathemerine, 25 June 2000, 50.
Saltz, Jerry. “Greater Expectations.” Artnet.com, March 9, 2000.
Romuald Hazoume, Paul Pfeiffer, exh. brochure. Durham, NC: Duke University Museum of Art.
Hunt, David. “Man Trap.” Frieze, no. 53, June-August, 2000.
Siegel, Katy. “Openings: Paul Pfeiffer.” Artforum, Summer 2000.
“Maybe Race Has”, FEED Magazine, 2000.
Berwick, Carly. “Maybe Race Has Nothing To Do With It.” FEED Magazine, April 24, 2000.
“Kunst.” Berliner Morgenpost, May 30, 2000.
Feuilleton, Berliner Zeitung, May 25, 2000.
Feuilleton, Suddeutsche Zeitung, May 25, 2000.
Quedenbaum, Sebastian. “Metrolpolitan Ausg.”Die Welt, May 24, 2000.
Plagens, Peter. “Art in the Fast Lane.” Newsweek, April 10, 2000.
Schjeldahl, Peter. “Pragmatic Hedonism.” The New Yorker, April 3, 2000.
Solomon, D. “A Roll Call of Fresh Names and Faces.” The New York Times, April 16, 2000.
Vogel, Carol. “Inside Art: Whitney Prize.” The New York Times, April 14, 2000.
Halle, Howard. “2000 and None.” Time Out New York, no. 237, April 6-13, 2000, 72.
Saltz, Jerry. “My Sixth Sense.” Village Voice, April 4, 2000.
Kimmelman, Michael. “A New Whitney Team Makes Its Biennial Pitch.” The New York Times, March 24, 2000.
Gopnik, Blake. “Window Shopping At The Whitney.” The Globe Online, March 22, 2000.
Halle, Howard. “State of the Art.” Time Out New York, no. 234, March 16-23, 2000, 80.
Saltz, Jerry. “Greater Expectations.” Village Voice, March 14, 2000.
Cotter, Holland. “Greater New York.” The New York Times, March 1, 2000.
Siegel, Katy. “The Max Factor: Whitney Biennial 2000.”Artforum, March 2000.
Siegel, Katy. “Openings: Paul Pfeiffer.” Artforum, Summer 2000, 174-175.
Adelman, Shonagh. “Paul Pfeiffer The Project, NY.” Frieze, no. 45, March/April 1999.
Rush, Michael. “Hocus Focus.” Review, February 1, 1999.
Turner, Grady. “Abstracted Flesh.” Flash Art, vol. 32 no. 204, January-February, 1999.
Chattopadhyay, Collette. “At Home And Abroad.”Art Asia Pacific, no. 22, Fall 1999.
Johnson, P. “Review.” Houston Chronicle, January 12, 1999.
Sirmans, Franklin. “Get a ittle Closer.” Artnet.com, December 17, 1998.
Bliss, Kimberly. “Crazy.” Dutch Magazine, no. 18, 1998.
Turner, Grady. “Paul Pfeiffer and Nader.” The Review, November 1, 1998.
Cotter, Holland. “Paul Pfeiffer and Nader.” The New York Times, November 13, 1998.
Baker, Kenneth. “Modern Art Redefined.” San Francisco Chronicle, July 11, 1998.
Hirsh, David. “Christian Iconography.” New York Native, April 4, 1994.
“Scene & Heard” (reproduction) Village Voice, March 22, 1994.
“1991 In Review: Alternative Spaces.” Art In America, August 1993.
Consul, Wilma. “The Agony and the Apostasy.” Filipinas Magazine, June 1993.
Ty-Tomkins, Nikki. “Philippines International.” Honolulu Weekly, October 13, 1993.
Nelson, Nels. “Artists Find Their Own Religions.” The Philadelphia Daily News, September 24, 1992.
Bernstein, Neil. “Portrait of the Artists.” San Francisco Bay Guardian, October 11, 1989.