JK-Biography

SELECTED PUBLIC COLLECTIONS

  • Philadelphia Museum of Art, Philadelphia, USA
  • Museum of Modern Art, New York, USA
  • The National Gallery of Canada, Ottawa, Canada
  • Tate Modern, London, England
  • Ludwig Collection, Germany
  • Solomon R. Guggenheim Museum, New York, USA
  • Allen Memorial Art Museum, Oberlin College, Oberlin, USA
  • Whitney Museum of American Art, New York, USA
  • Van Abbemuseum, Eindhoven, The Netherlands
  • The Stedelijk Museum, Amsterdam, The Netherlands
  • Collection Count Giuseppe Panza di Biumo, Milan, Italy
  • Haus Lange, Krefeld, Germany
  • National Gallery of Victoria, Melbourne, Australia
  • Museum of Contemporary Art, Sydney, Australia
  • Australian National Gallery, Canberra, Australia
  • Musée National d’Art Moderne, Centre Pompidou, Paris, France
  • Kunstmuseum Des Kantons Thurgau, Kartause Ittingen, Ittingen, Switzerland
  • Staatsgalerie, Stuttgart, Germany
  • Museum van Hedendaagse Kunst, Ghent, Belgium
  • Fer Collection, Ulm, Germany
  • Hirshorn Museum and Sculpture Garden, Washington, D.C., USA
  • Galleria Nazionale d’Arte Moderna, Rome, Italy

SOLO EXHIBITIONS

  • 1967 Lannis Gallery (Museum of Normal Art), New York, USA,
  • ‘Fifteen People Present Their Favorite Book’ (Robert Morris, Ad Reinhardt, Sol Lewitt, Robert Mangold, Dan
  • Graham, Robert Smithson, Carl André, Robert Ryman, and others)
  • 1968 Gallery 669, Los Angeles, USA, ‘Nothing’
  • 1969 Laura Knott Gallery, Bradford Junior College, Bradford, USA, ‘Joseph Kosuth/Robert
  • Morris’
  • Pasadena Art Museum, Pasadena, USA, ‘Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea)’. Travelled
  • to Douglas Gallery, Vancouver, Canada; Museum of Contemporary Art, Chicago, USA; Leo Castelli Gallery,
  • New York, USA; Art Gallery of Ontario, Toronto, Canada
  • 1970 Jysk Kunstgalerie, Copenhagen, Denmark, ‘Joseph Kosuth: The First Investigation (Art as Idea as Idea 1968)’
  • Aarhus Kunstmuseum, Aarhus, Denmark. ‘Joseph Kosuth: The Second Investigation (Art as Idea as Idea
  • 1968)’
  • Kunstbiblioteket i Lyngby, Lyngby, Denmark. ‘Joseph Kosuth: The Third, Fourth, Fifth and Sixth
  • Investigations (Art as Idea as Idea 1968-1970)’
  • Galleria Sperone, Turin, Italy, ‘Joseph Kosuth: 11 Lavori dal 1965’
  • 1970 Christ College, Oxford, U.K., ‘Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea 1966-1970)’
  • Travelled to Nova Scotia College of Art and Design, Halifax, Canada; Instituto Torcuato di Tella, Buenos
  • Aires, Argentina; St. Martin’s School of Art, London, U.K.; Pinacotheca, Australia; Kunsthalle, Bern,
  • Switzerland; Galleria Sperone, Turin., Italy; Coventry College of Art, Coventry, U.K.; Art & Project,
  • Amsterdam, The Netherlands; A 37 90 89, Antwerp, Belgium;
  • Galerie Daniel Templon, Paris, France, ‘Joseph Kosuth’
  • 1971 Galerie Paul Maenz, Cologne, Germany ‘Joseph Kosuth’
  • Centro de Arte y Communication, Buenos Aires, Argentina, ‘Joseph Kosuth: el arte come
  • idea come idea’
  • Galerie Bruno Bischofberger, Zurich, Switzerland, ‘Joseph Kosuth’
  • Leo Castelli, New York, N.Y., USA, ‘Joseph Kosuth: The Eighth Investigation, Proposition 3’
  • Carmen Lamanna Gallery, Toronto, Canada, ‘Joseph Kosuth: The Eighth Investigation, Proposition 3’
  • Galleria Toselli, Milan, Italy, ‘Joseph Kosuth: L’Ottava Investigazione (A.A.I.A.I.) 1971, Proposizione 6’
  • Galleria Lia Rumma, Naples, Italy, ‘Joseph Kosuth’
  • 1972 The New Gallery, Cleveland, USA, ‘Joseph Kosuth’
  • Leo Castelli Gallery, New York, N.Y, USA, ‘Joseph Kosuth: Recent Work – The Ninth Investigation,
  • Proposition 1’
  • Leo Castelli Gallery, New York, N.Y, USA, ‘Joseph Kosuth: Early Work – Proto-Investigations = Fifteen
  • Works 1965-1967’
  • Galleria Sperone-Fischer, Rome, Italy, ‘Joseph Kosuth’
  • 1973 Kunstmuseum Luzern, Luzern, Switzerland, ‘Joseph Kosuth: Art Investigations and Problematics 1965-1973’ /
  • ‘Joseph Kosuth: Investigationen über Kunst & Problemkreise seit 1965’, Travelled to Westfalischer
  • Kunstverein, Munster and Tubingen, Kunstraum, Munich, Germany
  • Galerie Gunter Sachs, Hamburg, Germany, ‘Joseph Kosuth: The Eighth Investigation, Proposition 2’
  • Galerie Paul Maenz, Cologne, Germany, ‘Joseph Kosuth: Art as Idea as Idea: 1967-1968’
  • Claire Copley Gallery, Los Angeles, USA, ‘Joseph Kosuth: The Tenth Investigation, Proposition’
  • 1974 Musée d’Art Moderne de la Ville de Paris, Paris, France, ‘Joseph Kosuth: Investigations sur l’art et
  • problématique 1965-1973’
  • Carmen Lamanna Gallery, Toronto, Canada, ‘Joseph Kosuth: The Tenth Investigation 1974, Proposition 3’
  • Galleria Sperone-Fischer, Rome, Italy, ‘Joseph Kosuth: The Tenth Investigation, Proposition 7’
  • 1975 Liliane & Michel Durand-Desert, Paris, France, ‘Joseph Kosuth: Face/Surface(with Sarah Charlesworth)’
  • Leo Castelli Gallery, New York, USA, ‘Joseph Kosuth: The Tenth Investigation 1974 Proposition 4’
  • Galleria Peccolo, Livorno, Italy, ‘Joseph Kosuth’
  • Galerie MTL, Brussels, Belgium, ‘Joseph Kosuth: Practice’
  • Galleria Lia Rumma, Naples, Italy. ‘Joseph Kosuth: Praxis I’
  • 1976 Mtodziezowy Klub/Tworcow Kultury Forum, Krakow, Poland, ‘Joseph Kosuth: Face/Surface’
  • Internationaal Cultureel Centrum, Antwerp, Belgium, ‘Joseph Kosuth: Practice/ Praktijk/ Pratique’
  • Galerie Eric Fabre, Paris, France, ‘Joseph Kosuth: Practice/Pratique/Praticia’
  • The Renaissance Society, Chicago, USA, ‘Joseph Kosuth’
  • Kunsthalle Bremen, Germany, ‘Joseph Kosuth: Beiträge zur Konzeptuellen Kunst 1965-1976’
  • 1978 Van Abbemuseum, Eindhoven, The Netherlands, ‘Joseph Kosuth: Tekst/Kontekst’
  • Centre d’art contemporain, Geneva, Switzerland, ‘Joseph Kosuth: Text/Context’
  • Museum of Modern Art, Oxford, UK.; ‘Joseph Kosuth: Text/Context’
  • Carmen Lamanna Gallery, Toronto, Canada, ‘Text/Context’ (Toronto) Part I
  • 1979 New 57 Gallery, Edinburgh. Scotland, ‘Joseph Kosuth: Text/Context’
  • Galerie Eric Fabre, Paris, France ‘Joseph Kosuth: Texte/Contexte’ (Paris)
  • Galerie Paul Maenz, Cologne, Germany, ‘Joseph Kosuth: Text/Context’ (Köln-München)
  • Galerie Rüdiger Schöttle, Munich, Germany, ‘Joseph Kosuth: ‘Text/Context’ (Köln-Munchen)
  • Forum Stadtpark, Graz. ‘Joseph Kosuth’
  • Leo Castelli Gallery, New York, N.Y., USA, ‘Joseph Kosuth: Text/Context’(New York)
  • Saman Gallery, Genoa, Italy, Joseph Kosuth: ‘Text/Context’ (Genova)
  • Musée de Chartres, Chartres, France, ‘Joseph Kosuth: Dix Descriptions Partielles’
  • 1980 P.S. 1, Queens, N.Y., USA, ‘Joseph Kosuth: Ten Partial Descriptions’
  • 1981 Staatsgalerie, Stuttgart, Germany, ‘Joseph Kosuth: Bedeutung von Bedeutung /
  • The Making of Meaning’. Travelled to Kunsthalle, Bielefeld, Germany
  • Saman Gallery, Genoa, Italy, ‘Joseph Kosuth: Cathexis’
  • Galerie Achim Kubinski, Stuttgart, Germany, ‘Joseph Kosuth: Neonworks’
  • Galleria Francoise Lambert, Milan, Italy, ‘Joseph Kosuth: Cathexis’
  • Museum van Hedendaagse Kunst, Ghent, Belgium, ‘Joseph Kosuth: Cathexis’
  • Carmen Lamanna Gallery, Toronto, Canada, ‘Joseph Kosuth: Cathexis’
  • 1982 Leo Castelli Gallery, New York, N.Y., USA, ‘Joseph Kosuth: Cathexis’
  • Kamakura Gallery, Tokyo, Japan, ‘Joseph Kosuth’
  • Galleria Mario Diacono, Rome, Italy, ‘Joseph Kosuth: Seeing Reading’
  • Michelle Lachowsky, Antwerp, Belgium, ‘Joseph Kosuth: Hypercathexis’
  • Galerie Eric Fabre, Paris, France, Joseph Kosuth: ‘Cathexis’ & ‘Hyper-cathexis’
  • France Morin, Montreal, Canada, ‘Joseph Kosuth’
  • 1983 Galerie Eric Fabre, Paris, France, Joseph Kosuth: ‘Cathexis’ and ‘Hypercathexis’
  • 1984 Ghislain Mollet-Viéville, Paris, France, Joseph Kosuth: ‘Proto-Investigations’ and ‘First Investigations’
  • 1985 Leo Castelli Gallery, New York, N.Y, USA, ‘Joseph Kosuth: Fort! Da!’
  • Galerie Lohrl, Munich, Germany, ‘Joseph Kosuth’
  • Musée St. Pierre, Lyon, France, ‘Joseph Kosuth: 2 Installations’
  • Musée des Beaux-Arts de la Chaux-de-fonds, France, ‘Joseph Kosuth: Intentio (Project)’
  • Galerie Ascan Crone, Hamburg, Germany, ‘Joseph Kosuth: Neue Arbeiten’
  • Galerie Peter Pakesch, Vienna, Austria, ‘Joseph Kosuth: Z. & N. (Neon)’
  • Centre d’Art Contemporain, Geneva, Switzerland, ‘Joseph Kosuth: OEuvres récentes 1981-1985’
  • Galleria Lia Rumma, Naples. ‘Joseph Kosuth: Fort! Da!’
  • Galerie Achim Kubinski, Stuttgart, Germany, ‘Joseph Kosuth: Zero & Not’
  • 1986 Leo Castelli Gallery, New York, USA, ‘Joseph Kosuth: Zero & Not’
  • Kamakura Gallery, Tokyo. ‘Joseph Kosuth’
  • 1987 Jay Gorney Modern Art, New York, USA, ‘Modus Operandi’
  • Margo Leavin Gallery, Los Angeles, USA, ‘Joseph Kosuth: New Works’
  • Galeria Comicos, Lisbon, Portugal, ‘Joseph Kosuth: Six Recent Works’
  • Galerie Crousel-Hussenot, Paris. France, ‘Joseph Kosuth: Words, Sentences, Paragraphs’
  • Galerie George Bertsch, Barcelona, Spain, ‘Joseph Kosuth’
  • Galerie Ascan Crone, Hamburg. Germany, ‘Joseph Kosuth: Arbeiten 1965-87’
  • Galerie Thaddaeus Ropac, Salzburg, Austria, ‘Joseph Kosuth: Recent Works’
  • Galleria Giorgio Persano, Turin, Italy, ‘Joseph Kosuth’
  • 1988 Museo di Capodimonte, Naples, Italy, ‘Modus Operandi: Cancellato’
  • Kabinett für aktuelle Kunst, Bremerhaven, Germany, ‘Joseph Kosuth: Modus Operandi’
  • Galeria Bertsch, Barcelona, Spain, ‘Joseph Kosuth: Spanish Works’
  • Leo Castelli at 578 Broadway, New York, N.Y., USA, ‘Inaugural Exhibition:Joseph Kosuth’
  • 1989 Museum van Hedendaagse Kunst, Antwerp, Belgium, ‘Exchange of Meaning: Translation in the Work of
  • Joseph Kosuth’
  • Galleria Giorgio Persano, Milan, Italy
  • Galerie Xavier Hufkens, Brussels, Belgium, (With Eran Scharf and Marcel Duchamp)
  • Sigmund Freud Museum, Vienna, Austria. ‘Die Sigmund Freud Gesellschaft’
  • Wiener Secession, Vienna, Austria. ‘Das Spiel des Unsagbaren: Ludwig Wittgenstein und die Kunst des 20.
  • Jahrhunderts’
  • Knoll Galleria, Budapest, Hungary, ‘Joseph Kosuth’
  • Galerie le Gall Peyroulet, Paris, France, ‘Joseph Kosuth’
  • 1990 Palais des Beaux Arts, Brussels, Belgium, ‘The Play of the Unsayable: Ludwig Wittgenstein and the Art of the
  • 20th Century’
  • The Brooklyn Museum, Brooklyn, NY, USA, ‘The Play of the Unmentionable’ [An Installation By Joseph
  • Kosuth]
  • Galería Juana de Aizpuru, Madrid, Spain, ‘Joseph Kosuth: Tabula Rasa’
  • Margo Leavin Gallery, Los Angeles, USA, ‘Joseph Kosuth: An Exhibition On, About, or Using Ludwig
  • Wittgenstein’
  • 1991 Galerie Peter Pakesch, Vienna, Austria, ‘Joseph Kosuth’
  • Rubin Spangle, New York, USA, ‘Joseph Kosuth: Three Installations: 1970, 1979, and 1988’
  • Galería Ruth Benzacar, Buenos Aires, Argentina, ‘Un Aleph, Ex Libris (para J.L.B.)’
  • Galleria Lia Rumma, Naples, Italy; ‘An Exhibition On, About, or Using Wittgenstein and Nietzsche’
  • Bar Centrale, San Casciano dei Bagni, Italy. ‘Ex Libris (Omaggio ad Adolfo Boni)’ (with Jan Dibbets)
  • Harold Washington Library, Chicago, USA, ‘A Play: News from Kafka and a Quote’
  • 1992 Belvedere, Prague, Czechoslovakia, ‘Podobenství (Ex Libris, Kafka)’ / ‘Parable (Ex Libris, Kafka)’
  • Villa Merkel, Esslingen, Germany, ‘Kein Ding, Kein Ich, Keine Form, Kein Grundsatz (Sind Sicher)’
  • Hirshhorn Museum, Washington D.C., USA, ‘A Play: The Herald Tribune,
  • Kafka and a Quote’
  • Galerie Achim Kubinski, Köln, Germany. ‘Joseph Kosuth: Covered – Uncovered’
  • 1993 Württembergischer Kunstverein, Stuttgart, Germany, ‘Joseph Kosuth: Eine Grammatische Bemerkung’ / ‘A
  • Grammatical Remark’
  • Leo Castelli Gallery, New York, USA, ‘The Thing-in-itself is found in its Truth through the Loss of its
  • Immediacy’
  • Margo Leavin Gallery, Los Angeles, USA, ‘Double Reading, Allegory of Limits’
  • Galeria Juana de Aizpuru, Sevilla, Spain, ‘Joseph Kosuth’
  • Galerie der Stadt Stuttgart, Stuttgart, Germany, ‘Joseph Kosuth: 7 Orte auf der Karte eines Gesprächs’
  • 1994 Centrum Sztuki Wspotczesnej Zamek Ujazdowski, Warsaw, Poland,
  • ‘The Corridor of Two Banalities’ [with Ilya Kabakov]. Travelled to Center for Contemporary Art, Kiev,
  • Ukraine (1999-2000)
  • Kunstwerke Berlin, Berlin, ‘Berliner Chronik’
  • Hillside Gallery & Art Front Exhibition Space, Tokyo, Japan, ‘Review of Works’
  • 1995 Fundació Pilar i Joan Miró, Palma, Mallorca, Spain, ‘L’art des idées. Una visio de trenta anys’
  • Fondazione Ratti, Como, Italy, ‘Rules and Meanings’
  • Galerie Aronowitsch, Stockholm, Sweden. ‘Joseph Kosuth: The First Investigation 1966-1968’
  • Leo Castelli Graphics, New York, USA, ‘Joseph Kosuth. Editions [Or, works and related articles, things, props,
  • which are multiplied]: The Past Ten Years’
  • Kunstnernes Hus, Oslo, Norway, ‘Joseph Kosuth and American Conceptualism’
  • 1996 Barbara Krakow Gallery, Boston, USA, ‘Joseph Kosuth. Editions [Or, works and related articles, things, props,
  • which are multiplied]: The Past Ten Years’
  • Galerie Yvon Lambert, Paris, France, ‘Modernité: trois virgules et une note’
  • 1997 MIT List Visual Arts Center, Boston, USA, ‘Re-defining the Context of Art:1968-1997. ‘The Second
  • Investigation’ and Public Media’
  • The Irish Museum of Modern Art, Dublin, Ireland, ‘Guests and Foreigners, Rules and Meanings.’ A New
  • Installation, With a Survey: 1965 – 1997
  • Sean Kelly Gallery, New York, USA, ‘L’Essence de la rhétorique est dans l’allégorie’
  • Leo Castelli Gallery, New York, USA, ‘Joseph Kosuth, Read and Seen: Selected Works from 1965, 1967, 1969,
  • 1979, 1981, 1982, 1991, 1992, 1993, 1997’
  • 1998 Kunsthaus Glarus, Glarus, Switzerland, ‘Die Anfänge der Konzeptkunst: Frühe Arbeiten von Joseph Kosuth.
  • Aus der Sammlung Bruno Bischofberger’
  • Galerie Bruno Bischofberger, Zürich, Switzerland, ‘Ulysses, 18 Scenes’
  • Kunstmuseum des Kantons Thurgau, Kartause Ittingen, Switzerland, ‘Ein Plan für: Eine verstummte
  • Bibliothek / A Map for: A Silenced Library’
  • Galerie Achim Kubinski, Berlin, Germany, ‘Around and Around’
  • 1999 Villa Medici – Académie de France, Rome, Italy, ‘Condizioni D’Assenza (Il nome e chi lo porta, a G.)’ /
  • ‘Conditions of Absence (The name and its bearer, for G.)’
  • Schirn Kunsthalle, Frankfurt am Main, Germany, ‘Gäste und Fremde: Goethes Italienische Reise. Eine
  • Installation’ / ‘Guests and Foreigners: Goethes Italian Journey. An Installation’
  • Römerberg Subway Station, Frankfurt am Main, Germany, ‘Von Angesicht zu Angesicht’
  • Galleria Franca Mancini, Pesaro, Italy, ‘Frammenti di Rossini (Ospiti e Stranieri)’
  • Borusan Kültür ve Sanat. Istanbul, Turkey. ‘Konuklar ve Yabancilar: Rossini Türkiye de’ / ‘Guests and
  • Foreigners: Rossini in Turkey’
  • Kunstmuseum des Kantons Thurgau, Ittingen, Switzerland. ‘Eine verstummte Bibliothek’ / ‘A Silenced
  • Library’
  • Galleria Lia Rumma, Naples, Italy, ‘Essays’
  • Chiba City Museum of Art, Chiba City, Japan. ‘Guests and Foreigners: The Years of Isolation.’ Including a
  • Survey of Works 1965-1999). Traveled to Tokushima Modern Art Museum, Tokushima, Japan (2000)
  • 2000 Galleria Lia Rumma, Milan, Italy, ‘Essays’
  • Galerie Achim Kubinski, Berlin, Germany, ‘Essays’
  • Sean Kelly Gallery, New York, ‘Essays’
  • Adam Art Gallery, Wellington, New Zealand, ‘Guests and Foreigners, Rules and Meanings (Te Kore)’
  • Collegium Artisticum, Sarajevo, Bosnia-Herzogovenia, ‘Eight Locations of Meaning’
  • Musée Champollion, Figeac, France, ‘Place of Writing, Five Works by Joseph
  • Kosuth, from ‘One and Three Chairs’ to ‘Ex Libris, J.-F. Champollion (Figeac)’
  • Isabella Stewart Gardner Museum, Boston ‘Artist, Curator, Collector: James McNeil Whistler, Bernard
  • Berenson and Isabella Stewart Gardner–Three Locations in the Creative Process’
  • 2004 Van Abbemuseum, Eindhoven, The Netherlands, ‘Re-defining the Context of Art: 1968-2004, ‘The Second
  • Investigation’ and Public Media’
  • Hellenic American Union, Athens, Greece, ‘Guests and Foreigners, Rules and Meanings (Athens)’
  • Sean Kelly Gallery, New York, ‘À Propos (Réflecteur de Réflecteur)’
  • 2005 Andrea Rosen Gallery, New York, U.S.A, ‘Felix Gonzalez Torres and Joseph Kosuth’
  • Nikolaj, Copenhagen Contemporary Art Center, Copenhagen, Denmark,
  • ‘Joseph Kosuth and Ilya & Emilia Kabakov: Hans Christian Andersen-A Life World’
  • Torrione Passari, Molfetta, Italy, ‘Thirteen Locations of Meaning’
  • Monika Sprüth Philomene Magers Gallery, Munich, Germany‘The Origins of a Project on Meaning’
  • VistaMare, Pescara, Italy, ‘(A Grammatical Remark) Pescara’
  • 2006 Sprüth Magers Lee, London, England, No Title
  • Reykjavik Art Museum, Reykjavik, Iceland, ‘Joseph Kosuth and Ilya & Emilia Kabakov: Hans Christian
  • Andersen-A Life World’
  • Rotterdam City Theatre, Rotterdam, The Netherlands, ‘37th Poetry International Festival’
  • Castello di Rivoli, Torino, Italy, ‘Joseph Kosuth’
  • Sean Kelly Gallery, New York, USA, ‘A labyrinth into which I can venture’
  • Galerie Almine Rech, Paris, France, ‘A phenomenon of the library’
  • 2007 Centro Atlántico de Arte Moderno, San Antonio Abad, Casa de Colón, El Museo Canario, Las Palmas, Gran
  • Canaria, ‘Terra Ultra Incognita’
  • Biennale di Venezia 52. Esposizione Internazionale d’Arte Eventi Collaterali, Congregazione Mekhitarista di
  • San Lazzaro,Venice, Italy, ‘Il Linguaggio dell’Equilibrio / The Language of Equilibrium’
  • 2008 La Casa Encendida, Madrid, Spain, ‘Al Fin Creí Entender (Madrid)’
  • Sean Kelly Gallery, New York, ‘neither appearance nor illusion’
  • 2009 Edinburgh International Festival, Edinburgh, United Kingdom, ‘An
  • Interpretation of This Title’, Nietzche, Darwin and the Paradox of Content
  • 2009 Musée du Louvre, Paris, France, ‘ni apparence ni illusion’
  • 2010 Anna Schwartz Gallery, Sydney, Australia, ‘An Interpretation of This Title’
  • Nietzsche, Darwin and the Paradox of Content
  • 2010 Galleria Lia Rumma, Milano, Italy, Texts for Nothing’, Samuel Beckett, in play
  • 2010 ACCA, Australian Centre for Contemporary Art, Melbourne, Australia, ‘(Waiting
  • for −) Texts for Nothing’, Samuel Beckett, in play
  • 2011 Sean Kelly Gallery, New York, USA, Joseph Kosuth ‘Texts (Waiting for-) for
  • Nothing’ Samuel Beckett, in play
  • 2011 Haus Konstruktiv, Zurich, Switzerland, Joseph Kosuth ‘Texts for Nothing
  • (Waiting for-)’, Samuel Beckett, in play
  • 2011 Sprüth Magers Gallery, London, United Kingdom, Joseph Kosuth ‘The Mind’s Image of Itself#3’ a play on
  • architecture and the mind’
  • 2012 Happy Days – Enniskillen International Beckett Festival, Enniskillen, Ireland, Joseph Kosuth ‘ Texts (Waiting
  • for -) for Nothing’ Samuel Beckett, in Play
  • 2012 Castelli Gallery, New York, Joseph Kosuth ‘Freud, Wittgenstein, Musil’
  • 2012 Kuad Gallery, Istanbul, Turkey The Wake (An arrangement of references with
  • all the appearance of autonomy.) 1 installation, 19 works
  • 2013 Sprueth Magers Gallery, Berlin Insomnia: Assorted, Illuminated, Fixed
  • 2014 Kunstmuseum Thurgau, Karthause Ittingen, Switzerland ‘Existence and the World’

SELECTED GROUP EXHIBITIONS

  • 1966 Stamford Art Center, Stamford, USA, ‘New Talent’
  • 1967 Lannis Gallery, New York, USA, ‘Non-Anthropomorphic Art by Four Young Artists’
  • 1968 The American Federation of Arts, New York, USA, ‘The Square in Art’
  • University of Rochester, Rochester. ‘New York Art’
  • Dwan Gallery, New York, N.Y. ‘Language II’
  • 1969 Kunsthalle Bern, Bern, Switzerland, ‘Live in Your Head: When Attitudes Become Form: Works-Concepts-
  • Processes-Situations-Information’. Travelled to Museum Haus Lange, Krefeld, Germany; Institute of
  • Contemporary Art, London, U.K.
  • Museum of Contemporary Art, Chicago, USA, ‘Art by Telephone’
  • Seth Siegelaub and Jack Wendler, New York, USA, ‘Andre, Barry, Huebler, Kosuth, LeWitt, Morris, Weiner
  • [The Xerox Book]’
  • UCLA Art Galleries, Los Angeles, USA, ‘Electric Art’. Travelled to Phoenix Art
  • Museum, Phoenix, USA
  • Stedelijk Museum, Amsterdam, The Netherlands, ‘Op Losse Schroeven: Situaties en Cryptostructuren’
  • Seattle Art Museum, Seattle, USA, ‘557,087’. Travelled to Vancouver Art Gallery, Vancouver, Canada, as
  • ‘955,000’
  • Stadtische Kunsthalle, Dusseldorf, Germany, ‘Prospect 69’
  • Stadtischen Museum, Leverkusen, Germany, ‘Konzeption – Conception’
  • 1970 Galleria Civica d’Arte Moderna, Turin, Italy, ‘Conceptual Art, Arte Povera, Land Art’
  • Museum of Modern Art, New York, USA, ‘Information’
  • The New York Cultural Center, New York, NY, Conceptual Art & Conceptual Aspects,
  • 1971 Guggenheim Museum, New York, USA,Guggenheim ‘International Exhibition’
  • Galerie imTaxispalais, Innsbruck, Austria, ‘Situation Concepts’. Travelled to Galerie Nachst St. Stephan,
  • Vienna, Austria
  • Kunsthalle, Nuremberg, Germany, ‘”Was die Schonheit sucht, das weiss ich nicht”: Künstler, Theorie, Werk:
  • Katalog zur Zweiten Biennale Nurnberg’
  • Museo de arte moderno, Buenos Aires, Argentina, ‘Arte de sistemas’
  • Parc Floral, Paris, France, ‘7e Biennale de Paris’
  • 1972 Museum Fridericianum, Kassel, Germany, ‘Documenta V’
  • Kunstmuseum Basel, Basel, Switzerland, ‘”Konzept” – Kunst’
  • 1973 National Gallery of Victoria, Melbourne, Australia, ‘Some Recent American Art’
  • Kunstverein, Hannover, Germany, Kunst aus Fotografie’
  • Parcheggio de Villa Borghese ‘[Incontri Internazionale d’Arte]’, Rome, Italy
  • 1974 Art Institute of Chicago, Chicago, USA, ‘Idea and Image in Recent Art’
  • Kunsthalle, Cologne, Germany, ‘Kunst bleibt Kunst: Projekt ’74’
  • Centre national d’art contemporain, Paris, France, ‘Festival d’Automne de Paris’
  • High Museum of Art, Atlanta, USA, ‘The New Image’
  • 1976 Art Institute of Chicago, Chicago, USA, ‘Seventy-second American Exhibition’
  • Biennale di Venezia, Venice, Italy
  • P.S. 1, Queens, USA, ‘Rooms P.S. 1’
  • Akademie der Künste/Berliner Festwochen, Berlin, Germany, New York ‘Downtown Manhattan: SoHo’
  • 1977 Australian National Gallery, Canberra, Australia, ‘Illusion and Reality’
  • Museum of Contemporary Art, Chicago, USA, ‘Words at Liberty’
  • Fort Worth Art Museum, Fort Worth, USA, ‘The Record as Artwork from Futurism to Conceptual Art’
  • 1978 Museum Fridericianum, Kassel, Germany, ‘Documenta VI’
  • Museum of Contemporary Art, Chicago, USA, ‘Words at Liberty and A View of The Decade’
  • 1979 Museum of Modern Art, New York, USA, ‘Printed Art: A View of Two Decades’
  • 1980 Mappin Art Gallery, Sheffield, U.K., (touring) ‘Artist and Camera’
  • Istanbul Devlet Güzel Sanatlar Galerisi, Istuanbul, Turkey, ‘Sanat Olarak Betik’
  • Stadtische Kunsthalle, Dusseldorf, Germany, ‘Das Bild einer Geschichte 1956/1976: Die Sammlung Panza di
  • Biumo’
  • 1981 Neuberger Museum, Purchase, USA, ‘Soundings’
  • 1982 Museum Fridericianum, Kassel, Germany, ‘Documenta VII’
  • Groninger Museum, Groningen, The Netherlands, ‘Kunst nu: Kunst unserer Zeit
  • in Groninger Museum’
  • Stedelijk Museum, Amsterdam, The Netherlands, ‘’60 – ’80: Attitudes/Concepts/Images’
  • 1983 The National Museum of Modern Art, Tokyo and Kyoto, Japan, ‘Photography in Contemporary Art’
  • Ateneumin Taidemuseo, Helsinki, Finland, ‘Ars 83’
  • 1984 Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA, ‘Content: A Contemporary Focus 1974-
  • 1984’
  • Stedelijk van Abbemuseum, Eindhoven, The Netherlands, ‘L’Architecte est absent: Works from the
  • Collection of Annick and Anton Herbert’
  • 1985 Künstlerwerkstatten, Munich, Germany, ‘Process und Konstruktion: 1985 in München’
  • Hamburger Kunsthalle, Hamburg, Germany, ‘Mehr Licht/More Light’
  • 1986 Queens Museum, Queens, N.Y., USA, ‘The Real Big Picture’
  • Palais des Beaux-Arts, Brussels, Belgium, ‘Capriccio: Musique et Art au XXeme Siècle’
  • Museum van Hedendaagse Kunst, Ghent, Belgium, ‘Chambres d’amis’
  • Palazzina Centrale Castel dell’Ovo, Naples, Italy, ‘Rooted Rhetoric: Una tradizione nell’arte americana’
  • 1987 Whitney Museum of American Art, New York, USA, ‘The Whitney Biennial’
  • Institute of Contempory Art, University of Pennsylvania, Philadelphia, USA, ‘1987: At the Crossroads’
  • 1988 Musée d’Art Contemporain, (CAPC) Bordeaux, France, ‘Art Conceptuel I’
  • Moderna Museet, Stockholm, Sweden, ‘Implosion: Ett Postmodern perspektiv’
  • Württemburgischer Kunstverein, Stuttgart, Germany, ‘Blow-Up’
  • 1989 Musée d’Art Moderne de la Ville de Paris, France, ‘L’Art Conceptuel, Une Perspective’
  • Whitney Museum of American Art, New York, USA, ‘Image World: Art and Media Culture’
  • Fondazione Scientifica Querini Stampaglia, Venice, Italy, ‘Ad Usum Dimorae’
  • Whitney Museum of American Art, New York, USA, ‘Art in Place’
  • Sigmund Freud Museum, Vienna, Austria, ‘Ausstellung der Sigmund Freud Gesellschaft’
  • 1990 Museum für Moderne Kunst, Frankfurt, Germany, ‘Contemporary Art In An Urban Context’
  • Wexner Center for Visual Arts, Columbus, USA, ‘New Art for New Spaces: Into the Nineties’
  • 1991 Dum Umeni Messa Brna, Brno, Czechoslovakia (touring), ‘Détente’
  • Van der Heydt-Museum, Kunsthalle Bremen and Kunstraum Wuppertal, Germany, ‘Buchstäblich, Bild und
  • Wort in der Kunst Heute’
  • 1992 American Academy, Rome, Italy, ‘Joseph Kosuth and Michelangelo Pistoletto’
  • Neue Galerie, Kassel, Germany, ‘Documenta IX’
  • Witte de With, Rotterdam, The Netherlands, ‘No Rocks Allowed’
  • 1993 Biennale di Venezia, Hungarian Pavilion, Venice, Italy, ‘Zeno At The Edge Of The Known World’
  • Leo Castelli at 578 Broadway, New York, USA, ‘Word Play’
  • Palazzo delle Esposizioni, Rome, Italy, ‘All Roads lead to Rome?’
  • Carré d’Art-Musée d’Art Contemporain, Nîmes, France, ‘L’Objet dans l’Art du Vingtième Siècle’
  • Offenes Kulturhaus, Linz, Austria, ‘The Foreigner, The Guest’
  • 1994 Camden Art Centre, London, U.K., ‘Symptoms of Interference, Conditions of Possiblity’ [with Ad Reinhardt
  • and Felix Gonzalez-Torres]
  • Oxford University: Taylor Institution, Oxford, U.K., ‘The (Ethical) Space of Cabinets 7 & 8’ and The Bodleian
  • Library, ‘Say: I do not know (The Reading Room)’
  • Guggenheim Museum, New York, USA, ‘The Tradition of the New: Postwar
  • Masterpieces from the Guggenheim Collection’
  • CAPC, Bordeaux, France, ‘Pour les chapelles de Vence’
  • 1995 Yale University, New Haven, USA, ‘Reinventing the Emblem: Contemporary Artists Recreate a Renaissance
  • Idea’
  • Ex-Aurum, Pescara, Italy, ‘Caravanseray of Contemporary Art’
  • The Museum of Contemporary Art, Los Angeles, USA, ‘1965–1975: Reconsidering the Object of Art’
  • Tokyo Museum of Contemporary Art, Tokyo, Japan, ‘Revolutionists of Contemporary Art – Art in the 1960’s’
  • Margo Leavin Gallery, Los Angeles, USA, ‘Untitled (Reading Room)’
  • Museo Bellas Artes, Caracas, Venezuela, ‘Intervenciones en el espacio’
  • Pagode, The Former Palace of King Manga Bell, Place du Gouvernement, Douala, Cameroon, ‘Around and
  • Around’
  • 1996 Athens School of Fine Arts, “The Factory,” Athens, Greece, ‘Everything That’s Interesting Is New. The Dakis
  • Joannou Collection’. Travelled to the Museum of Modern Art, Copenhagen, Denmark, and Guggenheim
  • Museum Soho, New York, USA)
  • Montreal Museum of Fine Arts, Montreal, Canada, ‘Magritte Collection’. Travelled to Kunstsammlung
  • Nordrhein-Westfalen, Düsseldorf, Germany
  • Muchenthaler Art Center, Fullerton, USA, ‘Monumental Propaganda’,
  • (ICI touring exhibition to Bass Museum of Art, Miami Beach, USA; Kemper Museum of Contemporary Art
  • and Design, Kansas City, USA; Helsinki City Art Museum, Helsinki, Finland; Uppsala Konstmuseum,
  • Uppsala, Sweden; Kennisaw State University, Kennisaw, USA)
  • Civiche Raccolte d’Arte. Padiglione d’Arte Contemporanea. Milan, Italy, ‘Omaggio a Leo Castelli. 20 Artisti a
  • New York’
  • The Cleveland Museum of Art, Cleveland Center for Contemporary Art and Spaces, Cleveland, USA, ‘Urban
  • Evidence’
  • Stedelijk Van Abbe Museum, Eindhoven, The Netherlands, ‘Travaux Publics
  • 1997 Villa Merkle Bahnwärterhaus, Esslingen am Neckar, Germany, ‘Fort! Da! Cooperations’
  • Fondazione Querini Stampalia, Venice, Italy, ‘Sarajevo 2000’
  • Kunsthaus Bregenz, Bregenz, Austria, ‘Künstler Innen’
  • Rooseum, Malmö, Sweden, ‘A House Is Not A Home’
  • Le Nouveau Musée / Institut Frac Rhône-Alpes, Villeurbanne, France, ‘Le Bel Aujourd’hui. OEuvres d’une
  • Collection Privée’
  • Foundation for the Arts, Sigmund Freud-Museum, Vienna, Austria, ‘The whale and the polar bear … cannot
  • wage war on each other…’
  • Galería Juana de Aizpuru, Madrid, Spain, ‘A Martin Kippenberger’
  • 1998 Leo Castelli Gallery, New York, USA, ‘The Artists of the Castelli Gallery 1957-1997: Part Three of Three’
  • Wiener Secession, Vienna, Austria, ‘100 Jahre Secession, Das Jahrhundert der künstlerischen Freiheit’
  • Parliament Building, Stockholm, Sweden, ‘The Word (ORDET) the eternal drama’
  • Deutscher Bundestag, Berlin, Germany, ‘Kunst für die Bundestagsneubauten, Ausstellung der
  • Kunstwettbewerbe’
  • Villa Merkel, Galerien der Stadt Esslingen, Esslingen am Neckar, Germany, ‘Fotografie als Handlung /
  • Photography as Concept’
  • Tramway, London, U.K., ‘Host’
  • Liljevalchs Konsthall, Stockholm, Sweden, ‘Fönster åt gården / Rear Window’
  • Neue Galerie am Landesmuseum Joanneum, Graz, Austria, ‘Kunst ohne Unikat /Multiples 1985 – 1998’
  • Galerie & Edition Atelier, Graz, Austria, ‘Joseph Kosuth / Haim Steinbach’
  • Mirko Mayer Galerie & Kunsthandel, Cologne, Germany, ‘Only Photography?’
  • Galerie Rüdiger Schöttle, Munich, Germany, ‘Konzeptuelle Arbeiten der 1960er bis 1980er Jahre’
  • 7th International Cairo Biennale, Cairo, Egypt
  • 1999 Haifa Museum, Haifa, Israel, ‘Joseph Kosuth / Haim Steinbach’
  • Vestsjaellannds Kunstmuseum, Copenhagen, Denmark, ‘Til Mertz’
  • Paula Cooper Gallery, New York, USA, ‘Wall Works’
  • Villa Stuck, Munich, Germany, ‘Wände/Wall Works’
  • Mirko Mayer Galerie & Kunsthandel, Cologne, Germany, ‘20 Artists Editions and Multiples’
  • P.S.1, Long Island City, USA, ‘Primarily Structural: Minimalism and Post-Minimalism: Works on Paper’
  • Cultuur Centrum Brugge, Brugge, Belgium, ‘Art Words-Art Works!’
  • Massachusetts Museum of Contemporary Art, Boston, USA, ‘Billboard’
  • Studio La Città, Verona, Italy, ‘Verba Lucis’
  • Musée d’art contemporain de Bordeaux, Bordeaux, France and Centre Georges Pompidou, Paris, France,
  • ‘Collections parallèles’
  • Queen’s Museum of Art, Queen’s, USA, (touring) ‘Global Conceptualism: Points of Origin, 1950s-1980s’
  • Centro Skenderija, Sarajevo, Bosnia-Herzogovenia, ‘ARS AEVI Exhibition of the Collection, Museum of
  • Contemporary Art Sarajevo’
  • P.S.1 Contemporary Art Center, Long Island City, USA, ‘The Artist out of Work: Art & Language 1972-
  • 1981’
  • Galerie Dorothea van der Koelen, Mainz, Germany, ‘20 Jahre für die Kunst ’
  • Loggia dei Podestà del Duomo in San Gimignano, San Gimignano, Italy, ‘Arte all’Arte IV 1999’
  • Contemporary Museum, Baltimore, USA, ‘IMPACT: Revealing Sources for Contemporary Art’
  • Asmali Mescid, Istanbul, Turkey, ‘Apartman Projesi’nin ilk sergisi “ayakkabi dükkanl” na davetlisiniz’
  • Museum of Contemporary Art, Sydney, Australia, ‘(word)’
  • Whitney Museum of American Art, New York, USA, ‘The American Century: Art & Culture 1900-2000’
  • 2000 Casino Luxembourg, Luxembourg, ‘Light Pieces’
  • Galleria Nazionale d’Arte Moderna, Rome, Italy, Festival 2000. ‘Opere recenti di Mimmo Jodice, Joseph
  • Kosuth, Armin Linke, Enzo Mari’
  • De voormalige stadsbibliotheek, Ghent, Belgium, ‘Over the Edges’
  • Fondazione Pistoletto, Biella, Italy, ‘A casa di…’
  • City Hall, Singen, Germany, ‘Singen 2000 Landesgartenschau’
  • Sean Kelly Gallery, New York, USA, ‘On Moving’
  • 2001 Serviço Social do Comércio, São Paulo, Brazil, ‘The Overexcited Body’
  • Yale University Art Gallery, New Haven, CT, USA, ‘Between Language and Form’
  • Sean Kelly Gallery, New York, USA, ‘Re-Location: On Moving’
  • Kunsthalle Basel, Basel, Switzerland, ‘Quartett August 1968 September 2000’
  • Magazzini Frigoriferi, Venice, Italy
  • Museum of Light Art, Unna, Germany
  • Galleria Comunale d’Arte Moderna e Contemporanea, Rome, Italy, ‘Le Tribù dell’Arte’
  • Foro di Traiano, Rome, Italy, ‘Giganti: Arte Contemporanea Fori Imperiali’
  • Fondazione Adriano Olivetti, Rome, Italy, ‘Radical and Critical’
  • 2002 Museion, Museum D’Arte Moderna, Bolzano, Italy, ‘Guida’
  • Museo di Arte Moderna e Contemporanea di Trento e Rovereto, ‘La Stanze dell’Arte’
  • Maurice Keitelman Gallery, Brussels, Belgium, ‘Between Works and Words’;
  • traveled to Colecção Onnasch, Museo Serralves, Porto, Portugal
  • Casa, Centro De Arte De Salamanca, Salamanca, Spain, ‘Comer o No Comer’
  • Galerie Bernhard Knaus, France, ‘Reproduction’
  • 2003 Van Abbemuseum, Eindhoven, The Netherlands, ‘From Broodthaers to Horn’
  • Kunsthalle Mannheim, Mannheim, Germany, ‘Die Neue Kunsthalle II’
  • The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY, USA,
  • ‘Living With Duchamp’
  • Couvent de Morsiglia (FRAC Corse), Mairie de Morsiglia, France, ‘ré-invention de la collection’
  • Tina Kim Fine Art, New York, USA, ‘Then All the World Would be Upside Down’
  • Sean Kelly Gallery, New York, USA, ‘upon reflection…’
  • Margo Leavin Gallery, Los Angeles, USA, ‘Raid the Icebox’
  • Museum für neue kunst ZKM Karlsruhe, Karlsruhe, Germany, ‘The Daimler
  • Chrysler Collection’
  • Dickinson Roundell, New York, USA, ‘Aftershock’
  • 2004 Solomon R. Guggenheim Museum, New York, USA, ‘Singular Forms (Sometimes Repeated): Art from 1951 to
  • the Present’
  • Bruce Museum, Greenwich, CONN, USA, ‘Off the Wall: Works from the JPMorgan Chase Collection’
  • Musée d’Art Moderne et d’Art Contemporain de la Ville de Nice, Nice, France, ‘Intra-Muros’
  • The Royal Hibernian Academy, Dublin, Ireland, ‘Joyce in Art: Visual Art Inspired by James Joyce’
  • Le Consortium, centre d’art contemporain, Dijon, France, ‘before the end’
  • 2005 Fondazione Ratti, Como, Italy, ‘Generations of Art’
  • Castello Colonna di Genazzano, Genazzano, Italy, ‘Artisti dalla Galleria Nazionale d’Arte Moderna 1980 –
  • 2000’
  • Centre Pompidou, Paris, France, ‘BIG BANG, Destruction and Creation in 20th Century Art’
  • Palais de Tokyo, Paris, France, ‘Translation’
  • 2006 Museum Franz Gertsch, Burgdorf, Switzerland, ‘The Sublime is now!’
  • Hangar Bicocca, Milano, Italy, ‘Start @ Hangar’
  • Castello di Rivoli, Rivoli, Italy, ‘Libri, Books, Bücker’ and ‘Concetto, Corpo e Sogno’
  • Schirn Kunsthalle, Frankfurt, Germany, ‘Nothing’
  • Kunsthaus Graz, Graz, Austria, ‘Public Space / Two Audiences. Works and documents from the Herbert
  • Collection’
  • La Maison Rouge, Paris, France, ‘Busy Going Crazy. The Sylvio Perlstein Collection’
  • Villa Massimo, Roma, Italy, ‘Can Art save the Planet?’ curated by WWF and Associazione Culturale Futuro
  • 2007 Whitney Museum of American Art, New York, NY, ‘Uncontained’
  • Sean Kelly Gallery, New York, NY, ‘Pure’
  • Center for Curatorial Studies, Annandale-on-Hudson, New York, ‘Exhibitionism: An Exhibition of the
  • Exhibitions of Works from the Marieluise Hessel Collection’
  • 2008 Musée d’art contemporain, Amos, Quebec; traveling to: Yukon Arts Centre, Whitehorse, YK. The Art Gallery
  • of the South Oknagan, Penticton, BC. The Robert McLaughlin Gallery, Oshawa, ON. The Prairie Art Gallery,
  • Grande, Prairie, AB., ‘De L’écriture (with Writing): Selected works from the Collection of the Musée d’art
  • contemporain’
  • Albright-Knox Art Gallery, Buffalo, New York. ‘The Panza Collection: An Experience of Color and Light’
  • Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA, ‘The Panza Collection’
  • 2009 Castelli Gallery, New York, USA, ‘Electricity’
  • CGAC – Galician Center for Contemporary Art, Santiago de Compostela, Spain, ‘The Human Stain –
  • Conceptual Art in the CGAC Collection’
  • Louis Vuitton Art Center, Paris, France, ‘Ecritures Silencieuses’
  • Musée d’Art moderne et contemporain de Strasbourg, Strasbourg, France, ‘Silences. Un propos de Marin
  • Karmitz’
  • Almine Rech Gallery, Brussels, Belgium, ‘Magritte & Lumière’ / ‘Magritte and Light’
  • Museo Carlo Bilotti, Roma, Italy, ‘Speculazioni d’artista’
  • Galerie Dorothea Van der Koelen, Venice, Italy, ‘When Ideas Become Form’
  • Biennale di Venezia 53. Esposizione Internationale d’Arte Eventi Collaterali, Palazzo Cavalli Franchetti,
  • Venice, Italy, ‘Glasstress’
  • Biennale di Venezia 53. Esposizione Internationale d’Arte Eventi Collaterali, Palazzo Fortuny, Venice,
  • Italy, ‘In-finitum’
  • Palazzo Fabroni, Pistoia, Italy, ‘ARTE/NATURA – NATURA/ARTE. Paesaggio e arte contemporanea in
  • Toscana’
  • Galerie Dorothea Van der Koelen, Mainz, Germany, ‘When Ideas Become Form’
  • 2010 Museum Für Moderne Kunst, Frankfurt Am Main, Germany, ‘Radical Conceptual.
  • Positions from the MMK Collection’
  • Raven Row, London, United Kingdom, ‘A History of Irritated Material’
  • Zeppelin Museum Friedrichshafen, Friedrichshafen, Germany, ‘Neue Heimat
  • Zwischen den Welten’
  • Galleria Il Ponte, Rome, Italy, ‘Invito all’opera’
  • Biennale for International Light Art, Essen, Ruhr, Germany, ‘Open light in
  • private spaces’
  • Vanabbemuseum, Eindhoven, The Netherlands, ‘In-between Minimalism & Free
  • Sol Lewitt. Play Van Abbe, Part 2: Time Machines’
  • MACUF, Museo de Arte Contemporaneo Gas Natural Fenosa, A Coruña, Spain, ‘Fiat Lux. Creación e
  • Iluminación’
  • Georg Kargl, Wien, Austria, ‘Personal Structures: Time – Space – Existence’
  • 2011 Sparking Dialogue, Museum of Fine Art, Boston, Massachusetts, USA
  • Syntax: Text and Symbols for a New Generation, Selections from the Hadley Martin Fisher Collection, Tampa
  • Museum of Art, Tampa, Florida, USA
  • Personal Structures, Palazzo Bembo, Venice, Italy
  • RAM, Radio Arte Mobile, Rome, Italy, Camere #14: Liber Amicorum
  • Albert Oehlen / Joseph Kosuth, Galeria Juana de Aizpuru, Madrid, Spain
  • ‘Private / Corporate VI’, Daimler Contemporary, Berlin, Germany
  • 2012 Neon, Who’s Afraid of Red, Yellow and Blue?, La Maison Rouge, Paris, France
  • The Long Curve: 150 Years of Visionary Collecting, Albright-Knox Art Gallery
  • at Albright-Knox Art Gallery, Buffalo, NY, USA
  • Look Now: Modern and Contemporary Art from Private Collections, Montclair Art Museum, Montclair, New
  • Jersey, USA
  • The 9th Shanghai Biennale, Shanghai, China
  • 360°: Die Rückkehr der Sammlung, Kunstmuseum Stuttgart, Germany
  • 2013 Marcel Duchamp’s Nude Descending a Staircase: An Homage, Francis M. Naumann Fine Art Gallery, New
  • York
  • Mappamundi, Hotel des Arts, Toulon, France
  • When Attitudes Become Form Bern 1968/Venice 2013, Ca’Corner della Regina, Venice (curated by G.Celant)
  • absence-presence, twice, Mohssin Harraki and Joseph Kosuth, Galerie Imane Farès

 

CURATED EXHIBITIONS and CURATED INSTALLATIONS (As Works)

  • 1967 Lannis Gallery, New York, USA, ‘Fifteen People Present Their Favorite Book’ ‘(Robert Morris, Ad Reinhardt,
  • Sol Lewitt, Robert Mangold, Dan Graham, Robert Smithson, Carl André, Robert Ryman, and others)
  • 1972 Visual Arts Gallery, New York, USA, ‘The Air-Conditioning Show’ (Atkinson and Baldwin)
  • 1985 Galerie Phillip Nelson [Octobre des Arts], Lyon, France, ‘Transitional Objects’
  • (Alan Belcher, Gregg Bordowitz, Clegg & Guttmann, Mark Dion, Andrea Fraser, Sylvia Kolbowski and Ken
  • Lum)
  • 1989 Sigmund Freud-Museum, Vienna, Austria, ‘Zero & Not’
  • Wiener Secession, Vienna, Austria, and Palais des Beaux-Arts, Brussels, Belgium ‘Le Jeu de l’Indicible: Ludwig
  • Wittgenstein et l’Art du Xxe Siècle.’
  • 1990 The Brooklyn Museum, Brooklyn, New York, USA, ‘The Brooklyn Museum Collection: The Play Of The
  • Unmentionable’
  • 1998 Art, New York, USA, ‘Finger- Readers Profile’ (Martin Brandt, Florian Haas, Martin Schmidl, Andreas Wolf)
  • 2006 Galerie Almine Rech, Paris, France, ‘Matière grise’ (Hanne Darboven, Seamus Farrell, René Magritte, Joseph
  • Kosuth, Tino Sehgal, Ann-Sofi Sidén, Haim Steinbach)
  • 2008 La Casa Encendida, Madrid, Spain, ‘At Last I Believed I Understood [Madrid]’ /
  • ‘Al Fin Creí Entender [Madrid]’ and ‘Located Work [Madrid]’
  • 2010 Art Basel 41, Basel, Switzerland, Galerie 1900-2000, Carte Blanche: Two Selections made from our inventory
  • curated by Hiroschi Sugimoto and Joseph Kosuth

PUBLIC ART and ARCHITECTURAL PROJECTS

  • 1990 City of Frankfurt, Frankfurt, Germany, ‘Ex Libris, Frankfurt (for W.B.)’
  • 1991 National Commission, Place des Écritures, Figeac, France, ‘Ex Libris, J.-F. Champollion (Figeac)’
  • Railway Station, Ommen, The Netherlands, ‘Taxonomy Applied #2’
  • 1992 City of Esslingen, Hammerkanal and Hammertunnel, Esslingen, Germany,
  • ‘Ex Libris, Esslingen (For R.M.)’
  • 1993 Universität Hohenheim, Hohenheim, Germany, ‘Ein Schiller-Labyrinth’
  • 1994 Railway Station, Stuttgart, Germany, ‘Beschriebene Maßnahme (Eine Widmung)’
  • Tachikawa Site, Tokyo, Japan, ‘Words of a Spell, for Noëma’
  • 1995 City of Lyon, TGV Station, Lyon, France, ‘Les Aventures d’Ulysse sous Terre’
  • Toyota Municipal Museum of Art, Toyota City, Japan, ‘Taxonomy (Applied) #3’
  • 1996 Universität Ulm, Strahlentherapie, Ulm, Germany, ‘Farbe Angewandt (Goethe, Ulm)’
  • City of Eindhoven, Train Station; The Netherlands, ‘Spel van Advies’
  • 1997 Palazzo Querini Stampalia, Facade, Venice, Italy, ‘The Material of Ornament’
  • Deutsche Bundesbank, Leipzig, Germany, Lobby floor, ‘Leipzig Laokoon’
  • Queens Square, Yokohama, Japan, Atrium, ‘The Boundaries of the Limitless’
  • Miyagi Prefectural Library, Miyagi, Japan, Facade, ‘Twice Defined’
  • Hanazono University, Kyoto, Japan, ‘To Show, To Teach, To Know’
  • 1998 Courtyard of Parliament Building, Stockholm, Sweden, The Cultural Capital of Europe 1998, ‘Freedom and
  • Belief (Their Own Affair)’ / ‘Freihet Och Tro (Det Flick De Sig Om)’
  • City of Amsterdam, ten building facades, University of Amsterdam, The Netherlands, ‘Located Text
  • (Amsterdam)’
  • 1999 ISELP (Institut Supérieur pour l’Étude du Langage Plastique), Brussels, Belgium, Facade, ‘Map With 13 Points’
  • Parliament of the Region of Brussels, Entry Hall , Brussels, Belgium, ‘Nothing Circled, Twice’
  • 2000 amfAR (American Foundation for AIDS Research), Head Office, New York,
  • USA, ‘Guests and Foreigners (Corporal Histories)’
  • Zeughaus, Hannover, Germany, ‘Leibniz Located (Exterior)’ and VGH Headquarters, Hannover, Germany
  • ‘Leibniz Located (Interior)’. (A Leibniz millenium project in honour of Leibniz for the year 2000, supported by
  • the VGH Versicherungen and the Niedersächsische Sparkassenstiftung).
  • Hiroshima Municipal Motomachi High School, Hiroshima, Japan. In honor of Kenzaburo Oé, 1994 Nobel
  • Laureate and author of Hiroshima Notes.
  • 2001 Gannett Headquarters, McLean, Virginia, USA, ‘In the Lair of the Skull’
  • Paul-Löbe-Haus (German Parliament), Berlin, Germany
  • Ponte Vittorio Emanuele, Torino, Italy, ‘Doppio Passaggio (Torino)’
  • Comune di Napoli, Piazza Plebiscito, Naples, Italy, ‘Ripensare il Vero’ (neon text from Benedetto Croce, 144
  • meters long )
  • La Metropolitana di Napoli, Piazza Dante underground station, Naples, Italy, ‘Queste cose visibili (Napoli, per
  • Ferruccio Incutti)’ (neon text from Dante Alighieri)
  • Sapporo Dome, Japan (initiated for the 2002 World Cup)
  • 2003 Parco d’arte ambientale La Marrana, Montemarcello, Italy, ‘Located World, La Marrana’
  • 2005 Denver Convention Center Public Art Hotel Project, Denver, CO, USA
  • Edward Zorinsky Federal Building, Omaha, Nebraska, USA, ‘The Context of Construction’
  • Galleria Nazionale d’Arte Moderna, Rome, Italy, ‘De iis quae ad speculum et in Speculo’
  • 2006 Arts Council Commission on Leathermarket Street, London, England ‘A Last Parting Look (for C.D.)’
  • 2013/14 Bibiliothèque Nationale de France

 

BIBLIOGRAPHY (Selected Books and Catalogues, Chronological)

  • Sanat Olarak Betik. Istanbul: Sanaat Tanimi Toplulugu, 1980.
  • Siegel, Jeanne. “Joseph Kosuth: ‘Art as Idea as Idea’.” Artwords: Discourse on the 60s and 70s. Ann Arbor: UMI
  • Research Press, 1985: 220-231.
  • Kosuth, Joseph. ‘The Play of the Unsayable.’ Vienna/Brussels: Wiener Secession/Paleis voor Schone Kunsten, 1989.
  • Exchange of Meaning, Translation in the Work of Joseph Kosuth. Exh. cat. Antwerp:
  • Museum van Hedendaagse Kunst, 1989. Essays by Martin Prinzhorn, John C. Welchman, Joseph Sumpf, et al.
  • Reproduced Authentic. Tokyo: Galerie Via Eight at Barney’s New York, 1990.
  • Guercio, Gabriele, ed. Joseph Kosuth: Art after Philosophy and After, Collected Writings,
  • 1966-1990. Cambridge: MIT Press, 1991. Foreword by Jean-François Lyotard.
  • Kosuth, Joseph. ‘Un Aleph, Ex Libris’ (para J.L.B.). Buenos Aires: Ruth Benzacar
  • Ediciones, 1991. Essay by Miguel Briante.
  • No Exit. Stuttgart: Edition Cantz, 1991.
  • Letters from Wittgenstein, Abridged in Ghent. Ghent: Imschoot Uitgevers, 1992.
  • Joseph Kosuth: Podobenství (Ex Libris, Kafka). Prague/Belvedere: Prague Castle,
  • 1992. Essays by Charlotta Kotik and Miguel Briante.
  • ‘The Play of The Unmentionable’: An Installation by Joseph Kosuth at the Brooklyn Museum. New York: New Press,
  • 1992. Essay by David Freedberg.
  • A Room with 23 Qualities. Stuttgart: Edition Cantz, 1992. With students from the Hochschule für Bildende Kunst in
  • Hamburg.
  • Kein Ding, Kein Ich, Kein Form, Kein Grundsatz (Sind Sicher)/No Thing, No Self, No Form, No Principle. Stuttgart:
  • Edition Cantz, 1993. Essays by Renate Damsch-Wiehager and Rudi Fuchs.
  • (Eine Grammatische Bemerkung)/(A Grammatical Remark). Stuttgart: Edition Cantz, 1993. Essays by Eva Meyer and
  • Stefan Schmidt-Wulffen.
  • ‘Zeno At The Edge Of The Known World’. Budapest: Palace of Exhibitions, 1993.
  • Interviews by Mihaly Szegedy Maszak and Bartomeo Mari; Essay by Eva Korner.
  • Wall works. Wall installations in editions. Köln and New York: Edition Schellmann, 1993.
  • Tazzi, Pier Luigi. Joseph Kosuth, Michelangelo Pistoletto. Exh. cat. Rome: American
  • Academy, 1993.
  • Kosuth, Joseph. Review of Works. Exh. cat. Tokyo: Art Front Gallery, 1994.
  • ‘The (Ethical) Space of Cabinets 7&8’ and ‘Say: I do not know’. London: Bookworks,
  • 1994. An artist’s book based on projects at Oxford University.
  • Farrow, Claire, ed., A. Reinhardt, J. Kosuth, F. Gonzales Torres, Symptoms of Interference, Conditions of Possibility.
  • London: Academy Group LTD, 1994.
  • Kosuth, Joseph. ‘Rules and Meanings’ / Norme e Significati. Como: Fondazione Antonio Ratti, 1997.
  • Travaux Publics [Public Works]. Exh. cat. Eindhoven: Peninsula and Van Abbemuseum,
  • 1996: pp. 4, 6, 16, 24, 56-57, 77.
  • Atakan, Nancy. Arayislar. Resimde ve Heykelde Alternatif Akimlar. Isantbul: Yapi Kredi
  • Kültür Sanat Yayincilik Ticaret ve Sanayi, A.S., 1997: pp. 11, 20-21, 25, 45, 83-90, 128.
  • Baque, Dominique. La Photographie Plasticienne: Un Art Paradoxal. Paris: Éditions du
  • Regard, 1998: pp. 117-150.
  • Eftekhar, Manuchehr. Kosuth y la Historiografia Conceptual 1966-1974. Madrid:
  • Universidad Complutense de Madrid, Facultad de Bellas Artes, Departmento de Pintura, 1998. Doctoral Thesis, 2 vols.
  • Enciclopedìa Italiana. “Kosuth, Joseph.” Rome: Istituto della Enciclopedìa Italiana, 1998: p. 681, Illustration 144.
  • Kabakov, Ilya and Joseph Kosuth. ‘The Corridor of Two Banalities’. Warsaw: Centrum
  • Sztuki Wspolczesnej, Zamek Ujazdowski Castle, 1998.
  • kunst ohne unikat / art without the unique. Exh. cat. Neue Galerie am Landesmuseum
  • Joanneum. Graz/Austria, Köln: Verlag der Buchhandlung Walther König, 1998.
  • Marck van der, Jan. Art and the American Experience. Exh. cat. Kalamazoo:
  • Kalamazoo Institute of Arts, 1998.
  • Morgan, Robert C. The End of the Art World. New York: Allworth Press and the School of Visual Arts, 1998: pp. 32,
  • 64, 102-3, 106.
  • Prandi, Lucia. “Conversazione Con Joseph Kosuth.” in Bonomo, Gabriele and Furghieri,
  • Giuseppe, John Cage. Milan: Riga, 1998: pp. 532-537.
  • Ramos, Maria Elena. Intervenciones en el espacio. Diálogos en el MBA. Preface by Pablo Oyarzún. Caracas: Fundación
  • Museo de Bellas Artes, 1998.
  • Art of the Epoch, International Cultural Project Museum of Contemporary Art Sarajevo. Sarajevo: ARS, AEVI
  • Direction of the International Cultural Project Museum of Contemporary Art Sarajevo, 1998: pp. 211, 230-233, 256,
  • 263, 271.
  • Alberro, Alexander and Blake Stimson, eds. Conceptual Art: A Critical Anthology.
  • Cambridge, Massachussetts and London, England: The MIT Press, 1999
  • Alliance & Kunst. Eine Sammlung zeitgenössischer Kunst. [Preface by Dr. Michael
  • Albert; Foreword by Harald Szeemann]. Munich: Anderland Verlag, 1999.
  • Catalano, Elisabetta. Rome: Gian Enzo Sperone, 1999: p. 15. Texts by Federico Fellini
  • and Achille Bonito Oliva.
  • Hansen, Elizabeth Delin, Kirsten Dybbol, Anna Krogh, Lone Mertz, Peter S. Myers,
  • Charlotte Sabroe, Ellen Tange, eds. Albert Mertz. Nikolaj, Kobenhavns Kommunes, 1999.
  • Vries de, Gerd ed. Die Sammlung Paul Maenz. Neues Museum Weimar. Stuttgart: Cantz Verlag, 1999: pp. 80-87.
  • Matzner, Florian and Angela Vettese, ed. Arte all’Arte IV Edizione. Exh. cat. San
  • Gimignano: Arte Continua, 1999: pp. 88-105 , 180-187.
  • Kosuth, Joseph. La Materia Dell’Ornamento / The Material of Ornament. Venice: West
  • Zone Publishing, 1999.
  • Art at Ringier 1995-1998. Zürich: Ringier AG, 1999: pp. 84-87.
  • Schellmann, Jorg, ed. Wall Works. Site-Specific Wall Installations. Munich and New York: Schellmann Editions
  • and Munich: Schirmer/Mosel Verlag, 1999: pp. 110-115.
  • Mariani, Philomena, ed. Global Conceptualism: Points of Origin, 1950s-1980s. New
  • York: Queens Museum of Art, 1999: pp. 9, 13, 16, 17, 34, 42, 54, 55, 62, 65, 69
  • n.11, 71, n.44, 72, 74, 76, 78, 79-80, 82, 85, 92, 143, 253.
  • Joseph Kosuth. ‘Frammenti di Rossini (Ospiti e Stranieri)’. Exh. cat. Pesaro: Galleria di
  • Franca Mancini, 1999. Texts by Gianfranco Mariotti, Paolo Fabbri.
  • Joseph Kosuth. ‘Gäste und Fremde: Goethes Italienische Reise. Eine Installation’ /
  • ‘Guests and Foreigners: Goethe’s Italian Journey.’ An Installation. Exh. cat. Frankfurt am Main: Stroemfeld/Roter
  • Stern, 1999. Texts by Petra Roth, Hellmut Seemann, Joseph Kosuth, Hans-Dieter Bahr, Andreas Beyer.
  • Morris, Simon and Helen Sacoor, eds. Bibliomania. York and London: Simon Morris and Helen Sacoor, 1999: pp. 32-
  • 51, 113.
  • Weibel, Peter, publisher. Kunst ohne Unikat. Multiple und Sampling als Medium: Techno-Transformationen der
  • Kunst / art without the unique. Multiple and sampling as media: techno-transformations of art. Graz: Neue Galerie am
  • Landesmuseum.Joanneum and Cologne, Verlag der Buchhandlung Walther König, 1999: pp. 90-99.
  • Joseph Kosuth. ‘Konuklar ve Yabancilar: Rossini Türkiye’de’ / ‘Guests and Foreigners:
  • Rossini in Turkey’. Istanbul: Borusan Kültür ve Sanat, 1999.
  • Van der Koelen, Dorothea, ed. 20 Jahre für die Kunst … & – >. Mainz and Munich:
  • Chorus-Verlag für Kunst und Wissenschaft, 1999: pp. 140-143.
  • Mizunuma, Hirokazu and Micko Yoshihara, eds. Joseph Kosuth. ‘Guests and Foreigners: The Years of Isolation.’
  • Including a Survey of Work: 1965-1999. Chiba City and Tokushima: Chiba City Museum of Art and Tokushima
  • Modern Art Museum, 1999.
  • Newman, Michael and John Bird, eds. Rewriting Conceptual Art, London: Reaktion
  • Books, 1999.
  • Wagner, Barbara. Die frühe konzetuelle Kunst Ad Reinhardts und Joseph Kosuths.
  • Masters Thesis. Heidelberg: Ruprecht-Karls-Universität, 1999.
  • Light Pieces. Exh. cat. Luxembourg: Casino Luxembourg, 2000.
  • Joseph Kosuth ‘Guests and Foreigners: Corporal Histories’. New York: amfAR, 2000.
  • Installation Brochure.
  • Kosuth, Joseph. ‘Purloined’. Cologne: Salon Verlag, 2000.
  • Kosuth Joseph, Jean Baudrillard and Fabbri Paolo. Thinking Art, The Game of Rules,
  • Milano: Trivioquadrivio/A&M bookstore edizioni, 2000.
  • Rorimer, Anne. New Art in the 60’s and 70’s: Redefining Reality. 2001.
  • Kosuth Joseph. Place de l’Ecriture, Cinq Oevres par Joseph Kosuth, de ‘ Cinq Oeuvres
  • par Joseph Kosuth, de ‘ One and Three Chairs’ a ‘Ex-Libris, J.-F. Champollion
  • (Figeac)’/ Place of Writing, Five works by Joseph Kosuth from ‘One and Three Chairs’
  • to ‘Ex-Libris, J.-F. Champollion (Figeac)’ Ville de Figeac, Arles: Actes Sud, 2002.
  • ‘Ripensare il vero (B. C.)’/ ‘Rethinking the Truth (B.C.)’. Piazza del Plebiscito, Napoli:
  • Trolley, 2002.
  • Guide to Contemporary Art. Special Edition, Isabella Stewart Gardner Musuem. Boston: Charta edizioni, 2003.
  • Alberro, Alexander. Conceptual Art and the Politics of Publicity. Cambridge: M.I.T. Press, 2003.
  • Kosuth Joseph. Guest and Foreigners, Rules and Meanings (Te Kore), An Installation.
  • Wellington: Victoria University of Wellington, Adam Art Gallery, 2004.
  • Kosuth Joseph. ‘Recognizable Differences’ & ‘Andersen Self-Described’. Copenhagen:
  • Nikolaj Copenhagen Contemporary Art Center, 2005.
  • Ferreira, Gloria, and Cecilia Cotrim, eds. Escritos de Artistas: Anos 60/70. Rio de Janeiro: Jorge Zahar Editor Ltda.,
  • 2006.
  • Kosuth, Joseph. “‘Recognizable Differences’: Andersen and Kierkegaard” in Kierkegaard Studies: Yearbook 2006. Niels
  • Jørgen Cappelørn, Hermann Deuser and K. Brian Söderquist, eds. Berlin: Walter de Gruyter, 2006.
  • Pilkington, Mel Ramsden, David Rushton and Terry Smith. Joseph Kosuth: Castello di
  • Rivoli d’Arte Contemporanea, 2006.
  • The Perlstein Collection: From Dada to Contemporary Art. Muinkkaai and Ghent: Ludion, 2006.
  • Kosuth, Joseph. ‘At Last I Believed I Understood (Madrid)’ Architectural Projects and Public Works. Spain: La Casa
  • Encendida Madrid, 2008.
  • Kosuth, Joseph, ‘The Language of Equilibrium / Il Linguaggio dell’equilibrio’., ed. Fiona Biggiero [Essays by Martin
  • Prinzhorn, interview by Germano Celant et al.], 52. Biennale di Venezia, Mondadori Electa, 2009.
  • Kosuth, Joseph, ‘ni apparence ni illusion’ / Neither Appearance Nor Illusion': [Essays
  • by John C. Welchman and interview by Jacinto Lageira et al.], Musée du Louvre
  • Editions, MER., Gan, 2010.
  • Kosuth, Joseph, ‘Texts for Nothing’ Samuel Beckett in play, Galleria Lia Rumma,
  • Milano, 2010.
  • Kosuth, Joseph, ‘Located World, (La Marrana)’ La Marrana Arteambientale, Ameglia (La Spezia), 2011.
  • Kosuth, Joseph, ‘An Interpretation of this Title / Waiting for – (Text for Nothing)’, Macmillan Art Publishing,
  • Melbourne, 2012.