• 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



Existential Time, Galleria Lia Rumma, Milan, Italy


Notations for Thinking, a selection, [dip] contemporary art, Lugano, Switzerland

A Short History of My Thought, Anna Schwartz Gallery, Melbourne, Australia

Maxima Proposito (Ovidio), Galleria Vistamare, Pescara, Italy


Amneziya, Multimedia Art Museum (MAMM), Moscow, Russia

Plays of / for a Respirateur, a Installation by Joseph Kosuth, Philadelphia Museum of Art, Philadelphia, PA, USA

Agnosia, an Illuminated Ontology, Sean Kelly Gallery, New York, NY, USA


das Dasein Und die Welt | Existence and the World, Kunstmuseum Thurgau, Warth, Switzerland

Amnesia: Various, Luminous, Fixed, Sprüth Magers, London, UK


Eine Verstummte Bibliothek | A Silenced Library, Kunstmuseum Thurgau, Warth, Switzerland


(Waiting for-) Texts for Nothing, Samuel Beckett, in play, Happy Days— Enniskillen

International Beckett Festival, Enniskillen, Ireland

Freud, Wittgenstein, Musil, Castelli Gallery, New York, NY, USA


Texts for Nothing (Waiting for-), Samuel Beckett, in play, Haus Konstruktiv, Zurich, Switzerland

A short history of ‘Text/Context’ 1977-1979, Castelli Gallery, New York, NY, USA


(Waiting For-) Texts for Nothing, Samuel Beckett, in play, Australia Center for Contemporary Art (ACCA), Melbourne, Australia


An Interpretation of This Title, Nietzsche, Darwin and the Paradox of Content, Edinburgh International Festival, Edinburgh, UK

ni apparence ni illusion | neither appearance nor illusion, Musée du Louvre, Paris, France


Al Fin Creí Entender (Madrid) | At Last I Believed I Understood, La Casa Encendida, Madrid, Spain

neither appearance nor illusion, Sean Kelly Gallery, New York, NY, USA


Terra Ultra Incognita, Centro Atlántico de Arte Moderno, San Antonio Abad, Casa de Colón, El Museo Canario, Las Palmas, Gran Canaria, Spain

Il Linguaggio dell’Equilibrio | The Language of Equilibrium, The 52nd Venice Biennale, Monastero Mekhitarista, Isola di San Lazzaro deglia Armeni, Venice, Italy


Joseph Kosuth, Castello di Rivoli, Turin, Italy


Tredici Locazioni di Significato | Thirteen Locations of Meaning, Torrione Passari, Molfetta, Italy


Joseph Kosuth, Re-defining the Context of Art: 1968-2004, ‘The Second Investigation’ and Public Media, Van Abbemuseum, Eindhoven, Netherlands

Guests and Foreigners, Rules and Meanings (Athens), Hellenic American Union, Athens, Greece


Place of Writing, Five Works by Joseph Kosuth, from ‘One and Three Chairs’ to ‘Ex Libris,

J-F. Champollion (Figeac)’, Musée Champollion, Figeac, France


Eight Locations of Meaning, Collegium Artisticum, Sarajevo, Bosnia-Herzegovina


Guests and Foreigners, Rules and Meanings (Te Kore), Adam Art Gallery, Wellington, New Zealand


Condizioni D’Assenza (Il nome e chi lo porta, a G.) / Conditions of Absence (The name and its bearer, for G.), Villa Medici – Académie de France, Rome, Italy

Gäste und Fremde: Goethes Italienische Reise. Eine Installation / Guests and Foreigners:

Goethe’s Italian Journey. An Installation, Schirn Kunsthalle, Frankfurt, Germany

Konuklar ve Yabancilar: Rossini Türkiye de/ Guests and Foreigners: Rossini in Turkey, Borusan Kültür ve Sanat, Istanbul, Turkey

Eine verstummte Bibliothek | A Silenced Library, Kunstmuseum des Kantons Thurgau, Ittingen, Switzerland

Guests and Foreigners: The Years of Isolation. Including a Survey of Works 1965-1999), Chiba City Museum of Art, Chiba City, Japan (traveled to Tokushima Modern Art Museum, Tokushima, Japan, 2000)


Die Anfänge der Konzeptkunst: Frühe Arbeiten von Joseph Kosuth Aus der Sammlung Bruno

Bischofberger, Kunsthaus Glarus, Glarus, Switzerland

Ein Plan für: ‘Eine verstummte Bibliothek/ A Map for: A Silenced Library, Kunstmuseum des Kantons Thurgau, Kartause Ittingen, Switzerland


Re-defining the Context of Art: 1968-1997. The Second Investigation and Public Media, MIT List Visual Arts Center, Boston, MA, USA

Guests and Foreigners, Rules and Meanings. A New Installation, With a Survey: 1965-1997, The Irish Museum of Modern Art (IMMA), Dublin, Ireland


L’art de les idees. Una visió de trenta anys. 1965 – 1995, Fundació Pilar i Joan Miró, Mallorca, Spain

Rules and Meanings, Fondazione Ratti, Como, Italy

Joseph Kosuth and American Conceptualism, Kunstnernes Hus, Oslo, Norway


Berliner Chronik, Kunst-werke Berlin, Berlin, Germany


Joseph Kosuth: Eine Grammatische Bemerkung | A Grammatical Remark, Württembergischer Kunstverein, Stuttgart, Germany

The Thing in-it-self is found in its Truth through the loss of its immediacy, Leo Castelli Gallery, New York, NY, USA


Joseph Kosuth: Podobenstvi (Ex Libris, Kafka), Belvedere, Prague Castle, Prague, Czech Republic

Kein Ding, Kein Ich, Keine Form, Kein Grundsatz (Sind Sicher), Villa Merkel, Esslingen, Germany

A Play: The Herald Tribune, Kafka and a Quote, Hirshhorn Museum, Washington D.C., USA


An Exhibition On, About, or Using Wittgenstein and Nietzsche, Galleria Lia Rumma, Naples, Italy

A Play: News from Kafka and a Quote, Harold Washington Library, Chicago, IL, USA


The Play of the Unmentionable [An Installation By Joseph Kosuth], The Brooklyn Museum, Brooklyn, NY, USA

The Play of the Unsayable: Ludwig Wittgenstein and the Art of the 20th Century, Palais des Beaux Arts, Brussels, Belgium

Die Sigmund Freud Gesellschaft, Sigmund Freud Museum, Vienna, Austria


Exchange of Meaning: Translation in the Work of Joseph Kosuth, Museum van Hedendaagse Kunst, Antwerp, Belgium

Das Spiel des Unsagbaren: Ludwig Wittgenstein und die Kunst des 20. Jahrhunderts | The Play of the Unsayable: Ludwig Wittgenstein and the Art of the 20th Century, Wiener Secession, Vienna, Austria


Modus Operandi: Cancellato, Rovesciato: un opera di Joseph Kosuth al Museo di Capodimonte, Museo di Capodimonte, Naples, Italy

Joseph Kosuth: Modus Operandi, Kabinett für aktuelle Kunst, Bremerhaven, Germany

Inaugural Exhibition: Joseph Kosuth, Leo Castelli Gallery, New York, NY, USA


Joseph Kosuth: Zero & Not, Leo Castelli Gallery, New York, NY, USA

Joseph Kosuth, Kamakura Gallery, Tokyo, Japan


Joseph Kosuth: Fort! Da!, Leo Castelli Gallery, New York, NY, USA

Joseph Kosuth: Oeuvres récentes 1981-1985, Centre d’Art Contemporain, Geneva, Switzerland

Joseph Kosuth: Fort! Da!, Galleria Lia Rumma, Naples, Italy

Joseph Kosuth: 2 Installations, Musée St. Pierre, Art Institute Chicago, France

Joseph Kosuth: Intentio (Project), Musée des Beaux-Arts de la Chaux-de-fonds, Chaux-defonds, Switzerland


Joseph Kosuth: Proto-Investigations and First Investigations, Ghislain Mollet-Viéville, Paris, France


Joseph Kosuth: Cathexis and Hypercathexis, Galerie Eric Fabre, Paris, France


Joseph Kosuth: Cathexis, Leo Castelli Gallery, New York, NY, USA

Joseph Kosuth, Kamakura Gallery, Tokyo, Japan


Joseph Kosuth: Bedeutung von Bedeutung: Texte und Dokumentation der Investigationen über Kunst seit 1965 in Auswahl, Staatsgalerie, Stuttgart, Germany

Joseph Kosuth: Cathexis, Museum van Hedendaagse Kunst, Ghent, Belgium

Joseph Kosuth: Cathexis, Carmen Lamanna Gallery, Toronto, Canada


Joseph Kosuth: Ten Partial Descriptions, MoMA P.S.1, Queens, NY, USA


Joseph Kosuth: Text/Context (Köln-Munchen), Galerie Paul Maenz, Cologne, Germany

Joseph Kosuth: Text/Context (New York), Leo Castelli Gallery, New York, NY, USA

Joseph Kosuth: Dix Descriptions Partielles, Musée de Chartres, Chartres, France


Joseph Kosuth: Tekst / Context, Van Abbemuseum, Eindhoven, Netherlands

Joseph Kosuth: Text / Context, Centre d’Art Contemporain, Geneva, Switzerland

Joseph Kosuth: Text / Context, Modern Art Oxford, Oxford, UK


Joseph Kosuth, The Renaissance Society, Chicago, IL, USA

Joseph Kosuth: Beitrage zur Konzeptuellen Kunst 1965-1976, Kunsthalle, Bremen, Germany


Joseph Kosuth: The Tenth Investigation 1974, Proposition 4, Leo Castelli Gallery, NewYork, NY, USA

Joseph Kosuth: Praxis I, Galleria Lia Rumma, Naples, Italy


Joseph Kosuth: Investigations sur l’art et problematique 1965-1973, Musée d’art moderne de la ville de Paris, Paris, France

Joseph Kosuth: The Tenth Investigation, Proposition 7, Galleria Sperone-Fischer, Rome, Italy


Joseph Kosuth: Investigationen über Kunst & ‘Problemkreise’ seit 1965, Kunstmuseum Luzern, Lucerne, Switzerland

Joseph Kosuth: Art as Idea as Idea: 1967-1968, Galerie Paul Maenz, Cologne, Germany

Joseph Kosuth: The Tenth Investigation, Proposition 5, Claire Copley Gallery, Los Angeles, CA, USA


Joseph Kosuth: Recent Work — The Ninth Investigation, Proposition 1, Leo Castelli, New York, NY, USA

Joseph Kosuth, Galleria Sperone-Fischer, Rome, Italy


Joseph Kosuth, Galerie Paul Maenz, Cologne, Germany

Joseph Kosuth: el arte come idea come idea, Centro de Arte y Communication, Buenos Aires, Argentina

Joseph Kosuth: The Eighth Investigation, Proposition 3, Leo Castelli Gallery, New York, NY, USA


Joseph Kosuth: The Second Investigation (Art as Idea as Idea) 1968, Aarhus Kunstmuseum, Aarhus, Denmark

Joseph Kosuth: The Third, Fourth, Fifth and Sixth Investigations (Art as Idea as Idea) 1968-1970, Kunstbiblioteket i Lyngby, Denmark

Joseph Kosuth: 11 Lavori dal 1965, Galleria Sperone, Turin, Italy

Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea 1966-1970), Christ College,

Oxford, UK (traveled 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


Joseph Kosuth/Robert Morris, Laura Knott Gallery, Bradford Junior College, Bradford, MA, USA

Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea 1966-1970), Pasadena Art

Museum, Pasadena, CA, USA (traveled to Douglas Gallery, Vancouver, Canada;

Museum of Contemporary Art, Chicago, IL; Leo Castelli Gallery, New York, NY, USA;

Art Gallery of Ontario, Toronto, Canada)


Nothing, Gallery 669, Los Angeles, CA, USA


  • 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



  • 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


  • 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.