UCLA, California, Los Angeles, work toward M.F.A. Motion Picture Division, Theatre Arts

University of Southern California, Los Angeles, California, work toward M.A. Cinema

Harvard College, Cambridge, Massachusetts, A.B. in Fine Arts: specialisation in the History of 19th and 20th Century Art

(C) denotes that a catalogue was published in conjunction with the exhibition.

Three New Paintings, I Mean Six, Bortolami, New York, USA

New Paintings, Bortolami, New York, USA
Paintings and Photographs, Galerie Mitterrand, Paris, France

Passing Time, REDCAT, Los Angeles, California, USA (C)
6 × 6 × 6 × 2, Bortolami, New York, NY, USA
Another Movie, solo screening as part of Avant-Garde Film Scores, 1955–1973, The Museum of Modern Art, NY, USA

In Awe, Kunsthalle Exnergasse, Vienna, Austria

Screening Room, Bortolami, New York, USA
Optical Space, screening as a part of Dreamlands: Immersive Cinema and Art, 1905–2016, Whitney Museum, New York, USA

Negative Film Boxes, Bortolami, New York, USA

Past Present, Present Past, Maureen Paley, London, UK
Interior and Exterior Color Beauty, International Art Objects, Los Angeles, California, USA

Interior Color Beauty, Bortolami, New York, USA
Maureen Paley, London, UK

Morgan Fisher: Conversations, curated by Jacob Proctor, Aspen Art Museum, Colorado, USA
Morgan Fisher: The Frame and Beyond, curated by Sabine Folie and Ilse Lafer Generali Foundation, Vienna, Austria (C)
FilmForum, International Film Studies Conference, MAGIS— International Film Studies Spring School, Udine/Gorizia, Italy
Morgan Fisher, in the series Atelier Impopulaire, curated by Giulio Bursi and Pia Bolognesi, Milan, Italy
Morgan Fisher, in the series In Person, Austrian Film Museum, Vienna, Austria

Morgan Fisher: Films and Paintings and In Between and Nearby, curated by Alex Sainsbury, Raven Row, London, UK
Morgan Fisher, New Work: Photographs and Works on Paper, Bortolami Gallery, New York, USA
Morgan Fisher –Translations, curated by Susanne Titz, Museum Abteiberg, Mönchengladbach, Germany (C)
Modelo estándar: El Cine de Morgan Fisher, Xcèntric Cinema – Centre de Cultura Contemporània de Barcelona (CCCB), Spain
An Evening with Morgan Fisher, Nottingham Contemporary, Nottingham, UK
Morgan Fisher Presents, Harvard Film Archive, Harvard University, Cambridge, USA
Morgan Fisher, in the series Talking Film, curated by Ann Goldstein, Stedelijk Museum, presented at Smart Project Space, Amsterdam, Netherlands
Morgan Fisher, Werkvortrag, Filmhaus Nürnberg im KunstKulturQuartier, Nuremberg, Germany

Missing – An Evening with Morgan Fisher, Piet Zwart Institute, Rotterdam, Netherlands Works on Paper 1968-2008, Galerie Daniel Buchholz, Cologne, Germany
Projections on Art, program of films presented by Shahryar Nashat, curated by Silberkuppe in conjunction with Old Ideas, Kunstmuseum Basel, Museum für Gegenwartskunst, Basel, Switzerland
Kill Your Timid Notion 2010, curated by Silberkuppe, Dundee Contemporary Arts, Dundee, Scotland

Portikus Looks at Itself, Portikus, Frankfurt, Germany
Independent Film Show, curated by María Palacios Cruz and Stoffel Debuysere, Fondazione Morra, Naples, Italy (C)
Fisher Films, in Size Matters, in Signals, curated by Edwin Carels, 38th International Film Festival Rotterdam, Netherlands (C)

Alien Pendant Pair Paintings, China Art Objects Galleries, Los Angeles
Art Unlimited, Galerie Daniel Buchholz, Art Basel, Basel

Pendant Pair Paintings, Galerie Daniel Buchholz, Cologne, Germany
École Nationale des Beaux-Arts, Lyon, France

Standard Gauge: Film Works by Morgan Fisher, 1968–2003, curated by Chrissie Iles, Museum of Contemporary Art (MOCA), Los Angeles, USA

Edge and Corner Paintings, Adamski Galerie, Aachen, Germany
Standard Gauge: Film Works by Morgan Fisher, 1968–2003, touring; Tate Modern, London, UK, Whitney Museum of American Art
Scratched Aspect Ratio Pieces, China Art Objects Galleries, Los Angeles, USA

Film Cans and Film Boxes, ( ), Galerie Daniel Buchholz, Cologne, Germany
Cubitt, London, UK
Filmforum, Los Angeles, USA
Städelschule, Frankfurt, Germany
Aspect Ratio Pieces, ( ), Greene Naftali, New York, USA

To See Seeing, curated by Susanne Titz, Neuer Aachener Kunstverein, Aachen, Germany
The Italian Paintings, Self-Portraits, China Art Objects Galleries, Los Angeles
Photogenic Drawings, Color Balance, Galerie Daniel Buchholz, Cologne, Germany
Pacific Title and Art Studio, Hollywood; presented by China Art Objects Galleries, Los Angeles, USA

Morgan Fisher (Ich-Maschine), curated by Stephan Schmidt-Wulffen, Kunstverein in Hamburg, Hamburg, Germany
The Italian Paintings, presented by Dave Muller/Three Day Weekend, in “Made in California: Now,” Los Angeles County Museum of Art , Los Angeles, USA

Künstlerhaus Stuttgart, Germany
Merz Akademie, Stuttgart, Germany
Galerie Daniel Buchholz, Cologne, Germany
Städelschule, Frankfurt, Germany
Austrian Film Museum, Vienna, Austria

Art Department, University of California at Riverside, USA

University of Rochester, in the series “The New Avant-Garde”, Rochester

IInternational Forum of Young Cinema, Berlin International Film Festival, Berlin, Germany
Art Center College of Design, Pasadena, Los Angeles, USA
Ohio State University, Columbus, Ohio, USA

San Francisco Cinematheque, CA, USA The Collective for Living Cinema, New York, USA
Pacific Film Archive, Berkeley, USA

Color Balance, Multidisciplinary Exhibition Program. P.S.1, New York, USA

Philadelphia College of Art, USA
Media Study/Buffalo, USA Color Balance, Media Study/Buffalo, Buffalo, New York, USA

Boston Film/Video Foundation, USA
Art Program, School of Art, California Institute of the Arts, USA
Department of Photography and Film, Ohio State University, USA

Contemporary Art Survey, Art Department, UCLA
College of Creative Studies, University of California at Santa Barbara, USA
Department of Visual Arts, University of California at San Diego, USA
Collective for Living Cinema, New York, USA

Otis Art Institute, Los Angeles, USA

Museum of Art, Carnegie Institute, Pittsburgh, USA
Albright-Knox Art Gallery, Buffalo, USA
San Francisco Museum of Art, USA
Anthology Film Archives, New York, USA
Museum of Modern Art, New York, USA

Pacific Film Archive, Berkeley, USA
San Francisco Art Institute, USA
The Very Eye of Light; A Primer in the Experimental Film, Pacific Cinematheque in collaboration with the Vancouver Art Gallery, Vancouver, British Columbia, Canada
Canyon Cinematheque, San Francisco, USA

Pratt Institute, Brooklyn

Millennium Film Workshop, New York
School of the Art Institute, Chicago
Independent Film Festival, National Film Theater, London

Independent Film Festival, National Film Theater, London

Department of Theater Arts, UCLA, Los Angeles

(C) denotes that a catalogue was published in conjunction with the exhibition.

Ecstatic Media. Medienkunst neu betrachtet, Museum der Moderne, Salzburg, Austria

A Decade of Acquisitions of Works on Paper – Part II, Hammer Museum, Los Angeles, California, USA
Hommage a Museum Abteiberg, Museum Abteiberg, Mönchengladbach, Germany
Afterimages: Echoes of the 1960s from the Fisher and SFMOMA Collections, SFMOMA, San Francisco, USA

Kenneth Anger / Morgan Fisher, Slash, San Francisco, California, USA

Berlinale Film Festival, Berlin, Germany
Class Reunion: Works from the Gaby and Wilhelm Schürmann Collection, mumok, Vienna, Austria

Truth: 24 frames per second, Dallas Museum of Art, Texas, USA (C)
in awe, Kunsthalle Exnergasse, Vienna, Austria
Picture Industry, Hessel Museum of Art, Annandale-On-Hudson, NY, curated by Walead Beshty
Portikus XXX, Portikus, Frankfurt am Main, Germany, curated by Franz Hempel & Fabian Schöneich

Ordinary Pictures, Walker Art Center, Minneapolis, MN USA
Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, USA

America is hard to See, Whitney Museum, New York, USA
Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, USA; touring to The Menil Collection, Houston, USA

A Machinery for Living, organized by Walead Beshty, Petzel Gallery, New York, USA
Pleasing Artists And Publics Since 1963, ICA, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA
Whitney Biennial, Whitney Museum of American Art, New York, USA
Propaganda für die Wirklichkeit, Museum Morsbroich, Leverkusen, Germany

Against Method, Generali Foundation, Vienna
State of Mind: New California Art circa 1970, touring: Bronx Museum of the Arts (BxMA), New York, Smart Museum of Art, Chicago
The Content of Form, Generali Foundation, Vienna
Super 8, Museu de Arte Moderna, Rio de Janeiro, Brazil
T.J. Wilcox: In the Air, Whitney Museum of American Art, New York

Perfect, International Art Objects Galleries (formerly China Art Objects Galleries), Los Angeles
Stand still like a hummingbird, David Zwirner, New York
Made in L.A. 2012, Hammer Museum, LAXART, and the Department of Cultural Affairs’ Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles; curated by Anne Ellegood, Lauri Firstenberg, Malik Gaines, Cesar Garcia, and Ali Subotnick; catalogue
Shelf Life, Kunsthalle am Hamburger Platz, Berlin
; curated by Nicole Cohen
The Ball of Artists, closing event for the Pacific Standard Time
Performance and Public Art Festival; part of Pacific Standard Time: Art in L.A. 1945-1980; organized by LAXART and the Getty Research Institute, Los Angeles
Drawing a Blank (On Forgetting, Refusal, Censure and Impotence), David Kordansky Gallery, Los Angeles; curated by Matthew Brannon and Jan Tumlir

The Emergence of Things, Artefact Festival, STUK Arts Centre, Louvain; curated by Pieter-Paul Mortier (brochure)
The Unfinished Film, Gladstone Gallery, New York; curated by Thomas Beard
Super 8, Christopher Grimes Gallery, Santa Monica; Yerba Buena
Center for the Arts, San Francisco (2012); Künstlerhaus Bethanien, Berlin (2012); Museu de Arte Moderna, Rio de Janeiro (2013); curated by Marco Brambilla
Lonely at the Top: Graphology, Chapter 4, Museum van Hedendaagse Kunst Antwerpen (MuHKA), Antwerp; curated by Edwin Carels
Quodlibet III – Alphabets and Instruments, Galerie Daniel Buchholz, Berlin
State of Mind; New California Art Circa 1970, organized by Orange
County Museum of Art and University of California Berkeley Art Museum and Pacific Film Archive; part of Pacific Standard Time: Art in L.A. 1945–1980; Orange County Museum of Art (2011); University of California Berkeley Art Museum and Pacific Film Archive, Berkeley (2012); Morris and Helen Belkin Art Gallery, Vancouver (2012); SITE Santa Fe, Santa Fe (2013); The Bronx Museum of the Arts, New York (2013); curated by Constance M. Lewallen and Karen Moss (C)
Locus Solus: Impressions of Raymond Roussel, Museo Nacional Centro de Arte Reina Sofía, Madrid; Museu de Arte Contemporânea de Serralves, Porto (2012); curated by François Piron and João Fernandes (C)
Objektiv, haubrokshows, Berlin
Announce, part of Pacific Standard Time: Art in L.A. 1945–1980; Thomas Solomon, Los Angeles

De Rigueur, Richard Telles Gallery, Los Angeles; curated by Walead Beshty
Monochrome Reflections, Sammlung Haubrok, Berlin
Alchemy Box, Maison d’Art Bernard Anthonioz, Nogent-sur Marne; curated by Christophe Gallois (C)
Sunless (Journeys in Alta California since 1933), Thomas Dane Gallery, London; curated by Walead Beshty
Taking Place, Stedelijk Museum, Amsterdam; curated by Ann Goldstein
Rogalski, Sammlung Haubrok
The Inauguration of China Art Objects in Culver City, China Art Objects Galleries
The Artist’s Museum; Los Angeles Artists 1980–2010, MOCA; curated by Rebecca Morse
I Have a Light, S1F Gallery, Los Angeles

Aspect Ratio, TENT, section of “Size Matters,” Rotterdam International Film Festival, Rotterdam; curated by Edwin Carels
Protective Coloration, Center for Curatorial Studies, Bard College, Annandale-on-Hudson; curated by Niko Vicario
See This Sound, Lentos Kunstmuseum Linz, Linz
Quodlibet II, Galerie Daniel Buchholz, Cologne
38th International Film Festival Rotterdam, Rotterdam
Fax, The Drawing Center, New York
1999, China Art Objects Gallery, Los Angeles
Restoring the Los Angeles Avant-Garde, La Filmforum, Los Angeles
Collecting History: Highlighting Recent Acquisitions, Museum of Contemporary Art, Los Angeles; curated by Bennett Simpson
Daily Film Program in conjunction with See This Sound; Promises in Sound and Vision, Lentos
Kunstmuseum Linz, Linz, Austria (catalogue); curated by Cosima Rainer
Artists’ Cinema, in conjunction with “But what of Frances Stark, standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?” and “David Hockney, 1960–1968: A Marriage of Styles,” Nottingham Contemporary, Nottingham; curated by Alex Farquharson

Neutre Intense-Mitim, Maison populaire-Centre d’art Mira Phalaina, Montreuil
You, Whose Beauty Was Famous in Rome, Mandarin Gallery, Los Angeles
To Square Light, Signal – Center for Contemporary Art, Malmö, Sweden
Zuordnungsprobleme, Johann König, Berlin
Standard Sizes, Andrew Kreps Gallery, New York
Please Stay Out, We’re Open, Redling Fine Art, Los Angeles
Haubroksshow, Sammlung Haubrok, Berlin
Neutre Intense-( ), Carl Freedman Gallery, London
Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles; curated by Phillip Kaiser and Corrina Peipon
California Biennial, Orange County Museum of Art, Newport Beach (catalogue); curated by Lauri Firstenberg

Internationale Kurzfilmtage Oberhausen, Oberhausen
Monochrome Painting, Cardwell Jimmerson, Culver City

Galerie Daniel Buchholz Cologne at Metro Pictures, Metro Pictures, New York
Los Angeles 1955-1985, Centre Pompidou, Paris
Program of films presented by Christopher Williams as an artist in the Whitney Biennial, Whitney Museum of American Art, New York
Blows into Microphone, Kunsthalle Exnergasse, Vienna (catalogue); curated by Achim Lengerer; presented at Wiener Votivkino, Vienna; later presented at the Deutsches Filmmuseum, Frankfurt
The Artists Cinema, Frieze Art Fair, Regent’s Park, London
Expanded Cinema I, film program curated by Patrick Huber and Fred Truniger in conjunction with the show The Expanded Eye, curated by Bice Curiger, Kunsthaus Zürich, Zürich
Bunch Alliance and Dissolve, Contemporary Arts Center, Cincinnati (publication); curated by Public-Holiday Project

Beside the Dream Machine, Museum Moderner Kunst, Vienna
A Walk to Remember, LACE (Los Angeles Contemporary Exhibitions), Los Angeles (catalogue); curated by Jens Hoffman
Old News, LACE, Los Angeles; curated by Jacob Fabricius
Gallery exchange, China Art Objects Galleries and Bowie Van Valen, Amsterdam
Bienal de Lisboa, Lisbon; curated by Ricardo Matos Cabo

Whitney Biennial, Whitney Museum of American Art, New York

Turbulent Screen, Edith-Ruß-Haus für Medienkunst, Oldenburg
Fate of Alien Modes, Secession, Vienna
Morgan Fisher and Mason Cooley, China Art Objects Galleries, Los Angeles
Sandwiched, Los Angeles; curated by Jacob Fabricius
Conceptualisms: Zeitgenössische Tendenzen in Musik, Kunst und Film, Akademie der Künste, Berlin; curated by Christoph Metzger

Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache.
Vier Räume aus der Sammlung Schürmann, Sammlung Schürmann, K21 Kunstsammlung im Ständehaus, Düsseldorf
Morgan Fisher, Tomma Abts, Leica Dole-Recio, James Hayward, curated by Richard Hawkins, Galerie Daniel Buchholz, Cologne
A Show That Will Show That a Show Is Not Only a Show, The Project, Los Angeles (catalogue); curated by Jens Hoffman

Frances Stark meets Morgan Fisher, Klosterfelde, Berlin

The Italian Paintings, Dave Muller/Three Day Weekend, in “Made in California: Now”, LACMA, Los Angeles
Galerie Daniel Buchholz at Jürgen Becker, Hamburg
Not Coming, Laemmle Grande Theaters, Los Angeles, produced by Side Street Projects

Afterimage: Drawing Through Process, Museum of Contemporary Art, Los Angeles
A History of European Cinema through Technical Evolution, Festival dei Popoli, Florence
The American Century: Art and Culture 1950-2000; The Cool World: Film and
Video in America 1950-2000, Whitney Museum of American Art, New York
Thanks, visiting faculty show, School of Art, California Institute of the Arts

Time Dilates, Dave Muller/Three Day Weekend, The Downtown Arts Festival, New York

Threshold, Side Street Projects, Santa Monica

Projections, AMC Old Pasadena Theaters, Pasadena, California, produced by Side
Street Projects

Inaugural Film Screening, ACME. Gallery, Santa Monica
Reconsidering the Object of Art: 1965-1975, The Museum of Contemporary Art,
Los Angeles (C)
23 Short Films / 23 Film Posters, a show of and by Maria Eichhorn, Galerie Eva Presenhuber, Zürich

Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994,
Filmforum, Los Angeles
Detours, Side Street Projects, Santa Monica (group show), painting installation
Color This!, Foundation for Art Resources, Los Angeles, 1994, coloring book with
drawings by Los Angeles artists

Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerpen
Robert Flaherty Seminar, Ithaca, New York
Stichting Amsterdams Filmhuis, Amsterdam

Faculty show, School of Art, California Institute of the Arts

Mostra internazionale del nuovo cinema, Pesaro, Italy, retrospective of American
Independent Films of the 1980s
Beyond Illusion: American Film and Video Art, 1965-1975, in conjunction with “The New
Sculpture, 1965-1975: Between Geometry and Gesture, Whitney Museum of American Art
Metamedia, in conjunction with “Image World: Art and Media Culture”, Whitney Museum of American Art

What’s Wrong with These Pictures?, retrospective (with George Landow),
The American Museum of the Moving Image, New York

mot:dites, image, Musée National dʼArt Moderne, Centre Pompidou, Paris (C)
Independent America; New Film 1978-1988, American Museum of the Moving Image, New York

Text as Image, Pacific Film Archive

Biennial Exhibition, Whitney Museum of American Art, New York (C)
New York Film Festival

Word Works, Walker Art Center, Minneapolis
Film as Installation II, The Clocktower, New York

Ten Years of Living Cinema, Collective for Living Cinema, New York (C)

West Coast, Anthology Film Archives, New York (C)
American and French Independent Cinema, Padiglione d’arte contemporanea/Cineteca italiana, Milan (C)
P.S. 1, Long Island City, New York

’The Pleasure Dome’, American Experimental Film, 1939-1979, Moderna Museet, Stockholm

The New West, curated by Jack Goldstein, The Kitchen, New York
Re-Visions, Whitney Museum of American Art, New York (gallery leaflet); curated by John G. Hanhardt

International Forum of Young Cinema, Berlin International Film Festival, curated by John G. Hanhardt
Frameworks, Water Street Branch, Whitney Museum of American Art
Artists’ Film, Artists Space, New York

The Poetic Eye: Perspectives on the American Independent Film, 1923-1977,
Los Angeles County Museum of Art
Time, Philadelphia College of Art (C)
The Moving Image/N.Y. State, Tour program organized by Gerald O”Grady
Film Spaces, Art Gallery, Mount San Antonio College, Walnut Creek, California

Text and Image, New American Filmmakers Series, Whitney Museum of American Art, New York
Fisher/Serra/Shulman, New American Filmmakers Series, Whitney Museum of American Art, New York
Neue Avantgardefilme aus den USA, Werkstattkino, Munich

Stills, New American Filmmakers Series, Whitney Museum of American Art, New York Institute of Contemporary Art, London

Thom Andersen / Morgan Fisher, Theatre Vanguard, Los Angeles

Walker Art Center, Minneapolis
Independent Film Festival, National Film Theatre, London

Information, Museum of Modern Art, New York (C)
North American Filmmakers: At Home and Abroad, Tour program organized by the Film Department, Museum of Modern Art

la > × film festival, Haubrok Foundation, Berlin, Germany
Other Uses, EMPAC, New York, USA

Past Future Housing, Mak Center, Mackey Garage Top, Los Angeles, USA

Courtisane festival 2015: Notes on Cinema, Ghent, Belgium

L’Art Devrait Être la Bande-Annonce du Futur …, in the cycle Cinéma Post-minimal, Centre Pompidou, Paris
Tricky Poses and Taxing Conditions: Performance and Media, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
Material Concerns, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
Was ist Film, Peter Kubelka’s cyclical program of the history of film, Austrian Film Museum, Vienna
Morgan Fisher et affinités électives, Centre Pompidou, Paris. Part of Morgan Fisher: Un cinéma hors-champ?, Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris
Screening Room: Morgan Fisher Programme, NFT2, British Film Institute Southbank, London
, with the support of Raven Row, London.
Bright Ideas: Conceptual Art Films, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
Moving Pictures: Painting, Photography, Film, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles; presented at Echo Park Film Center
The Alternative Projections Marathon!, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles; presented at Echo Park Film Center

Industry Town: The Avant-Garde and Hollywood, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
The Artist’s Institute, New York

Standard Gauge + Hellzapoppin’, Light Industry, presented at PARTICIPANT INC, New York

Aspect Ratio, Rotterdam International Film Festival, Rotterdam; curated by Edwin Carels
Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher, Hammer Museum, UCLA, Los Angeles, co-presented with the UCLA Film and Television Archive and Los Angeles
Filmforum; curated by Mark Toscano

Los Angeles, in Paul McCarthy: Film List, a series of programs of films and videos curated by Paul McCarthy to accompany his one-person show at the Whitney Museum of American Art, New York
Sunshine Noir in “Los Angeles: Eine Stadt im Film; A City on Film”; a retrospective of the Viennale and the Austrian Film Museum, Vienna (catalogue); curated by Thom Andersen

Kinomuseum, Oberhausen International Short Film Festival, Oberhausen, Germany (publication)

Expanded Cinema: Film als Spektakel, Ereignis und Performance, Hartware Medien Kunst Verein, Dortmund (program also presented at Württembergischer Kunstverein Stuttgart); curated by Mark Webber

Edinburgh International Film Festival, Edinburgh
Thom Andersen and Morgan Fisher, Galerie Daniel Buchholz, Cologne (presented at the Kölnischer Kunstverein, Cologne)

Rotterdam International Film Festival, Rotterdam
International Forum of Young Cinema, Berlin International Film Festival, Berlin
The Robert Flaherty Film Seminar, New York
Toronto International Film Festival, Toronto
Athens International Film Festival, Athens
London International Film Festival, London

Turbulent Screen; Die strukturelle Bewegung in Film und Video, Edith-Ruß-Haus für
Medienkunst, Oldenburg; curated by Rosanne Altstatt and Ralf Sausmikat
Views from the Avant–Garde, New York Film Festival, New York; curated by Mark McElhatten and Gavin Smith

Two Film Screenings Organized by Christopher Williams (Poster, Introductory Remarks and Film Screening) For the Exhibition, ‘In Between Art and Architecture’, Silver Screen Theater, Pacific
Design Center/MAK Center for Art and Architecture, Los Angeles

A History of European Cinema through Technical Evolution, Festival dei Popoli,
Florence

Inaugural film screening, ACME. Gallery, Santa Monica

Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Filmforum, Los Angeles (catalogue)

Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerp
The Robert Flaherty Film Seminar, New York
Stichting Amsterdams Filmhuis, Amsterdam

Unknown Territories: American Independent Film, presented by Sixpack Film at the Vienna Film Theatre, Vienna

Mostra internazionale del nuovo cinema, Pesaro, Italy

INPUT 88 (International Public Television screening conference), Philadelphia

Neue Avantgardefilme aus den USA, Werkstattkino, Munich
Institute of Contemporary Art, London

Thom Andersen/Morgan Fisher, Theatre Vanguard, Los Angeles

Walker Art Center, Minneapolis

Oberhausen International Short Film Festival, Oberhausen

Gronlund, Melissa, Morgan Fisher: the man who wasn’t there, sight and sound magazine, bf.org, Updated, 3 March 2014

Christopher Williams, The Rewards of Self-Repression, Mousse #33 (April–May 2012)

Jean Philippe Antoine – Christophe Gallois, Conversation avec Morgan Fisher, 20/27; revue de texts critiques sur l’art, No. 4, m19, Paris, 2010.
Melissa Gronlund, The Man Who Wasn’t There, http://www.bfi.org.uk/sightandsound/exclusive/morgan_fisher.php

Stuart Comer, Voids: Interview with Morgan Fisher in Voids/Vides: A Retrospective of Empty Exhibitions, Gustav Metzger, Clive Phillpot, and Mai-Thu Perret, editors, JRP Ringier Kunstverlag AG, Zürich, 2009.

William E. Jones, In Conversation with William E. Jones, 2008 California Biennial, Orange County Museum of Art, Newport Beach, 2008.

Denise Mohnke, Interview mit Morgan Fisher, in Festivalmagazin, International Short Film Festival Oberhausen, May 2007.

Frances Stark, All Things to All People; interviews by Frances Stark, Afterall, Issue 4, Autumn–Winter 2001.

Scott MacDonald, A Critical Cinema; Interviews with Independent Filmmakers, University of California Press, Berkeley/Los Angeles/London, 1988; introduction and 1987 interview with MF.
Scott MacDonald, Morgan Fisher: An Interview, Film Quarterly, Spring 1987.

Morgan Fisher on The Apotheosis of Saint Ignatius by Andrea Pozzo, Mousse, Issue 61, pp193-194.

LUX / MRes Public Lecture, Morgan Fisher: screening and conversation, LUX, London, 26 November 2014
Art Center College of Design, Los Angeles Times Media Center, 25 March 2014.

Morgan Fisher – Keynote Presentation, Who Is Jack Goldstein? 22 September 2013, Jewish Museum, New York.

Notes on works in the exhibitions Morgan Fisher – Translations (Museum Abteiberg, Mönchengladbach, 2011)
Morgan Fisher: Beyond the Frame, (Generali Foundation, Vienna, 2012)
Morgan Fisher: Two Exhibitions, Sabine Folie and Susanne Titz, editors; exhibition catalogue; Vienna: Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012.
Untitled lecture, FilmForum, International Film Studies Conference, MAGIS—International Film Studies Spring School, Udine/Gorizia.
Abstraction in Film, lecture at Nuova Accademia di Belle Arti, Milan.
Abstraction in Film, lecture at Nuova Accademia di Belle Arti, Milan.
An Introduction to Standard Gauge, Warburghiana, available online at http://www.warburghiana.it/index.php?&qy=em9uZT0xNyZpZD0xMjA2 (accessed February 23, 2013).
Screening Room as a Modernist Film, lecture at the Austrian Film Museum, Vienna.
Painting for Beginners, lecture in conjunction with the exhibition Morgan Fisher: The Frame and Beyond, Generali Foundation, Vienna.
Morgan Fisher: Writings, Sabine Folie and Susanne Titz, editors; Vienna: Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012.

Untitled gallery talk in connection with the exhibition Blinky Palermo: Retrospective 1964–1977, Los Angeles County Museum of Art.
Object Lessons, Artforum, Vol. XLIX, No. 7, March 2011.
Untitled lecture about the paintings and installation work, Graduate Program, Otis College of Art and Design, Los Angeles
Notes on the works in the exhibition “Morgan Fisher: Films and Paintings and In Between and Nearby,” in Morgan Fisher: Films and Paintings and In Between and Nearby, Sue Haddon, editor; exhibition guide; London: Raven Row, 2011.
Untitled note in the section “Artists on L.A.,” Artforum, Vol. XXXXX, No. 2, October 2011.
Untitled note in Tacita Dean: Film, Nicholas Cullinan, editor, Tate Gallery Publishing, London, 2011.
Notes on the work in the exhibition “Morgan Fisher – Translations” in Morgan Fisher – Translations, Susanne Titz, editor; exhibition brochure; Mönchengladbach: Museum Abteiberg, 2011.

Untitled lecture about the paintings, HISK (Hoger Instituut voor Schone Kunsten, Higher Institute for Fine Arts), Ghent.
Untitled lecture about the paintings, Piet Zwart Institute, Rotterdam.
Untitled lecture about the paintings, Graduate Program, Art Department, University of Southern California.
Untitled lecture about the paintings and related work, Städelschule, Frankfurt.
Untitled lecture about the paintings and related work in the Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art.
Untitled lecture about the paintings and related work, Art Center College of Design.
The Last Shot in Detour and Some Earlier Moments, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009; a revised and enlarged version of “An Afterword on the Last Shot in Detour,” published in Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale (see under “2008” below).
Program notes about Thom Andersen’s films in “Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher,” The Hammer Museum, UCLA; edited by Mark.

Untitled lecture about the paintings and related work, Städelschule, Frankfurt.
Untitled lecture about the paintings and related work in the Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art.
Untitled lecture about the paintings and related work, Art Center College of Design.
The Last Shot in Detour and Some Earlier Moments, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009; a revised and enlarged version of “An Afterword on the Last Shot in Detour,” published in Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale (see under “2008” below).
Program notes about Thom Andersen’s films in “Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher,” The Hammer Museum, UCLA; edited by Mark
Toscano from notes for the screening presented by Galerie Daniel Buchholz (see under “2005” below); laser print-out.

Screening Room and Death, Kinomuseum, Mike Sperlinger and Ian White, editors; Cologne: Walther König, 2008; revised version of lecture delivered at the 2007 Oberhausen International Short Film Festival (see under “2007” below).
Standard Gauge in Three Parts and An Afterword on the Last Shot in Detour, Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale, Astrid Ofner und Claudia Siefen, editors; exhibition catalogue; Vienna: Schüren Verlags, 2008; the note on Standard Gauge is the one published in Fate of Alien Modes (see under “2003” in “Selected Bibliography, Reviews, and Related” below), with the addition of a new section composed in 2008; the note on Detour was erroneously joined to the end of the note about Standard Gauge.
Untitled gallery talk in connection with the exhibition “Lawrence Weiner: As Far as the Eye Can See,” Museum of Contemporary Art, Los Angeles.
More Pendant Pair Paintings, gallery note for the exhibition at China Art Objects Galleries; laser print-out (this work was later titled Alien Pendant Pair Paintings).
Tracing in Early Warhol, paper read as a member of the panel, Beauty and the Banal in the symposium “Andy Warhol: Outer and Inner Dichotomies,” presented by the Wexner Center, Cincinnati, in connection with the exhibition “Other Voices, Other Rooms,” curated by Eva Meyer-Hermann.
Blinky Palermo in The Artists’ Artists; Artforum, Vol. XLVII, No. 4, December 2008.

The Pendant Pair Paintings, gallery note for the exhibition at Galerie Daniel Buchholz: laser print-out.
Untitled lecture about Screening Room in Kinomuseum, a section of the Oberhausen International Short Film Festival; curated by Ian White
Untitled lecture about the paintings, Signal – Center for Contemporary Art, Malmö

Untitled lecture about the paintings, Art Department, University of California at Riverside.
Untitled introductory talk for the symposium Anticipating the Past: Artists: Archive: Film, Tate Modern; organized by the British Artists’ Film and Video Study Collection at Central Saint Martins College of Art and Design and LUX in association with Arts Council England, the British Film Institute, and Tate Modern.
Where the Aspect Ratio Pieces Came From, gallery note for the exhibition Bunch Alliance and Dissolve, Center for Contemporary Art, Cincinnati; laser print-out.
Why the Work and the Photographs of the Work Can’t Resemble Each Other, gallery note for the exhibition Bunch Alliance and Dissolve (included in the publication for the exhibition; see under “Selected Bibliography, Reviews, and Related” below); laser print-out.
Untitled lecture about the paintings, Graduate Program, Art Department, University of Southern California.
What to Do about Painting, Etc.; Projects arranged by Matt Keegan at Andrew Kreps Gallery, New York, 9/05–1/06, Matt Keegan, editor; exhibition and program catalogue; New York: Matt Keegan, 2006; transcript of lecture and discussion (see under “2005” below).

Carl Andre und der Film, Text, Oktober 2005 (essay published in German; available in English at www.text-revue.de).
Thom Andersen and Morgan Fisher, program note for films presented by Galerie Daniel Buchholz, Cologne; screening at Kölnischer Kunstverein; the note on ( ) is reprinted from the notes for the New York Film Festival (see under “2003” below); laser print-out.
What to Do about Painting, Andrew Kreps Gallery, New York; lecture presented in Etc., a series of events organized by Matt Keegan.

David Lieske’s Carse Arse, Formalismus: Moderne Kunst Heute, Yilmaz Dziewior, editor; exhibition catalogue; Hamburg: Kunstverein in Hamburg; Frankfurt: Revolver, 2004.
( ) and “Film Cans and Film Boxes,” gallery notes for the exhibition at Galerie Daniel Buchholz; xerox.
Untitled lecture and screening presented by John G. Hanhardt, Senior Curator of Film and Media Arts, under the heading Meta-Cinematic Strategies in the series Constructing the Moving Image (An Archaeology): 1965–1975 in conjunction with Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum.
The Aspect Ratio Pieces and ( ), gallery notes for the exhibition at Greene Naftali Gallery; laser print-out.

Guest speaker in the seminar Film and the Media Arts: Histories and Practices, conducted by John G. Hanhardt, Senior Curator of Film and Media Arts, Solomon R. Guggenheim Museum; Center for Curatorial Studies, Bard College.
Documenta, a Show of Shows, The Next Documenta Should Be Curated by an Artist, Jens Hoffman, editor; Frankfurt: Revolver, 2003.
Standard Gauge, Production Stills, “The Photogenic Drawings,” in Fate of Alien Modes, Constanze Ruhm et al., editors; exhibition catalogue; Vienna: Wiener Secession, 2003; the note on Standard Gauge is the one from which the fragment in Indipendenti USA, Charles Burnett, Stan Brakhage was excerpted (see under “1991” below); the note on Production Stills is reprinted from the gallery brochure for the film and video program accompanying “Afterimage: Drawing through Process” (see under “1999” below); the note on the Photogenic Drawings is the same as the gallery note for the exhibition at Galerie Daniel Buchholz (see under “2002” below).
( ), program note for “Views from the Avant-Garde,” New York Film Festival; http://filmlinc.com/archive/nyff/avantgarde2003mf.htm.

No Painting As Usual: The Italian Paintings, The Self-Portraits, gallery notes for the exhibition at China Art Objects Galleries; the note on the Italian Paintings is an expanded version of the note for “Made in California: Now,” (see under “2000” below); xerox.
Untitled essay in the form of an e-mail to Jens Hoffman about his curating of the show A Show That Will Show That a Show Is Not Only a Show, A Show That Will Show That a Show Is Not Only a Show, Jens Hoffman, editor; New York/Los Angeles: The Project; Paris/Berlin: Edition Valerio, 2002.
Color Balance and Photogenic Drawings, gallery notes for the exhibition at Galerie Daniel Buchholz; the note on Color Balance is a revised version of the note in Film as Installation II (see under “1983” below); xerox.
The H Pieces, in an untitled broadside published for the Cologne Art Fair; Los Angeles: China Art Objects Galleries, 2002.
What Would Ad [Reinhardt] Say?, paper read as a member of the panel Neither Here Nor There, Santa Monica Museum of Art, presented in conjunction with the exhibition Art & Film in the Age of Anxiety: Selections from the 2002 Whitney Biennial.
No Painting as Usual; Die italienischen Gemälde, Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus derSammlung Schürmann, Julian Heynen and Doris Krystof, editors; exhibition catalogue; Düsseldorf: Ständehaus K21, Kunstsammlung Nordrhein-Westfalen; Ostfildern–Ruit: Hatje Cantz Verlag, 2002; “The Italian Paintings” (see under “2002” above); in German.
Talking with Jack Goldstein in Jack Goldstein, Lionel Bovier et al., editors; exhibition catalogue; Grenoble: Magasin, 2002; reprinted from LAICA Journal (see under “1977” below).

The Wilkinson Household Fire Alarm, gallery note for Galerie Daniel Buchholz, Cologne Art Fair; xerox.
Frances Stark Meets Morgan Fisher, lecture at the Arsenal Kino, Berlin, on the occasion of the exhibition of the same name at Klosterfelde.
Frances Stark Meets Morgan Fisher, Nach dem Film, 12/01, the above lecture in a dossier that included the exchange with Frances Stark published in Afterall (see above) and an essay by Lena Kiessler; www.nachdemfilm.de, Home>Report>Projekte: Frances Stark meets Morgan Fisher.
We Don’t Care if You’re Trespassing, 2000–2001Malmö Art Academy Yearbook, Gertrud Sandqvist, editor; Malmö: Malmö Art Academy, 2001; an expanded version of the lecture given at the conference “Borders” (see under “2000” below).

No Painting As Usual; The Italian Paintings, gallery notes for paintings presented by Dave Muller/Three Day Weekend in Made in California: Now, Los Angeles County Museum of Art; xerox.
We Don’t Care If You’re Trespassing, lecture at Borders, a seminar organized by the Malmö Art Academy and the Royal Danish Art Academy; Copenhagen.
Painting for Beginners, lecture at Hochschule für Bildende Künste, Hamburg

The Future of Painting, School of Art, California Institute of the Arts (abridged version of From Film to Painting: Size, Scale, Plane, Projection; see under “1998” below).
Painting for Beginners, lecture at Art Center College of Design; revised version of The Future of Painting (see under “1999” above).
Production Stills, gallery leaflet for the film and video program accompanying Afterimage: Drawing through Process, MOCA, Los Angeles, 1999.

From Film to Painting: Size, Scale, Plane, Projection, lecture in two parts, Künstlerhaus Stuttgart.

Untitled statement in Projections; Intermission Images, Karen Atkinson and Sylvia Bowyer, editors; exhibition catalogue; Pasadena: AMC Old Pasadena 8 Theaters; Santa Monica: Side Street Projects, 1996.

Morgan Fisher: Script of Standard Gauge, Screen Writings: Scripts and Texts by Independent Filmmakers, Scott MacDonald, editor; Berkeley/Los Angeles/London: University of California Press, 1995.

Missing the Boat, Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Holly Willis, editor; film screening series catalogue; Los Angeles: Los Angeles Filmforum, 1994.

Excerpt from an undated note on Standard Gauge in Indipendenti USA, Charles Burnett, Stan Brakhage, Francesco Bono, editor; Quaderno Informativo; Pesaro: XXVII Mostra Internazionale del Nuovo Cinema, 1991; in Italian.

Re-Arranging Flowers, gallery talk on a work by Christopher Williams, Museum of Contemporary Art, Los Angeles.

Color Balance, Film As Installation II, Leandro Katz, editor; exhibition catalogue; New York: The Clocktower, 1983.

Projection Instructions and Cue Rolls, West Coast: A Survey of Independent/Avantgarde Film, Henry Hills, editor; film screening series catalogue; New York: Anthology Film Archives, 1981; note for Projection Instructions slightly revised from an unpublished note written c. 1976; note for Cue Rolls reprinted from New Magazine (see under “1977” below).

Untitled program note for the screening at Boston Film/Video Foundation, February 17, 1979; xerox.

Some Introductory Remarks and Talking with Jack Goldstein, LAICA Journal, No. 14, April-May 1977.
Notes on Southern Exposure, gallery note for Film Spaces, Art Gallery, Mount San Antonio College, Walnut, California, December 9-13, 1977; xerox.
Cue Rolls, New Magazine, Vol. 8, No. 3, May 1977; revised version of program note for screenings at the Whitney Museum of American Art (see under “1976” below).

Cue Rolls and Phi Phenomenon, program notes for showings in the New American Filmmaker series, Whitney Museum of American Art, May 11-May 16, 1976; mimeograph.

Untitled statement in October calendar for Canyon Cinematheque, San Francisco (date of composition uncertain); reprinted in Alan Williams’s program note for the screening at the Albright-Knox Art Gallery on January 15, 1976 (see under “1976” in “Selected Bibliography, Reviews, and Related” below).

École Nationale des Beaux-Arts, Lyon (Visiting artist)

Merz Akademie, Stuttgart
Städelschule, Frankfurt

Otis College of Art and Design, Los Angeles (Visiting artist)
Art Center College of Design, Pasadena, California (Visiting artist)
School of Film/Video, California Institute of the Arts, Valencia, California (Visiting artist)

Art Department, University of California at Riverside (Visiting artist)
Occidental College, Los Angeles (Visiting artist)

California Institute of the Arts (Visiting artist)

Art Center College of Design, Pasadena (Visiting artist)

Art Center College of Design, Pasadena (Visiting artist)

Philadelphia College of Art, Philadelphia

Contemporary Art Survey (lecture series), Art Department, UCLA
College of Creative Studies, University of California at Santa Barbara (Visiting artist)
Department of Visual Arts, University of California at San Diego

Otis Art Institute, Los Angeles

Conversation with Jean-Philippe Antoine and Christa Blümlinger after the screening “Morgan Fisher et affinités électives (films by Morgan Fisher, Christoph Girardet, and Matthias Müller),” Centre Pompidou, Paris; part of “Morgan Fisher: Un cinéma hors-champ?”; Université Paris 8 Vincennes–Saint-Denis, Institut national de l’histoire de l’art, and Centre Pompidou, Paris.
Roundtable at the ceremony for Doctor honoris causa, Université Paris 8 Vincennes–Saint-Denis; with the participation of Morgan Fisher, Christophe Gallois, Jean-Philippe Antoine, and Christa Blümlinger; part of “Morgan Fisher: Un cinéma hors-champ?”; Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris.
Panelist in the symposium “Beyond the Frame: How and Why,” with the participation of Rainer Bellenbaum, Sabeth Buchmann, Gabriele Jutz, and Constanze Ruhm; program available online at http://foundation.generali.at/index.php?id=1057 (accessed May 7, 2012); in conjunction with the exhibition “Morgan Fisher: The Frame and Beyond,” Generali Foundation, Vienna.
“Non-Composition, Past and Present,” conversation with Yve-Alain Bois, in conjunction with the exhibition “Morgan Fisher: The Frame and Beyond,” Generali Foundation, Vienna.
“Artists’ Books and Cookies,” presented by Biblioteca Alumnos47 and ForYourArt at ForYourArt, Los Angeles; discussion with Cesar Garcia about Morgan Fisher: Two Exhibitions and Morgan Fisher: Writings (see “Selected Bibliography, Reviews, and Related” below).

Interviewed by Jens Hoffman in Kaleidoscope Arena at ROMA—The Road to Contemporary Art, the Rome art fair.

Panelist, “The Most Typical Avant-Garde and Experimental Film in Los Angeles,” organized by Federico Windhausen, Annual Meeting of the Society for Film & Media Studies; informal talk titled “Near but Far; Narrative Film as a Subject.”
Curated and presented a program of films by other filmmakers, Courtisane Festival, Ghent, Belgium.
Panelist, “Material,” third of a series of panels under the general title “Experimental Film in a Museum Context,” organized by Rita Gonzalez, assistant curator, Contemporary Art Department, and Alex Klein, Ralph M. Parsons Curatorial Fellow, Wallis Annenberg Photography Department, Los Angeles County Museum of Art.
Panelist, “Alternative Projections: Experimental Film in Los Angeles 1945 – 1980,” University of Southern California; screening of work done by members of the Los Angeles Independent Film Oasis, followed by discussion.

Panelist, “In Memory of the Image,” organized by Stuart Comer, Curator of Film, Tate Modern, Frieze Talks, Frieze Art Fair.
Read untitled collage text in “A Live Reading/Performance of the Texts of Lawrence Weiner,” curated by Fred Dewey; Beyond Baroque, Venice, California.

(years) Contributed an untitled page to CMYK, an artist project curated by Walead Beshty in Cabinet 27.
Contributed an entry in Instructions for Films, a project curated by William Rose for no.w.here, first presented as no.w.here’s contribution to the *Zoo Art Fair, London

Respondent to James Welling’s lecture “Ideas of Color” in the series “Works in Progress,” The Getty Research Institute, Los Angeles.

January 19, 1998, performance/talk presented at “Radical Time,” a symposium in the Graduate Program, Department of Art, UCLA, January 19, 2002.

Color This!, Foundation for Art Resources, Los Angeles, 1994; coloring book of drawings by Los Angeles artists

Juror, dramatic film competition, U.S. Sundance Film Festival, Park City, Utah.

Panelist, “Film in Los Angeles: The Avant Garde and the Industry”; annual meeting of the University Film and Video Association.

Member of the Board of Advisors, The Foundation for Art Resources, a non-profit
1995 organization that produces art events in diverse forms and media.

Guest editor, Journal, No. 14, April-May, 1977, Los Angeles Institute of Contemporary Art, 1977.

Panelist, “Object/Illusion: The Filmic Dialectic”; annual meeting of the College Art Association.

Morgan Fisher: Conversations, Aspen Art Museum, Aspen, USA

Morgan Fisher: Exterior and Interior Color Beauty, Bortolami Gallery, New York, USA

Morgan Fisher: Two Exhibitions; introductory essays by Sabine Folie and Susanne Titz; essays by Thom Andersen, Yve-Alain Bois, Sabeth Buchmann Rainer Bellenbaum and Morgan Fischer, Generali Foundation, Vienna; Museum Abteiberg, Monchengladbach; Walther Konig, Cologne
Morgan Fisher: Writings; introductory essays by Sabine Folie and Susanne Titz; essays by Morgan Fisher, Generali Foundation, Vienna; Museum Abteiberg, Monchengladbach; Walther Konig, Cologne

Films and Paintings and In Between and Nearby, Sue Haddon, editor; essays by Christophe Gallois, Stuart Comer, and Alex Sainsbury; notes on the work in the exhibition by Morgan Fisher, Raven Row, London, UK

Welish, Marjorie, Morgan Fisher’s Non-Conformity: Measured and Potent, twocoatsofpaint.com, 19 October 2022

Knight, Christopher, Review: For Morgan Fisher, 50 years of ‘Passing Time’ in a vanishing wold, latimes.com, 30 January 2019.
Mistretta, Agustina, Agus on Art: Lisa Yuskavage reclaims history at the Aspen Art Museum, aspendailynews.com, 28 February 2020.

Rebhandl, Bert, Highlights from the 2018 Berlinale Film Festival, frieze.com, 27 February 2018.

—-, The Rewards of Self-Repression, Christopher Williams in conversation with Morgan Fisher,Mousse., 33, December 2016- January 2017, pp. 239-245

Balsom, Erika, Morgan Fisher – Maureen Paley, Artforum, March 2015, p 291
Palacios Cruz, Maria, Morgan Fisher’s “Past Present, Present Past”, art-agenda.com, 22 January 2015
——, Morgan Fisher and Ivan Morley at Bortolami Gallery, New York, en.artmediaagency.com, 23 September 2015

Sawyer, Drew, Morgan Fisher’s Melancholic Modernism, aperture.org, 10 December 2014
Elbaum, Sarah, Morgan Fisher, China Art Objects Galleries / Los Angeles, artillerymag.com 4 March 2014
Knight, Christopher, Morgan Fisher gets contemplative over color, latimes.com, 31 January 31 2014
Spines, Christine, Explore the art of border crossing with Morgan Fisher: scholar, sculptor, filmmaker and conceptual artist, blogs.artcenter.edu, 24 March 2014

Girolamini, Gabriele, AGAINST METHOD :: ANARCHIST THEORY, dromemagazine.com, 11 October 2013
Kamin, Diana, Morgan Fisher: New York, at Bortoami, Art in America Online, December 3, 2013
Morgan Fisher at Aspen Art Museum, in “Exhibitions,” Contemporary Art Daily (contemporaryartdaily.com), February 1, 2013.

Morgan Fisher: Two Exhibitions, Sabine Folie and Susanne Titz, editors; exhibition catalogue; Vienna: Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012; essays by Thom Andersen, Yve-Alain Bois, and Sabeth Buchmann and Rainer Bellenbaum; introductory essays by Sabine Folie and Susanne Titz; notes on the works by MF.
Über den Rahmen hinaus: Morgan Fisher, Der Kurier Online (Vienna), 1 märz, 2012.
Christoph Huber, Ernste Kunst, nur leider sehr lustig,” Die Presse (Vienna), 2 märz 2012.
Brigitte Borchhardt-Birbaumer, Auch Kunsttoast ist eckig, Wiener Zeitung Online, 21 märz 2012.
Anne Katrin Feßler and Isabella Reicher, Wahrnehmungsspezialist mit Blick fürs Jenseitige, Der Standard (Vienna), 6 April 2012.
Symposium, Institut national d’histoire de l’art and Centre Pompidou, Paris; with the participation of Jean-Philippe Antoine, Christa Blümlinger, Sabine Folie, Christophe Gallois, Ilse Lafer, Matthias Müller, Laura Mulvey, and Constanze Ruhm. Available online at http://www.univ-paris8.fr/IMG/pdf_programmew.pdf (accessed May 7, 2012); part of Morgan Fisher: Un cinéma hors champ?; Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris.
2012 Stefan Grissemann, Warum tun Sie sich analoge Filmarbeit noch an, Mr. Fisher? Profil (Vienna), 7 mai 2012.
Made in L.A. 2012, Anne Ellegood et al., editors; exhibition catalogue; Los Angeles: Hammer Museum; New York/London/Munich: Prestel, 2012.
Christopher Knight, The Hammer Biennial ‘Made in L.A. 2012’ Succeeds, Los Angeles Times, June 8, 2012.
Enrico Camporesi, Morgan Fisher: il film e il suo parergon (contro Michael Fried), Predella, No. 31, Fall 2012; http://predella.arte.unipi.it
Jean-Philippe Antoine, De la chinoise à la China Girl: Morgan Fisher, Standard Gauge, 1984, Collection Films, Philippe-Alain Michaud, editor; Paris: Editions du Centre Pompidou, 2012; given as a lecture at the Pompidou on March 25, 2009.
Yuki Higashino, Morgan Fisher, Generali Foundation, cmagazine, Winter 2012.

Artefact Festival—The Emergence of Things; exhibition brochure; Louvain, STUK Arts Centre, 2011.
Morgan Fisher: Films and Paintings and In Between and Nearby, Sue Haddon, editor; exhibition guide; London: Raven Row, 2011; essays by Christophe Gallois, Stuart Comer, and Alex Sainsbury; notes on the work in the exhibition by MF.
Charlotte Bonham-Carter, Morgan Fisher, Flash Art (May–June 2011).
Morgan Fisher, Curators’ Notebook, (July 7, 2011), available online at http://www.sculpture-center.org/exhibitionsCuratorsNotebook.htm (accessed May 2, 2012).
Simone Menegoi, Displaced Reflections, Kaleidoscope, Issue No. 11, Summer 2011.
Jori Finkel, Aiming for a Wider Angle on Video Art, Los Angeles Times, July 7, 2011.
State of Mind; New California Art circa 1970, Constance M. Lewallen and Karen Moss, editors; exhibition catalogue; Newport Beach: Orange County Museum of Art; Berkeley: University of California Berkeley Art Museum and Pacific Film Archive; Berkeley/Los Angeles/London: University of California Press, 2011; essays by Constance M. Lewallen, Karen Moss, Julia Bryan-Wilson, and Anne Rorimer.
François Piron and João Fernandes, Locus Solus: Impressions of Raymond Roussel; exhibition catalogue; Madrid: Museo Nacional Centro de Arte Reina Sofía; Porto, Museu de Arte Contemporânea de Serralves; Madrid: Turner Ediciones, 2012; texts by François Piron and others.
Morgan Fisher – Translations, Susanne Titz, editor; exhibition brochure; Mönchengladbach: Museum Abteiberg, 2011; foreword by Susanne Titz; notes on the work in the exhibition by MF.
Dirk Richerdt, Morgan Fisher im Abteiberg-Museum, Rheinische Post, 21 Oktober, 2011.

Christiane Fricke, Beobachten, wie Bilder entstehen, Handelsblatt (Düsseldorf), January 29, 2010.
Georg Imdahl, “Die Leinwand und das Licht – Galerie Daniel Buchholz, Arbeiten von Willem de Rooij und Morgan Fisher,” Kölner Stadt-Anzeiger, February 12, 2010.
Sebastian Preuss, Haubrokshows – Die Kunst der reinen Fläche, Berliner Zeitung, 4 Mai 2010.
María Palacios Cruz, Le cinéaste comme théoricien. Pratique et théorie dans le cinéma d’avant-garde américain des années 1960 et 1970: les cas de Morgan Fisher et Thom Andersen, L’artiste comme théoricien, Olivier Mignon, editor; Brussels: (SIC), 2010.
Alchemy Box, Christophe Gallois, editor; exhibition catalogue; Nogent-sur-Marne: Maison d’Art Bernard Anthonioz, les Éditions de l’Œil, Montreuil, 2010; introductory essay by Xavier Franceschi, essay by Christophe Gallois.
Martin Herbert, Sunless, Frieze, Issue 135, November–December 2010.

Grit Weber, Auch jeden Ausnahme folgt einer Regel, Kaleidescope, January bis März 2009.
Bianca Stigter, Film heeft als doel de film te laten vergeten, NRC Handelsblad (Rotterdam), 24 Januari, 2009.
Sandra Danicke, So schön unperfekt, Frankfurter Rundschau, 31 Januar–1 Februar 2009.
Grit Weber, Morgan Fisher, KunstBulletin, 1 Februar, 2009.
Michael Hierholzer, Unten wie oben: Installation von Morgan Fisher im Portikus, Frankfurter Allgemeine Zeitung, 4 Februar, 2009.
Hans-Jürgen Hafner, “Spieglein, Spieglein an der Wand,” www.artnet.com, 3 März, 2009.
Andrew Berardini, 2008 California Biennial, Frieze, Issue 121, March 2009.
Thomas Amos, “Portikus Looks at Itself; Morgan Fisher hält der renomierten Frankfurter Ausstellungshalle den Spiegel vor,” Bauwelt, 8/2009.
Thom Andersen, Pebbles Left on the Beach, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009.
Eva Scharrer, Morgan Fisher in Reviews, Artforum, Vol. XLVII, Number 9, May 2009.
Mark Toscano, program notes for Restoring the Los Angeles Avant–Garde: Thom Andersen and Morgan Fisher, The Hammer Museum, UCLA, May 27, 2009; laser print-out.
Scott MacDonald, Adventures of Perception; Cinema of Exploration: Essays/Interviews, Berkeley: University of California Press, Berkeley/Los Angeles/London, 2009.
See This Sound; Versprechungen von Bild und Ton / Promises in Sound and Vision, Cosima Rainer et al., editors; exhibition catalogue; Linz: Kunstmusum Linz, 2009.
João Ribas, FAX; exhibition catalogue; New York: The Drawing Center and Independent Curators International, 2009.
Stoffel Debuysere and María Palacios Cruz, “Morgan Fisher Films,” Independent Film Show 9th Edition, Raffaella Morra, editor; screening series catalogue; Naples: e-m arts/fondazione morra, 2009.
Edwin Carels, Size Matters, Catalogue; exhibition catalogue; Rotterdam: 38th International Film Festival Rotterdam, 2009.
Christa Blümlinger, Kino aus zweiter Hand; Zur Ästhetik materieller Aneignung im Film und in der Medienkunst; Berlin: vorwerk 8, 2009.

Andrew Berardini, Please Stay Out, We’re Open, Picks, artforum.com, July 24, 2008.
Federico Windhausen, Selected Shorts, artforum.com/film, September 9, 2008.
2008 California Biennial, Karen Jacobson, editor; exhibition catalogue; Newport Beach: Orange County Museum of Art, 2008; essays by Lauri Firstenberg, Joshua Decter, and Rene Peralta; conversation between William E. Jones and MF.
Christopher Knight, Don’t Take It Lying Down; In a Far-Flung Show Biennial Artists Stand Up for Their Causes, Los Angeles Times, November 4, 2008.
Christopher Knight, Around the Galleries: Monochrome: The Color of Funny, Los Angeles Times, November 7, 2008.
Sarah Lehrer-Graiwer, Morgan Fisher, Picks, artforum.com, November 16, 2008.
Christophe Gallois, Neutre Intense; exhibition catalogue; Montreuil: Maison Populaire, 2008; essay by Christophe Gallois.
Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale, Astrid Ofner and Claudia Siefen, editors; exhibition catalogue; Vienna: Schüren Verlags, 2008.

Kyle Bentley, Associative Property, Artforum, Vol. XLV, No. 6, February 2007.

P. Adams Sitney, Medium Shots; The Films of Morgan Fisher, Artforum, Vol. XLIV, No. 5, January 2006.
Etc.; Projects arranged by Matt Keegan at Andrew Kreps Gallery, New York, 9/05–1/06, Matt Keegan, editor; exhibition and program catalogue; New York: Matt Keegan, 2006.
A Walk to Remember, Jens Hoffman, editor; exhibition catalogue; Los Angeles: LACE (Los Angeles Contemporary Exhibitions; Frankfurt: Revolver, 2006.
Lucy Reynolds, “Outside the Archive: The World in Fragments,” Ghosting: The Role of the Archive within Contemporary Artists’ Film and Video, Jane Connarty and Josephine Lanyon, editors; Bristol: Picture This Moving Image, 2006.
Bunch Alliance and Dissolve, Public-Holiday Projects (Rachel Foullon, Matt Keegan, Laura Kleger), editor; exhibition catalogue; Cincinnati: Contemporary Arts Center; Brooklyn: Public-Holiday Projects, 2006.
Standard Gauge: Film Works by Morgan Fisher, 1968–2003, Chrissie Iles, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2006; excerpts from notes on the films by MF.
Los Angeles 1955–1985; Birth of an Art Capital, Catherine Grenier, editor; exhibition catalogue; Paris: Éditions du Panama and Éditions du Centre Pompidou, 2006; essays by Catherine Grenier, Howard N. Fox, and David E. James.
Jennifer Bornstein, “Standard Gauge: Film Works by Morgan Fisher: 1968–2003”; in “The Artists’ Artists,” Artforum, Vol. XLV, No. 4, December 2006.

Federico Windhausen, “The Parenthesis and the Standard; On a Film by Morgan Fisher,” Cinephilia; Movies, Love and Memory, Marijke de Valck and Malte Hagener, editors; Amsterdam: Amsterdam University Press, 2005.
David E. James, The Most Typical Avant-garde: History and Geography of Minor Cinemas in Los Angeles; Berkeley/Los Angeles/London: University California Press; New York: Columbia University Press; Princeton: Princeton University Press, 2005; contains as a chapter the essay published in October 90, Fall 1999 (see under “1999” below).
Carol Schwarzman, “Morgan Fisher” in “Reviews,” Art Papers, Volume 29, Number 2, March/April 2005.
Marie de Brugerolle, “Morgan Fischer [sic], Galerie Stephan Adamski,” Flash Art, Vol. XXXVIII, No. 243, July-September 2005.
Mark Webber, “Escape from the Filmic Bermuda Triangle,” Tate ETC., Issue 5, Autumn 2005.
Bruce Hainley, “The Bigger Picture,” Frieze, Issue 94, October 2005.
Henriette Huldisch, “Standard Gauge: Film Works by Morgan Fisher, 1968–2003”; gallery leaflet; New York: Whitney Museum of American Art, 2005; essay by Henriette Huldisch, Assistant Curator of Film and Video.
“Standard Gauge: Film Works by Morgan Fisher, 1968–2003,” Stuart Comer, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2005; notes edited by Stuart Comer from writings by MF.
Jim Supanick, “Rules of Engagement; Morgan Fisher’s Cinema of Refusal and Reflexivity,” Film Comment, November/December 2005.

Paul Arthur, “( ),” Film Comment, January-February 2004.
Biennial Exhibition, Chrissie Iles et al., editors; exhibition catalogue; New York: Whitney Museum of American Art, 2004; essays by Chrissie Iles, Shamin M. Momin, and Debra Singer.
Luis Recoder, “On Morgan Fisher’s Lecture at the Guggenheim,” Millennium Film Journal, No. 42, Fall 2004.
Emily Speers Mears, “Morgan Fisher,” “Picks,” artforum.com, December 12, 2004.
Chrissie Iles, “Film; Best of 2004,” Artforum, Vol. XLIII, No. 4, December 2004.

Fate of Alien Modes, Constanze Ruhm et al., editors; exhibition catalogue; Vienna: Wiener Secession, 2003.

P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943–2000, third edition; New York: Oxford University Press, 2002.
2002 Christopher Knight, “Finding Conceptual Pleasures in Monochromes,” Los Angeles Times, January 25, 2002.
Catrin Backhaus, “Morgan Fisher,” Frieze, Issue 68, June/July/August 2002.
Hans-Christian Dany, “Morgan Fisher,” Springerin, Vol. VIII, Issue 2/02, June–August 2002.
Jens Hoffman, A Show That Will Show That a Show Is Not Only a Show; exhibition catalogue; Los Angeles: Edition Valerio, Paris / Berlin, and The Project, New York / Los Angeles, 2002; “An E-mail conversation between Bruce Hainley and Jens Hoffman” and an untitled essay by MF.
Gernot Geduldig,“Der Kunstler schätzt grau,” Aachener Nachrichten, 20 September, 2002.
Frank Frangenberg, “Morgan Fisher – To See Seeing,” Kunstforum International, Vol. 162, November-December 2002.
Vanessa Joan Müller, “Gemälde über Bücher,” Texte zur Kunst, Issue 48, December 2002.
Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus derSammlung Schürmann, Julian Heynen and Doris Krystof, editors; exhibition catalogue; Düsseldorf: Ständehaus K21, Kunstsammlung Nordrhein-Westfalen; Ostfildern–Ruit: Hatje Cantz Verlag, 2002.

Rainer Unruh, “Junge Kunst aus Kalifornien,” Kunstforum International, Vol. 154, April-May 2001.
Lena Kiessler, “Frances Stark Meets Morgan Fisher,” Nach dem Film, 12/01; www.nachdemfilm.de, Home>Report>Projekte: Frances Stark meets Morgan Fisher.

David E. James, “Hollywood Extras: One Tradition of ‘Avant-Garde’ Film in Los Angeles,” October 90, Fall 1999.
Projections: Intermission Images, Karen Atkinson and Sylvia Bowyer, editors; exhibition catalogue; Pasadena: AMC Old Pasadena 8 Theaters; Santa Monica: Side Street Projects, 1996; curators’ statement, essays by Andrea Liss and Paul Von Blum, and artists’ statements; booklet, View-Master stereo reel, and View-Master stereo viewer.

“Morgan Fisher: Script of Standard Gauge,” Screen Writings: Scripts and Texts by Independent Filmmakers, Scott MacDonald, editor; Berkeley/Los Angeles/London: University of California Press, 1995.
Ann Goldstein and Anne Rorimer, 1965–1975: Reconsidering the Object of Art; exhibition catalogue; Los Angeles: Museum of Contemporary Art, 1995; essays by Lucy R. Lippard, Stephen Melville, and Jeff Wall.

Kristine McKenna, “Filmforum Tackles the ‘Beast,’” Los Angeles Times, February 14, 1994.
Jesse Lerner, “Independents in L.A.– Scratching the Belly of the Beast,” The Independent (Los Angeles), July 1994.
Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Holly Willis, editor; Los Angeles: Filmforum, 1994; “Missing the Boat,” essay by MF.

Scott MacDonald, Avant-Garde Film: Motion Studies; New York: Cambridge University Press, 1993.

David Sterritt, “Avant-Garde Films: Recent Trends and Key Works,” and Steve Anker, “Testament to an Orphaned Art”; Blimp, Issue No. 20, Summer 1992; texts in German and English; special issue devoted to the series “Unknown Territories: American Independent Film” presented at the Vienna Film Theater by Sixpack Film, Vienna.
Willem de Greef, “The Found Footage Film as an Art of Reproduction,” and Peter Tscherkassky, “The Analogies of the Avant-Garde,” Found Footage Film, Cecelia Hausheer and Christoph Settele, editors; Lucerne: VIPER/zyclop Verlag, 1992.

Off Hollywood, Francesco Bono, editor; Nuovocinema/Pesaro No. 38, Quaderni della Mostra Internazionale del Nuovo Cinema; Venezia: Marsilio Editori, 1991;
1991 Scott MacDonald’s introduction to A Critical Cinema and Steve Anker’s essay “The Avant-Garde; Into the Eighties” (for both see under “1988” below); both in Italian.
Indipendenti USA, Charles Burnett, Stan Brakhage, Francesco Bono, editor; Quaderno Informativo; Pesaro: XXVII Mostra Internazionale del Nuovo Cinema, 1991; J. Hoberman’s 1985 review of Standard Gauge; in Italian.

John G. Hanhardt, “Beyond Illusion: American Film and Video Art, 1965-75,” The New Sculpture 1965-1975: Between Geometry and Gesture, Richard Armstrong and Richard Marshall, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1990.
Erik Saks, “20 Best Films of the Decade,” Modern Times, Issue No. 4, April 1990.
Andy Klein, “Standard Gauge,” The Hollywood Reporter, October 8, 1990.

Scott MacDonald, “Morgan Fisher: Film on Film,” Cinema Journal, Vol. 28, No. 2, Winter 1989.
Scott MacDonald, “Putting All Your Eggs in One Basket: A Survey of Single-Shot Films,” Afterimage, Vol. 16, No. 8, March 1989.
David James, Allegories of Cinema: American Film of the Sixties; Princeton: Princeton University Press, 1989.
David Schwartz, “Morgan Fisher,” program note for retrospective at The American Museum of the Moving Image, New York, May 12-May 19, 1989; xerox.
John G. Hanhardt, “Film and Video in the Age of Television,” Image World: Art and Media Culture, Marvin Heiferman and Lisa Phillips, with John G. Hanhardt, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1989.

Steve Anker, “The Avant-Garde; Into the Eighties,” Independent America; New Film 1978-1988; New York: American Museum of the Moving Image, 1988; http://www.movingimagesource.us/images/articles/Independent-America-20090126-145700.pdf
Roger Simon, “At the Boundaries: Standard Gauge, The Avant-Garde, and Postmodernism,” Spectator, Vol. 9, No. 1, Fall 1988.
Yann Beauvais et al, mot:dites,image; exhibition catalogue; Paris: Scratch / Musée National d’Art Moderne, 1988; essay by Yann Beauvais, “Des mots encore des mots,” and Scott MacDonald, “Le texte comme image” (see under “1986” below); in French.

J. Hoberman, “Ten the Hard Way — The 10 Best Films of 1985,” The Village Voice, January 7, 1986.
Scott MacDonald, “Text as Image in Some Recent North American Avant-Garde Films,” Afterimage, March 1986.
Alan Williams, “Standard Gauge,” Film Quarterly, Fall 1986.

J. Hoberman, review of Standard Gauge, The Village Voice, April 30, 1985.
Biennial Exhibition, Richard Armstrong, John G. Hanhardt, et al., editors; exhibtion catalogue; New York: Whitney Museum of American Art, 1985.
P. Adams Sitney, “Rear-Guard,” American Film, July-August 1985.
John G. Hanhardt, “The Passion for Perceiving: Expanded Forms of Film and Video Art,” Art Journal, Fall 1985.

J. Hoberman, “After Avant-Garde Film,” Art After Modernism: Rethinking Representation, Brian Wallis, editor; New York: The New Museum of Contemporary Art, 1984.

Film as Installation II, Leandro Katz, editor; exhibition catalogue; New York: The Clocktower, 1983; essay by MF on Color Balance.

J. Hoberman, “Vulgar Modernism,” Artforum, February 1982.
10 Years of Living Cinema, Vincent Grenier, coordinating editor; exhibition catalogue; New York: Collective for Living Cinema, 1982.

Zeno Birolli, with the collaboration of Franco Ghielmetti, American and French Independent Cinema; exhibition catalogue; Milano: Padiglione d’arte contemporanea – Cineteca Italiana, 1981.
Henry Hills, West Coast: A Survey of Independent/Avantgarde Film; exhibition catalogue; New York: Anthology Film Archives, 1981; essay by Henry Hills, “West Coast Independent Films: An Introduction”; notes by MF on Phi Phenomenon and Cue Rolls.

“The Pleasure Dome,” American Experimental Film 1939-1979, Claes Söderquist, editor; exhibition catalogue; Stockholm: Moderna Museet, 1980; essay by P. Adams Sitney, “The Achievement of the American Avant-Garde Cinema 1960-1970.”

Jonathan Crary, “Revisions: Whitney Museum,” Flash Art, October-November 1979.
Peter Frank, “Guerrilla Gallerizing,” The Village Voice, May 7, 1979.
J. Hoberman, review of Protective Coloration, The Village Voice, October 15, 1979.
Trent Myers, “Re-Visions,” Arts Magazine, September 1979.
Lawrence Van Gelder, “New Film Series Opening at the Modern,” New York Times, April 20, 1979.
Thom Andersen, “Morgan Fisher,” program note for showing in series “Independent Film Makers in Columbus,” Department of Photography and Cinema, Ohio State University, May 4, 1979; mimeograph.
John G. Hanhardt, “Re-Visions: Projects and Proposals in Film and Video”; gallery leaflet; New York: Whitney Museum of American Art, April 19-May 13, 1979.

James Welling, “Pat O’Neill and Morgan Fisher — ‘Film Spaces,’” Artweek, January 14, 1978.

Janet Kardon, Time; exhibition catalogue; Philadelphia: Philadelphia College of Art, 1977.

Linda Gross, “’The ‘Eastern Influence’ in Film Series,” Los Angeles Times, June 11, 1976.
J. Hoberman, “Secrets of the Hand-Held Camera: Films Hollywood Won’t Allow,” Village Voice, April 5, 1976.
Graham Weinbren, “Morgan Fisher — Filming the Process,” Los Angeles Vanguard, June 11-18, 1976.
Alan Williams, Evenings for New Film: Morgan Fisher,” program note for screening at Albright-Knox Art Gallery, presented in collaboration with Media Study/Buffalo and the Center for Media Study, SUNY/Buffalo, January 15, 1976; xerox.

Regina Cornwell, Recent Radical Film, Art Information Distribution, New York, 1975.
John Dorr, FILMEX Shorts, The Hollywood Reporter, March 27, 1975.

Tony Rayns, “Reflected Light: Independent Avant-Garde Festival,” Sight and Sound, Winter 1973/74.
Thom Andersen, Films by Morgan Fisher, program note for screening at Theatre Vanguard, Los Angeles, February 12, 1974; mimeograph.
Kevin Thomas, “Phenomenon of Film Explored,” Los Angeles Times, February 12, 1974.
Amos Vogel, Film as a Subversive Art; New York: Random House, 1974.

Donald Skoller, “The Fisher Phenomenon,” Film Comment, Vol. 9, No. 2, March-April 1973.
Jonas Mekas, Movie Journal, The Village Voice, October 25, 1973.

Donald Skoller, “Aspects of Cinematic Consciousness,” Film Comment, Vol. 8, No. 3, September-October 1972.

Kynaston L. McShine, Information; exhibition catalogue; New York: Museum of Modern Art, 1970.

P. Adams Sitney, Structural Film, Film Culture, No. 47.

Lucas Artist Residency Program, Montalvo Arts Center, Saratoga, California

IASPIS (International Artists Studio Program in Sweden)

Künstlerhaus Stuttgart

Department of Cinema, State University of New York, Binghamton