| In The Beginning, in Wunderkammer, The Artificial Kingdom, The Collection, Lincoln, 2005, pp 6-12 |
| She Rode One of the Wonder Horse Triggers, in Kienholz, Baltic Centre for Contemporary Art, Gateshead / Museum of Contemporary Art Sydney, 2005,, pp 20-23 ISBN: 1-903655-23-4 |
| The Manners of Making and the Useful Bench, in Dunhill & O’Brien, Sculptomatic, James Hockey gallery, Farnham 2005, pp 56-61 ISBN: 0-9543810-8-4 |
| Don’t Forget the Dust Bunnies, in Jonathan Callan, Interference, The New Art Gallery Wassall, 2002, , pp 4-7 ISBN: 0 946652 66 X |
| Auto Roto Font, Mark Hosking, Bookworks, London 2002, pp 13-19 |
| The Same Hare, in Katherina Fritsch, editor Iwona Blaswick, Tate publishing 2002, pp 43-55 ISBN 1 85437 363 3. German translation Pub ; K21 Kunstsammlung im Standehaus, Hatje cantz verlag, Ostfildern-Rust 2002 ISBN 3-7757 1176 |
| Tsunami; Miwa Kojima and Takuro Mikame, Curated by Fernando Palma Rodriguez, 198 Gallery, 2002, p9 |
| It’s in the Corners That You’ll Find it, in Cell: Cella: Celda, curated by Robert Hopper, The Henry Moore Sculpture Trust 1993, pp 15-22 ISBN 0 9517783 66 |
| That Most Admirable Thief, in “ Second Sight” Biennalle IV, Museum of Modern Art San Francisco, 1986, pp 16-18 ISBN 0-918471-08-7 |
| Richard Slee, in British Ceramics, Museum Het Kuit Huis at S-H Ertogen Bosch, Netherlands, 1985, pp 68-71 ISBN 9065 38 1716 |
|
|
|
|
|