Christopher Knight, After the party, the depletion, LOS ANGELES TIMES, 22. February 2008.
Martin Seidel, Élégance, KUNSTFORUM, No. 189, January/February 2008, p. 340.
Caroline Busta, Merlin Carpenter - Reena Spaulings Fine Art, ARTFORUM, December 2007, p. 355.
John Kelsey, (Top Ten), ARTFORUM, December 2007, p. 322.
Frank Frangenberg, Eleganz im bröckelnden Haus, KÖLNER STADT-ANZEIGER, 6. November 2007, p.22.
Amoreen Armetta, Merlin Carpenter, "The Opening", TIME OUT NEW YORK, 18. October 2007, p. 99.
Martha Schwendener, Merlin Carpenter - The Opening, THE NEW YORK TIMES, 5. October 2007, p. E41.
Hans-Jürgen Hafner, Merlin Carpenter "Relax It's Only a Bad Cosima von Bonin Show", SPIKE, No. 11, Spring 2007, p. 95.
Matthias Dusini, Schrei nach Farbe, FALTER (Vienna), No. 9 / 2007, p.60.
Anon, Showcase - Arts & Culture, CREATIVE REVIEW, Vol 27, No. 3, March 2007, p. 36.
Manisha Jothady, Entspannen Sie sich, es ist nur eine schlechte Show, DIE PRESSE (Vienna), 15. February 2007.
Gean Moreno, Merlin Carpenter - Geneva, ART PAPERS, November/December 2006, p. 55.
Sam Lewitt, Club You Can't Get Into, TEXTE ZUR KUNST, No. 63, September 2006, p. 242.
Isabelle Graw, Von Hier Aus, TEXTE ZUR KUNST, No. 63, September 2006, p. 64.
Christian Rattemeyer, "Make Your Own Life: Artists In & Out of Cologne", ARTFORUM, Summer 2006, p. 344.
Roberta Smith, Cologne as Mythic Hot Spot (Cue the Background Music), THE NEW YORK TIMES, 2. June 2006.
Adrian Shaughnessy (preface), non-format (book), Pyramyd, Paris, 2006, p.116.
Katie Stone Sonnenborn, Merlin Carpenter - Reena Spaulings Fine Art, FRIEZE, Issue 97, March 2006, p. 164.
Kirsty Bell, in Art Now Vol 2, ed. Uta Grosenick, Taschen, Köln, 2005, p. 92.
Isabelle Graw, Merlin Carpenter - Galerie Christian Nagel, ARTFORUM, November 2005, p. 265.
Michael Krebber, Außerirdische Zwitterwesen (book), Verlag der Buchhandlung Walter König, Köln, 2005, p. 80 & 122.
Josephine Pryde, Da Bin Ich Machtlos, TEXTE ZUR KUNST, No. 58, June 2005, p. 175.
Mare Næss Olsen, Snøscootere møter 70-tallskunst, BERGENS TILDENDE, 11. March 2005, p. 38.
Benedickte Eriksen, Snøscootere blir kunst, BA (Bergen, Norway), 11. March 2005, p.44.
Victor Zarza, Merlin Carpenter, ABC BLANCO Y NEGRO CULTURAL (Spain), No. 662, 2004, p. 32.
Thomas Groetz (ed.), Berlin 1994-2003, Galerie Max Hetzler, Berlin, 2003, pp. 29 & 40.
Gareth James, Please Kill Me, TEXTE ZUR KUNST, No. 51, September 2003, p. 155.
John Kelsey, Merlin Carpenter - American Fine Arts, Co., ARTFORUM, October 2003, p. 171.
Alex Mar, Gallery - Going, THE NEW YORK SUN, 7. August 2003, p.16.
Ken Johnson, Merlin Carpenter - Children of the Projects, THE NEW YORK TIMES, 13. June 2003, p. E37.
Anon., Focus Painting Part II,
FLASH ART, No. 227, November 2002, p. 81.
Mark Prince, Painting & Photography, ART MONTHLY, October
2002, p. 2.
David Bussel, in Vitamin P, ed. Valérie Breuvart, Phaidon, London/New York, 2002, p. 58.
Barbara Hess, in Art Now, ed. Uta Grosenick and Burkhard Reimschneider, Taschen, Köln, 2002, p. 84.
Michael Krebber, An der langen Leine, TEXTE ZUR KUNST, No. 46, 2002, p. 116 .
Merlin Carpenters Kunstzitate, KÖLNER STADTANZEIGER, 19. Feb. 2002, p. 26.
Matthew Collings, Art Crazy Nation, 21 Publishing, London, 2001, p. 212.
Mark Harris, Merlin Carpenter - Magnani, ART IN AMERICA, July 2001, p. 111.
Michael Wilson, Merlin Carpenter/Sigmar Polke, ART MONTHLY, February 2001, p. 34.
Michael Archer, Merlin Carpenter Magnani, ARTFORUM, February 2001, p. 163.
Stefan Heidenreich, In der Luxuszone, FRANKFURTER ALLGEMEINE ZEITUNG (Berliner Seiten), 17. October 2000.
Peter Herbstreuth, Angriff an der Oberfläche, DER TAGESSPIEGEL (Berlin), 7. October 2000.
Mercedes Bunz, Wo ist Kunst?, DE-BUG (Berlin), October 2000, p. 32.
Anselm Wagner, Das Picabia-Verfahren, FRAME, July/August 2000, p. 62.
Josephine Pryde, Merlin Carpenter at Secession, MODERN PAINTERS, Summer 2000, p. 52.
Martin Prinzhorn, Dislozierte Ikonen, TEXTE ZUR KUNST, No. 38, June 2000, p. 142.
Matthias Dusini, Malen Nach Zahlen, FALTER (Vienna), No. 17, 2000, p. 61.
Markus Mittringer, Bilder auf die feine englische Art, DER STANDARD (Vienna), 30. March 2000, p. 17.
Susanne Leeb, Notorische Zweifel, TEXTE ZUR KUNST, No.35, September 1999, p. 316.
Die Kritik am Betrieb, Kölner Stadt-Anzeiger, 8/9. May 1999, p. 39.
Jutta Koether, Chant No 1, TEXTE ZUR KUNST No. 30, June 1998, p. 168.
Anke Kempkes, Prinzipiell Sekundär, SPEX, March 1998, p. 54.
Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 7. February 1998, p. 29.
Brigitte Werneburg, TAGESZEITUNG (Berlin), 24. January 1998.
Isabelle Graw, Vermintes Gelände, TEXTE ZUR KUNST, No. 23, August 1996.
Gérard A. Goodrow, Ironically Playful, ARTNEWS, September 1994, p. 111.
Roberta Smith, For the New Galleries of the 90s, Small (and Cheap) is Beautiful, NEW YORK TIMES, 22. April 1994.
Joshua Decter, Merlin Carpenter - Petzel/Borgmann, ARTFORUM, Summer 1994.
Gregor Schwering/Christophe Marx, Merlin Carpenter - Max Hetzler, ZYMA, March/April 1993.
Tom Holert, Merlin Carpenter - Max Hetzler, FLASH ART, March 1993.
Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 17. February 1993.
Werner Köhler, Merlin Carpenter - Bruno Brunnett Fine Arts, ARTIS, June 1993.
Ulrich Clewing, Frech Kommt Weiter, ZITTY (Berlin), March 1993.
The Tail That Wags The Dog, for the forthcoming reader of the Canvases and Careers Symposium at Institut Für Kunstkritik in Frankfurt.
David Hockney, 1971, TEXTE ZUR KUNST, No. 67, September 2007, p. 183 & p. 270.
Back Seat Driver, in PACEMAKER, Paris, June 2004.
Back Seat Driver, in Gitarren, die nicht Gudrun heißen, Herausgegeben von Thomas Groetz, Galerie Max Hetzler/Holzwarth Publications, Berlin, 2002.
Media Guy, TEXTE ZUR KUNST, No. 45, March 2002, p.155.
The Sound of Bamboo, catalogue essay for Apothekerman by Michael Krebber, pub. Kunstverein Braunschweig, Stätische Galerie Wolfsburg, Walther König, 2000.
The Protest Had Already Impacted on London in the Form of its Absence, with Anthony Davies, in catalogue for the exhibition As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.
Concentration, A.N.Y.P. No. 9 1999, p. 7.
Der Nichtzerbrochene Nichtspiegel, TEXTE ZUR KUNST, No. 31 September 1998, p. 66.
The Charlatans, SPEX, September 1997, p. 12.
Ein Haufen Sprache (Robert Smithson), SPEX, Febrauary 1997, p. 53.
Robert Smithson, TEXTE ZUR KUNST, No. 5 1992, p. 205.
I Was an Assistant, TEXTE ZUR KUNST, No. 1 Autumn 1990, p.119.
Various reviews, ARTSCRIBE, 1988-90.
Relax It's Only a Bad Cosima von Bonin Show, Galerie Bleich-Rossi, Vienna, 2007.
Nueva Generación, Distrito 4, Madrid, 2004.
Militant, Christian Nagel Gallery, Cologne, 2002.
Jewels-in-Art, (with Jeremy Glogan, Josephine Pryde and Sarah Staton), Galerie Bleich-Rossi, Graz, 2001.
As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.
Voluntary Effort, for an exhibition at Tom Solomon's Garage, Los Angeles, 1995.
Meet You by the Strange Twisted Old Oak Tree on the Secluded Knoll at Dawn in Your Swimming Trunks and I'll Tell You Something Secret, Published by MC and Nils Norman for exhibition at Galerie Z, Göttingen, 1993.
(All VHS PAL Format, except *)
Untitled, 1991. Documentation on To the extreme for Luhring Augustine group show (not shown).
Untitled, 1992. Blow-Up remake for Meadow/Wiese.
Why Henry Bond Left the Art Fair So Quickly, 1994. For Omron screening, London, 1995.
Love is a Contact Sport, 1998. Part of Doppelganger.
The Making of 1945, 1997. Screened at the McAllister Institute, New York, March 2002.
Cancer,
2004. * format: Quicktime movie. Screened at the generic video
nite at Flaxman Lodge, London, September 2004