2023 | In Praise of Still Boys | 180 Studios | London |
2023 | Signals: How Video Transformed the World | MoMA | New York |
2023 | No Finish Line | Nike | Oregon |
2022 | Marc Camille Chaimowicz: Reverie, Its Practice and Means of Display | Musée d’art moderne et contemporain de Saint-Étienne (MAMC) | Saint-Étienne |
2022 | Christian Marclay | Centre Georges Pompidou | Paris |
2022 | Revolutions of Choice | Barkow Leibinger | Berlin |
2022 | Hervé Télémaque: A Hopscotch of the Mind | Serpentine Galleries | London |
2021 | Hessel Collection | CCS Bard Center for Curatorial Studies | Annandale on Hudson |
2021 | Bruce Nauman: Contrapposto Studies | Pinault Collection | Venice |
2021 | Albert Oehlen: Tramonto Spaventoso | Gagosian Gallery | Los Angeles |
2021 | Your Room Your Dreams | Paco Rabanne | Paris |
2021 | ICONS | NikeOff-White™Taschen | Oregon |
2020 | Closer to Life | CCS Bard Center for Curatorial Studies | Annandale on Hudson |
2020 | Bruce Nauman | Tate Modern | London |
2020 | Toyin Ojih Odutola: A Countervailing Theory | Barbican Centre | London |
2019 | Albert Oehlen: The John Graham Remix | Serpentine GalleriesGagosian Gallery | London |
2019 | Hans Ulrich Obrist: An Exhibition Always Hides Another Exhibition | Sternberg Press | Berlin |
2019 | Trevor Paglen: From “Apple” to “Anomaly” | Barbican Centre | London |
2019 | Is This Tomorrow? | Whitechapel Gallery | London |
2019 | Daria Martin: Tonight the World | Barbican Centre | London |
2018 | Typecasting Catalogue | Vitra | Milan |
2018 | Francis Upritchard: Wetwang Slack | Barbican Centre | London |
2018 | Fredrik Værslev as I Imagine Him | JRP|RingierAstrup Fearnley Museet | Oslo |
2018 | Speculations on Anonymous Material, nature after nature, Inhuman | FridericianumKoenig Books | Kassel |
2018 | Artists in the Archive: Creative and Curatorial Engagements with Documents of Art and Performance | Routledge | London |
2018 | Omar Kholeif: Goobye, World! Looking at Art in the Digital Age | Sternberg Press | Berlin |
2018 | Yto Barrada: Agadir | Barbican Centre | London |
2017 | Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus | Sternberg Press | Berlin |
2017 | John Akomfrah: Purple | Barbican Centre | London |
2017 | Matias Faldbakken: Effects of Good Government in a Pit | Astrup Fearnley Museet | Oslo |
2017 | 2017 Chicago Architecture Biennial: Make New History | Chicago Architecture Biennial | Chicago |
2017 | Hiwa K: Don’t Shrink Me to the Size of a Bullet | KW Institute for Contemporary Art | Berlin |
2017 | Anne Imhof: Faust | German Pavilion at La Biennale di Venezia | Venice |
2017 | Flood of Rights | LUMA FoundationCCS Bard Center for Curatorial Studies | Arles |
2017 | Richard Mosse: Incoming | Barbican Centre | London |
2006–16 | AA Publications | AA PublicationsArchitectural Association | London |
2006–16 | Architecture Words | AA PublicationsArchitectural Association | London |
2008–16 | Bedford Press | Bedford PressArchitectural Association | London |
2016 | Bedwyr Williams: The Gulch | Barbican Centre | London |
2016 | Cedric Price Works 1952–2003: A Forward-Minded Retrospective | Canadian Centre for ArchitectureArchitectural Association | London |
2016 | Crossbenching | Sternberg Press | Berlin |
2016 | Imran Qureshi: Where the Shadows are so Deep | Barbican Centre | London |
2016 | Invisible Adversaries | Hessel Museum of ArtCCS Bard Center for Curatorial Studies | New York |
2016 | Sean Scully, Horizon | Timothy Taylor | London |
2015 | After Year Zero: Geographies of Collaboration since 1945 | University of Chicago Press | WarsawBerlin |
2015 | Eddie Peake: The Forever Loop | Barbican Centre | London |
2015 | Imponderable: The Archives of Tony Oursler | LUMA FoundationJRP|Ringier | Arles |
2015 | Modern Monsters | Spector BooksTaipei Fine Arts Museum | Taipei |
2015 | Realism Materialism Art | CCS Bard Center for Curatorial Studies | Annandale on Hudson |
2015 | Roman Signer: Slow Movement | Barbican Centre | London |
2014 | Aalto | Phaidon | London |
2014 | Berlin Biennale Guidebook | KW Institute for Contemporary ArtHatje Cantz | Berlin |
2014 | Ed Atkins: A Seer Reader | Serpentine Galleries | London |
2014 | FORENSIS | Sternberg PressGoldsmiths, University of LondonHaus der Kulturen der Welt | London |
2014 | Hans Ulrich Obrist: Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground | Sternberg Press | Berlin |
2014 | Spielraum | Barkow LeibingerHatje Cantz | Berlin |
2013 | and Materials and Money and Crisis | mumok | Vienna |
2013 | Bricoleur Bricolage | Architectural Association | London |
2013 | The Human Snapshot | CCS Bard Center for Curatorial Studies | Annandale on Hudson |
2012 | God & Co: Francois Dallegret Beyond the Bubble | Architectural Association | London |
2012 | Albtraum Partizipation | Merve Verlag | Berlin |
2012 | Cosey, Complex | ICA London | London |
2012— | Critical Spatial Practice Series | Sternberg Press | Berlin |
2011 | Hans Ulrich Obrist: Everything You Always Wanted to Know About Curating* | Sternberg Press | Berlin |
2009 | Serpentine Gallery Manifesto Marathon | Serpentine Galleries | London |
2008 | L.A.W.U.N Project #19 | Architectural Association | London |
2008— | Solution Series | Sternberg Press | Berlin |