Rachel Lachowicz

View as PDF


1988 B.F.A. California Institute of the Arts, Valencia, CA 



Berkeley Art Museum, UC Berkeley, Berkeley, CA
Bronx Museum, NY
The Denver Art Museum, Denver, CO
Israel Museum, Jerusalem
Los Angeles County Museum of Art
Museum of Fine Arts, Boston
Museum of Contemporary Art, Los Angeles
Museum Moderner Kunst, Palais Lichtenstein, Vienna
Orange County Museum of Art, Newport Beach, CA
Palm Springs Museum, Palm Springs, CA
Rose Art Museum, Brandeis University, Waltham, MA
Whitney Museum of American Art, New York


2016 Shoshana Wayne Gallery, Santa Monica, CA
2016 Sam Hill Warehouse Gallery, Prescott College, Prescott, AZ
2016 Eastern Star Gallery, Archer School for Girls, Brentwood CA
2013 Shoshana Wayne Gallery, Santa Monica, CA
2010 Shoshana Wayne Gallery, Santa Monica, CA
2006 Patricia Sweetow Gallery, San Francisco, CA
2005 Shoshana Wayne Gallery, Santa Monica, CA

2001 Chrysalis, light project, Los Angeles, CA 
2000 Kapinos Galerie fur Zeitgenössische Kunst, Berlin, Germany
1999 Peggy Phelps Gallery, Claremont Graduate University, Claremont, CA
1998 Cristinerose Gallery, New York, NY
1997 Dogenhaus Galerie, Berlin, Germany
1996 Shoshana Wayne Gallery, Santa Monica, CA
1995 Magazin 4, Vorarlberger Kunstverein, Bregenz, Austria
1995 Fawbush Gallery, New York, NY
1993 Shoshana Wayne Gallery, Santa Monica, CA
1993 Rhona Hoffman Gallery, Chicago, IL
1992 Newport Harbor Art Museum, Newport Beach, CA
1992 Fawbush Gallery, New York, NY
1991 Shoshana Wayne Gallery, Santa Monica, CA
1991 Dennis Anderson Gallery, Antwerp, Belgium
1990 Krygier/Landau Contemporary Art, Santa Monica, CA
1989 Krygier/Landau Contemporary Art, Santa Monica, CA
1989 Dennis Anderson Gallery, Los Angeles, CA


No Place Like Home, Israel Museum of Art, Jerusalem

Touch, El Segundo Museum of Art, El Segundo, CA
Feigned: Real and Not Real Everyday Things, Sam Francis Gallery, Crossroads School, Santa Monica, CA
Variations: Conversations in and around Abstract Painting, LACMA, Los Angeles, CA
Rhizome: Multiplicities of Abstraction, ShoshanaWayne Gallery, Santa Monica, CA 

Floor Flowers, Peggy Phelps Gallery, Claremont Graduate University, Claremont, CA
Variations: Conversations in and around Abstract Painting, LACMA, Los Angeles, CA 

Altered Pulse, Museo Universitario Arte Contemporáneo, Mexico City, Mexico
Some Fine Women, Vast Spaces Projects, Las Vegas, NV
Freeway Studies #1: This Side of the 405, Ben Maltz Gallery, OTIS, Los Angeles, CA
Poesia, Städtische Galerie Delmenhorst, Delmenhorst, Germany
ReMODEL 2, CGU East Gallery, Claremont Graduate University, Claremont, CA 

Rachel Lachowicz + John McCracken, Orange County Museum of Art, New Port Beach, CA
Daylight Saving Time: CGU Faculty/Staff Exhibition, CGU East & Peggy Phelps Galleries, Claremont, CA 

429INSPIRED, The Epic Hotel, Miami, FL
Body Gesture, Elizabeth Leach, Portland, OR

(re-): un-historical documents, The Guggenheim Gallery at Chapman University, Orange, CA
Pink Miami, Cerritos College, Norwalk, CA 
Think Pink, Gavlak, West Palm Beach, FL

Focus: The Figure, Denver Art Museum, CO (lecture series)

Summer 2008, Shoshana Wayne Gallery, Santa Monica, CA
Infrastructures, Wignall Museum at Chaffey College, CA
Project for a New American Century, Rose Art Museum, Brandeis University, MA
Making It Happen, Bronx Museum, NY
Highlights of the Permanent Collection, Bronx Museum of the Arts, NY

Dangerous Beauty, Palazzo Delle Arti Napoli, Naples, Italy
Art Since the 1960s: California Experiments, Orange County Museum of Art, CA
Soft Core, Kim Light Gallery, Los Angeles, CA
Group Show, Shoshana Wayne Gallery, Santa Monica, CA
Five Stories Higher, Track 16 Gallery, Santa Monica, CA

Matter of Fact, Manhattan Beach Art Center, CA
Reverence: awe.admiration.love.devotion.honor.respect, Hudson Valley Center for Contemporary Art, Peekskill, NY
Flowers in Contemporary Art, Benaki Museum, Athens, Greece
Raw Materials, Riverside Art Museum, Riverside, CA
100 Artists See God, Cheekwood Museum of Art, Nashville, TN

100 Artists See God, ICA, London, England
100 Artists See God, Contemporary Art Center of Virginia, Virginia Beach, VA
100 Artists See God, Albright College Freedman Art Gallery, Reading, PA

100 Artists See God, The Contemporary Jewish Museum, San Francisco, CA
100 Artists See God, Laguna Art Museum, Orange Country, CA
Santa Monica Originals, Arena 1, Santa Monica Airport, CA

Influence, Anxiety, and Gratitude, The Mit List Visual Arts Center, Cambridge, MA, curated by Bill Arning
100 Artists See God, Naples Art Museum, Naples, FL, travelling (catalog), curated by John Baldessari and Meg Cranston

Dangerous Beauty, The Jewish Community Center, New York, NY.
Profiler, Canterbury Royal Museum and Art Gallery, Canterbury, Kent
Retrospectacle: 25 Years of Collecting Modern and Contemporary Art, Denver Art Museum, Denver, CO
100 Artists See God, curated by John Baldessari and Meg Cranston for the Independent Curators Incorporated, traveling, (catalogue)
Art after Art, Neues Museum, Weserburg Bremen, Germany (catalogue)
Structure, Patricia Sweetow Gallery, San Francisco, CA
That Place, The Moore Space, Miami, FL

Song Poem, curated by Steven Hull, Cohan Leslie and Browne, New York, NY
Locating Drawing, organized by Maureen Mahony and Doug Lawing, Lawing Gallery, Houston, TX
Enduring Love, Klemens Gasser & Tanja Grunert, Inc., New York, NY

Made in California 1900-2000, Los Angeles County Museum of Art, CA
Shades of Grey, Boulder Museum of Contemporary Art, CO
Box Project, Museum of Installation, London, England, travelling to: Angel Row Gallery, Nottingham, England, and Turnpike Gallery, Greater Manchester, England

Post-War, Pre-Millenium: Works from the Collection of the Denver Art Museum, University of Colorado, Boulder Art Gallery, Boulder, CO
Ideas in Things, curated by Tim Jahns, Irvine Fine Arts Center, Irvine, CA
54 X 54 X 54: 54 snapshots, 54 artists, 54 pounds a photo, organized by Michael Petry, Museum of Contemporary Art, London, England (catalogue)
The Time of Our Lives, The New Museum, New York, NY
Sans Titre: Works from the Collection of Peggy, David and Scott Teplitzky, Boulder Museum of Contemporary Art, CO

Cleveland Collects Contemporary Art, curated by Tom E. Hinson, Cleveland Museum of Art, OH
Inner Eye: Contemporary Art from the Marc and Livia Straus Collection, Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL
Double Trouble: The Patchett Collection, Museum of Contemporary Art, San Diego, CA (traveling)

Simple Form, curated by Sheryl Conkelton, Henry Art Gallery, University of Washington, Seattle
LAX, Dogenhaus Galerie, Leipzig, Germany
Fracturing the Gaze, Lawing Gallery, Houston, TX
Boxes for Musee Imaginaire, Museum of Installation, London, England
Filler, Shoshana Wayne Gallery, Santa Monica, CA
Critiques of Pure Abstraction, curated by Mark Rosenthal for the Independent Curators Incorporated, traveling to Krannert Art Museum, University of Illinois, Champaign, IL; Frederick R. Weisman Museum, University of Minnesota, Minneapolis, MN

Just Past: The Contemporary in the Permanent Collection, 1975-96, Museum of Contemporary Art, Los Angeles
Some Grids, Los Angeles County Museum of Art
Praticas Transgressivas: Women in Red, Galeria Luis Serpa, Lisbon, Portugal
B.F.K.L.T., Silverstein Gallery, New York, NY
The Paranoid Machine, curated by Michael Cohen, Shoshana Wayne Gallery, Santa Monica, CA
Critiques of Pure Abstraction, curated by Mark Rosenthal for the IndependentCurators Incorporated, traveling to UCLA/Armand Hammer Museum of Art and Cultural Center, Los Angeles; Crocker Art Museum, Sacramento, CA; Madison Art Center, WI; The Lowe Art Museum, Coral Gables, FL

Images of Masculinity, Victoria Miro Gallery, London, England
Duchamp’s Leg, curated by Elizabeth Armstrong, Center for the Fine Arts, Miami
Passions Privees, Musee d’Art Moderne de la Ville de Paris, France (catalogue)

Inside Out, Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue)
Critiques of Pure Abstraction, curated by Mark Rosenthal for the Independent Curators Incorporated, traveling to Sarah Blaffer Campbell Gallery, University of Houston, TX; Illingworth Kerr Gallery of the Alberta College of Art & Design, Calgary, Alberta, Canada; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln (catalogue)
Action/Performance and the Photograph, curated by Craig Krull, traveling to Allen Memorial Museum, Oberlin College, Oberlin, OH; Hatton Gallery, Colorado State University, Fort Collins, CO; Presentation House Gallery, Vancouver, British Columbia, Canada; Mount St. Vincent University and St. Mary’s University, Halifax, Nova Scotia, Canada; Reese Bullen Gallery, Humbolt State University, Arcata, CA; Forum for Contemporary Art, St. Louis, MO; Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, KS; Mishkin Gallery, Baruch College, New York, NY. (catalogue)

Duchamp’s Leg, curated by Elizabeth Armstrong, Walker Art Center, Minneapolis, MN
Identity, the Logic of Appearance, curated by Shoshana Blank, Galerie Krinzinger, Vienna, Austria
Sense and Sensibility: Women and Minimalism in the Nineties, curated by Lynn Zelevansky, Museum of Modern Art, New York, NY (catalogue)
Working Around Warhol, Pittsburgh Center for the Arts, Pittsburgh, PA
The Art of Seduction, curated by Bonnie Clearwater, The Center Gallery at Miami Dade Community College, Miami, (catalogue)

Fourth Newport Biennial Southern California 1993, curated by Bruce Guenther, Newport Harbor Art Museum, Newport Beach, CA (catalogue)
Action/Performance and the Photograph, Turner/Krull Gallery, Los Angeles, CA
Fall from Fashion, curated by Barry A. Rosenberg, Aldrich Museum, Ridgefield, CT
Disorderly Conduct, P.P.O.W. New York, NY, in cooperation with Nina Felshin
Venice Biennale “Aperto 93”, curated by Christian Leigh and Pedro Almodovar, Venice, Italy
Fontannelle – Incidents of Art, curated by Christoph Tannert and Micha Kapinos, Potsdam, Germany (catalogue)
bODD, Basel Art Fair, Switzerland
Body Parts, Haines Gallery, San Francisco, CA
Naming of the Colors, curated by Bill Arning, White Columns, New York, NY (catalogue)
Fear the Future, curated by Dianne Vanderlip, Denver Art Museum, Denver, CO
I Am the Enunciator, curated by Christian Leigh, Thread Waxing Space, New York, NY (catalogue) 

Fever, curated by Jeanett Ingberman and Papo Colo, Exit Art/The First World, New York, NY
The Anti-Masculine (Overlapping but not corresponding to the feminine), curated by Bill Arning, Kim Light Gallery, Los Angeles, CA
Abstraction for the Information Age, curated by Irit Krygier, The Works Gallery, Costa Mesa, CA
Getting to Know You: Sexual Insurrection and Resistance, organized by Christoph Tannert and Dean McNeil, Kunstlerhaus Bethanien, Berlin, Germany (catalogue)
The Auto-Erotic Object, curated by Julie Carson, Hunter College, New York, NY (catalogue)
Installations and Constructions, Tavelli Williams Gallery, Aspen, CO
In Pursuit of a Devoted Repulsion, Roy Boyd Gallery, Santa Monica, CA
Summer 1992, Shoshana Wayne Gallery, Santa Monica, CA
1992 The Fiar International, Milan, Rome, Paris, London, New York, Los Angeles
Ornament: Ho Hum All Ye Faithful, John Post Lee Gallery, New York, NY

Facing the Finish: Some Recent California Art, San Francisco Museum of Modern Art, CA; Santa Barbara Contemporary Arts Forum, CA; Art Center, Pasadena, CA
Plastic Fantastic Lover, Blum Helman Warehouse, New York
The Lick of the Eye, curated by David Pagel, Shoshana Wayne Gallery, Santa Monica, CA
Group Show, Dennis Anderson Gallery, Antwerp, Belgium
Five Days, Thomas Solomon’s Garage, Los Angeles, CA

Aperto, Galleria Notturna d’Arte Contemporanea, Milan, Italy
Membership Has Its Privileges, a collaboration with Gary Simmons, Lang & O’Hara Gallery, New York, NY
Spirit of Our Time Contemporary Arts Forum, Santa Barbara, CA

Modern Objects, Richard/Bennett Gallery, Los Angeles, CA
Sculpture from New York and Los Angeles, Krygier/Landau Contemporary Art, Santa Monica, CA

2nd PACIFIC A-MORE CHRISTMAS EXHIBITION, curated by Thomas Solomon, Los Angeles, CA


2003 John Simon Guggenheim Memorial Fellowship
2001 The Edward C. Field Award
2001 Lightproject Art Foundation
1995 Louis Comfort Tiffany Foundation Award
1991 Art Matters
1988 Skowhegan School of Painting and Sculpture Fellowship, Skowhegan, ME


Claremont Graduate University, Claremont, CA- Art Department
2007- Present Assistant Professor- Sculpture/Installation Core Faculty

Claremont Graduate University, Claremont, CA- Art Department
1995-2006- Adjunct Professor

Art Center, College of Design, Pasadena, CA- Fine Art Department
1993-2005- Adjunct Professor

California Institute of the Arts, Valencia, CA
1995- Adjunct Professor


Lachowicz, Rachel. “Material Specificity and the Index of the Feminine.” Art Journal

Chheda, Tanvi. “An Artistic Melting Pot”, Delta Sky Magazine, January, 2014

2013 Mizota, Sharon. “Rachel Lachowicz gives gender roles an intriguing makeover”, L.A. Times, November, 2013.
Triliegi, Joshua. “Rachel Lachowicz at Shoshana Wayne Gallery”, BUREAU MAGAZINE, November 2013.
Wagley, Catherine. “Five things art to do in LA” LA Weekly October 23.

“Pulso Alterado – Intensidades en la Colección del MUAC y sus Colecciones Asociadas”, arte red, August 2013.
Baude, Dawn-Michelle. “’Some Fine Women’ at Vast Space Projects is a Robust Top-Grade Show. Las Vegas Weekly. August 7, 2013.

Jones, Amelia & Melrod, George, Rachel Lachowicz. Seattle: Marquandt, 2012. Print.

Wood, Eve. “Rachel Lachowicz – Shoshana Wayne Gallery.” Artillery. January/February Issue 2011.
Zellen, Jody. “Los Angeles: Rachel Lachowicz at Shoshana Wayne Gallery.” Art Ltd. January/February Issue 2011.

Butler, Cornelia, Pollock, Griselda, & Schwartz, Alexander, Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art

“Haiku Reviews: Robert Rauschenberg, Martin Mull, Babes in Arms & More I San Francisco, LA, New York.” The Huffington Post. December 23, 2010.
Dimant, Elyssa. Minimalism and Fashion: Reduction in the Postmodern Era. New York: Harper Collins, 2010. Print.
Jones, Nancy. “Scandalous, Subversive.” Transgressive.” Art Slant. March 11.
Wagley, Catherine. “Looking at Los Angeles: Seen and Felt.” Art21 Magazine. November 11, 2010. 

Homberger, Elizabeth & Patterson, Carl. “Kiss and tell: The conservation of lipstick-based work by Rachel Lachowicz.” American Institute for Conservation of Historic and Artistic Works. Volume 16.

Hinds, Katherine, & Plagens, Peter, The Martin Z. Margulies Collection. New York: DAP

Mathews, Elizabeth. “Delving Deeper into the L.A. Art World: Artist Rachel Lachowicz Adds Some Foundation. LAX-Magazine. Summer 2008.

Collins, Judith, Sculpture Today, London: Phaidon Press Ltd, Oct 1, 2007.
Slome, Manon, Dangerous Beauty, Chelsea Art Museum.

Porges, Maria, “Rachel Lachowicz: Patricia Sweetow Gallery”, Artforum, February 2006, p. 217.
Harvey, Doug, LA Weekly, “Hurd So Good”, July 28-August 3
Van Proyen, Mark, “Rachel Lachowicz at Patricia Sweetow Gallery”, Artweek, December/January 2006, p. 11-12.
Schlegel, Eva, L.A.Women, Vienna,: Schlebrugge, Distributed by DAP

Frank, Peter, “Art Picks of the Week, Erica Rothenberg, Rachel Lachowicz”, L.A. Weekly, April 8-14.
Cussi, Paola, “Rachel Lachowicz: Shoshana Wayne Gallery, Santa Monica”, Modern Painters, June 2005.
Spaulding, Karen Lee, The Natalie and Irving Forman Collection, Buffalo: Albright Knox Art Gallery.

Kuspit, Donald. The End of Art, New York: Cambridge University Press.
Baldessari, John & Cranston, Meg. 100 Artists See God. New York: Independent Curators International.

Varnedoe, Kirk, Pictures of Nothing: Abstract Art Since Pollock, New Jersey: Princeton University Press, 2003

2002 Jones, Amelia & Warr, Tracy. The Artist’s Body. New York: Phaidon.

Berry, Colin, “Conceptual Color: In lbers’ Afterimage’ at SFSU”, Artweek, November

Hughes, Robert, “A Flawed Ex-Paradise,” Time, December 11. McKenna, Kristine, “California Dreaming,” Los Angeles Magazine, November.
Muchnic, Suzanne, “In These United States of California,” Los Angeles Times Calendar, September 17.
Pincus, Robert L., “The California Condition,” The San Diego Union-Tribune, November 26.
Weinraub, Bernard, “Beyond Tans and Tinsel,” The New York Times, October 23.
Rosset, Yves, “Die Kunst der Beschwörung”, die tageszeltung, May 9

Ellegood, Anne, “Old Dogs, New Tricks”, The Time of Our Lives (catalogue), New York, New Museum of Contemporary Art.
Chandler, Mary. “ A Show With Collective Soul.” Spotlight. January 15.
Hayden, Niki. “’Sans Titre’ Couple’s Collection Makes for Eclectic Exhibit” Daily Camera. January 15.
Mendenhall, Lauri. “Unexpected Puppeteers” Coast. November.
Schoenkopf, Rebecca. “It’s Quite Clearly a Monkey” OC Weekly September 30.
Chattopadyay, Collette, “Ideas in Things’ at Irvine Arts Center. Artweek.
Bradley, Jeff. “Art Fills Nooks in Boulder”. Denver Post. January 28.

Heath, Jennifer. “Dream Show at BMoCA” Boulder Planet. January.
Blizzard, Peggy. “Art in the Show Conveys ‘Ideas in Things’” Irvine World News. September 16.
Walsh, Daniella. “Rethinking the Familiar in Art”. Orange County Register. October 3.

Thiel, Wolf-Günter, “Rachel Lachowicz: Dogenhaus Projekte,” Flash Art, January/February, pp.119-120.

Hobbs, Robert. “Rachel Lachowicz: Appropriating Appropriation. Rachel Lachowicz. New York: Christinerose Gallery
Armstrong, Elizabeth. Double Trouble: The Patchett Collection. San Diego: Museum of Contemporary Art, San Diego.
Vanderlip, Diane. The View From Denver: Contemporary Art From the Denver Art Museum. Vienna: Museum Moderner Kunst.

“Anspruchsvoller Feuerteufel: Rachel Lachowicz zu_delt am Image,” Ticket Berlin, November 27 – December 3.
Farr, Sheila, “The Hit List,” Seattle Weekly, December 3.
Frederikson, Eric, “Simple Not Plain,” Stanger, November 27.
Hackett, Regina, “Minimalism Takes New Froms in Henry Exhibit,” Seattle Post- Intelligencer, November 18.
Kreis, Elfi, “Parforceritt durch die Design-Geschichte: Die Dogenhaus Projekte zeigen Arbeiten der Amerikanerin Rachel Lachowicz,” Seite 28/Der Tagesspiegel Sonnabend, November 22.
Preuss, Sebastian “Zwischen Schlafzimmer und Afrika,” Berliner Zeitung, No. 261, November 8, 9.
Tannert, von Christophe, “Das Schöne muss verderben,” Berliner Zeitung, December 5.
Updike, Robin, “Minimalist Sculpture in a Spacious Room: Poles, Lights and Lipstick Fill Henry,” Seattle Times, November 14.
Werneburg, Brigitte, “Ornament und Bananenröckchen,” die tageszeitung Sonnabend/Sonntag, November 8-9.

Clowes, Judy, “Art vs Art,” Isthmus, June 7, p.22.
Grabner, Michelle, “Reviews: Wisconsin, ‘Critiques of Pure Abstraction,'” New Art Examiner, November, p.38.
Fiore, Kristin, “Professional Criticism: The Armand Hammer’s ‘Critiques of Abstraction’…,” Daily Bruin, February 5, pp.21, 24, 25.
Frank, Peter, “Yoko Ono, Rachel Lachowicz, Art Picks of the Week,” LA Weekly, April 26-May 2, p.134.
Frank, Peter, “Art Pick of the Week, `Critiques of Pure Abstraction,” LA Weekly, March 8-14, p.126.
Kandel, Susan, “Feminine Critique,” Los Angeles Times, April 19, pp.F25, F28.
Knight, Christopher, “Curatorial Concept in Search of an Enemy,” Los Angeles Times, February 11, pp.57-58.

Welchman, John, “Para Metrology: From the White Cube to the Rainbow Net,” Art + Text, Number 53, pp.58-65.

Chadwick, Susan, “Abstracts on Abstraction,” The Houston Post, Friday, January 27, P.G8.
Chadwick, Susan, “3 Exhibits on Abstract Painting Worth a Visit,” The Houston Post, February 2, P.D8.
Marino, Melanie, “Rachel Lachowicz at Fawbush,” Art in America, June, p.105.
James, Eric, “Blaffer Gallery Goes Abstract with Latest Exhibit,” The Daily Cougar, February 1.

Johnson, Patricia,”Pushing Past Purity: Exhibition Traces Continuity of Abstract Painting through ’90’s Attempts to Reshape It,” Houston Chronicle, January 30, pp. 12,16.
Rosenthal, Mark, Critiques of Pure Abstraction. New York: Independent Curators Incorporated

Schiche, Ericka, “Abstract Divorce,” Public News, February 22, p.12.
Shaw, Brittain, “Blaffer Exhibit Puts Abstraction in Modern Light,” Houston Chronicle, January 28, pp.1, 4.
Wolgamott, L. Kent, “Purely Abstract,” Lincoln Journal Star, November 26, p.13H.
MacMillan, “’Critiques” Becomes Tribute to Abstraction- Sheldon Show Hurt By Assumptions, Generalizations.” World Herald.

Broude, Norma. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Harry N Abrams, 1994.
Agee, William, Donald Judd in Retrospect, Pave Gallery, NYC.
Avgikos, Jan, “Sense and Sensibility, Museum of Modern Art,” Artforum, October, pp.98-99.

Clearwater, Bonnie, The Art of Seduction, Miami-Dade Community College, FL (exhibition catalogue).
Heartney, Eleanor, “Sense and Sensibility,” art press, October, pp.2-3.
Hess, Elizabeth, “Minimal Women, ‘Sense & Sensibility: Women Artists & _____. Minimalism in the Nineties,'” Village Voice, July 5, pp.91-92.
Knight, Christopher, “‘Bad Girls’: Feminism on Wry,” Los Angeles Times, February 8, p.F1.
Lavin, Maud, “What’s So Bad About ‘Bad Girl’ Art?” Ms.Magazine, March/April, p.80.
Potter, Chris,”Site,” Pittsburgh Newsweekly, July 7-13, p.34.
Rugoff,Ralph, “Beep Beep Toot Toot: The Trouble with ‘Bad Girls,'” LA Weekly, February 18, p.43.
Smith, Roberta, “Scant Space for Show by Women,” The New York Times. June 24, p.B6.
Smith, Roberta, “Body of Evidence,” Vogue, August, pp.152, 154, 158.
Smith, Roberta, “A Raucous Caucus of Feminists Being Bad,” The New York Times, January 21, p.B1.
Turner, Elisa, “Seducing viewers with Questions of Art,” The Miami Herald. January 30, p.101.
Turner, Elisa, “The Art of Seduction,” ARTnews, Summer, p.184.
Tucker, Marcia, 
Bad Girls. Cambridge: MIT Press.

Artner, Alan G., “Post Feminist Feminism,” Chicago Tribune, Friday, February 12.
Bonetti, David, “Artists Find Fresh Ways of Looking at the Human Torso,” San Francisco Examiner, Friday, May 28, p.E11.

Clewing, Ulrich, Zitty, November 2, p.195.
Curtis, Cathy, “Los Angeles, NY Art Scenes: More Than Just Miles Apart,” Los Angeles Times, October 25, p.F10.
Curtis, Cathy, “Painting Pictures,” Los Angeles Times, Orange County Live, October 14, p.3, 4, 9, 16.
Donato, Debora Duez, “Rachel Lachowicz,” New Art Examiner, April.
“Fine Art,” Mademoiselle, May, p.94.
Felshin, Nina, “Afterword: Women and Children First- Terrorism on the Home Front” Politics and Imagery of Terrorism. Seattle: Bay Press. 

Fourth Newport Biennial Southern California, exhibition catalogue by Bruce Guenther, Newport Harbor Museum, September, p.26.
Fontanelle, exhibition catalogue, Kunstpeicher, Potsdam, Germany, September, p.234.
Geer, Suvan, “Remodeled Desire, Rachel Lachowicz and Margaret Honda at Shoshana Wayne Gallery,” Artweek, December 2, p.16.
Hammer, Klaus, “Ikonen der Alltaglichkeit,” Neue Zeit, January 14.
Hayden, Niki, “‘First’ Exhibit Shows off Newest Works,” Boulder Daily Camera. Levin, Village Voice, July 27.
Levin, Village Voice, July 27.
Melrod, George, “Lip Shtick,” Vogue, June, pp.88-90.

Rosen, Steven, “First Sightings,” Denver Post, April 4.
Roman, Shari, “In Your Face Art – Art Attack In L.A.,” In Fashion, March, p.96.
Porges, Maria, “Openings: Rachel Lachowicz,” Artforum, January, p.80.
Sacharow, Anya, “`Fever,’ Fashion and Foreign Affairs,” ARTnews, February.
Scarborough, James, “Guys & Dolls, The Anti-Masculine at Kim Light Gallery,” Artweek, February 4, p.23.
Scarborough, James, “One Thing or Another,” Artweek, September 23, p.18.

Scarborough, James, “:Rachel Lachowicz – Newport Harbor Art Museum,”” Flash Art, March, p.86.
Silver, Lisa, “They’ve Got The ‘Fever,'” Paper Magazine, February.
Smith, Roberta, “Group Shows In SoHo for a Weekend of Gallery Hopping,” The New York Times, Friday, January 15, p.C30.
The Naming of the Colors, exhibition catalogue, White Columns, New York.
Vincent, Steve, “Exit Art’s Clintonian Return,” Art & Auction, February.
Wilson, William, “Thoughts Go Public at Newport Harbor,” Orange County Art Review, October 6, pp.F1, F6.
Wilson, William, “Biennial Uses Humorous Paradox to Tackle Issues,” Los Angeles Times, October 9, p.F13.
Wilson, William, “Local Traditions Alive in FIAR Exhibit,” Los Angeles Times, February 6, p.F12.

Bonami, Francesco, “Plastic Fantastic Lover,” Flash Art, January/February, p.125.
Cameron, Dan, “Critical Edge,” Art & Auction, December pp.48, 50.
Crockett, Tobey, “Reviews of Exhibitions,” Santa Monica, Art in America, January, p.123.
Curtis, Cathy, “Essence Proves to Be Only Skin Deep,” Los Angeles Times, November 24, pp.F6-7.
Curtis, Cathy, “Of Makeup and Motion,” Los Angeles Times, Orange County Edition, October 9, p.F26.
Dubin, Zan, “Liberating Her Body of Artwork,” Los Angeles Times, Orange County Edition, October 7, p.F1.
Feinstein, Dan, “Enter EXIT Again,” New York News Day, December 20, Style Calendar.
Geer,Suvan, “Rachel Lachowicz,” Art Scene, October, p.13.
Glueck, Grace, “Hesse’s Robust Paintings at Miller Upend Expectations,” New York Observer, November 2, p.23.
Hess, Elizabeth, “Give Me Fever,” Village Voice, December 29, p.95.
Kalin, Tom, “‘Plastic Fantastic Lover’ (Object A),” Artforum, January, p.102.
Kandel, Susan, “30 Artists Take Aim at Masculinity,” Los Angeles Times, December 17, p.F10-11.
Kimmelman, Michael, “Promising Start at a New Location,” New York Times, December 18, Review/Art.
Knight, Christopher, “Art Review,” Los Angeles Times, May 1, p.F24.
Kocaurek, Lisa, “Plastic Fantastic Lover,” Ms. Magazine, January/February, p.69.
Levin, Kim, “Voice Choices,” Village Voice, March 10, p.73.
Littlefield, Kinny, “Oh Boy, Artist Skewers Stereotypes,” Orange County Register, November 4, p.B3.
Littlefield, Kinney, “Facing the Gender Gap,” Orange County Register, October 9, p.75.
Mahoney, Robert, “Plastic Fantastic Lover,” Arts Magazine, January, p.81.
Mifflin, Margot, “Feminism’s New Face,” ARTnews, November pp.120-125.
Pener, Degen, “Egos & Ids,” New York Times, December 13, Styles of the Times.
Relyea, Lane “Charles Ray; In the No,” Artforum, September, p.63.

Sajbel, Maureen, “Makeup Artist,” Los Angeles Times Magazine, November 22, p.58.
Selwyn, Marc, “Reviews: Los Angeles,” Flash Art, March/April, p.116.
Smith, Roberta, “Women Artists Engage the Enemy,” New York Times, August 16, p.1 (also appears in International Herald Tribune (Paris), August 23, 1992).
Vogel, Carol, “The Art Market,” New York Times, December 4.
Wallach, Amei, “Reinventing Art for the 90’s,” New York News Day, December 11.
Wilson, Jane, “Lipstick, Ashes: The Art of Feminism,” Aspen Times, July 11/12, p.4B.

Baker, Kenneth, “The End Is The Thing at Modern,” San Francisco Chronicle, September 21, p.C5.
Bonetti, David, “Modernism Goes International,” San Francisco Examiner, September 20.
Crowder, Joan, “And in the End,” Santa Barbara News – Press, July 19, p. 7.
Doove, Edith, “Feminisme in Lippenstift (Feminism in Lipstick),” Het Nieuwsblad (Antwerp, Belgium), May 29.
Gilbert-Rolfe, Jeremy. “Slaves of L.A.; And Others. Young L.A. Artists,” 
ArtSpace Summer.
Kandel, Susan, “L.A. in Review,” Arts Magazine, November, p.97.
Kapitanoff, Nancy, “Stomping on Unwanted Images of Women,” Los Angeles Times, October 14, p.92.
Liu, Catherine, 
Plastic Fantastic Lover. New York: BlumHelman.
Rugoff, Ralph, “Missing Persons,” L.A. Weekly, August 2.
Ruiters, Mark, “Antwerpen Galeries: Lachowicz – Burkhart,” Kunst und kultur (Brussels), June.
Scarborough, James, “Lipshtick: A Conversation with Rachel Lachowicz,” Artweek, October 24, p.16.
Van Proyden, Mark, “Born to Shop,” Artweek, October 24, p.1; Interview with James Scarborough, p.16.
“Voice Choices,” Village Voice, October 30.
Zellen, Jody, “Rachel Lachowicz,” Arts, March, p.85.

Crowder, Joan, “Catching the Spirit of Our Time,” Artweek, December, p.20.
Snow, Shauna, “Rachel Lachowicz’s New Role: ‘Just Looking at Life,'” Los
Angeles Times, December 16, p.109.
Woodard, Josef, “Review Shorts: ‘Spirit of Our Time,'” Artweek, p.18.
1989 Frank, Peter, “Pick of the Week.” LA Weekly, September 29 -October 5.
Frank, Peter, “To Be Young, Gifted and Los Angeleno.” Visions.
Geer, Suvan, Los Angeles Times, September 15.
Hammond, Pamela, “Sculpture Krygier/Landau,” ARTnews, p.178.


Panel Discussion in conjunction with Touch, El Segundo Museum of Art
Medium & Production- Making Art in the 21st Century, CGU
True Colors, 
Prescott College

Artists Walk-through in conjunction with Variations, Los Angeles County Museum of Art

Studio Visit Lecture for Los Angeles County Museum of Art Docents

Material Specificity and the Index of the Feminine, Sexing Sculpture Panel, CAA NYC
From Document to Object: It is All Sculpture, ReModel 2 Sculpture Conference, CGU
Sothebys Institute New York, Artist Talk
Colgate University Visiting Artist    

Sculpture as Strategy, Methodolgy vs. Medium, ReModel- Sculpture Conference, CCA
Rachel Lachowicz & Jillian Hernandez, Artist and Art Historian in Dialog. MOCA Miami

Claremont Graduate University/Art Claremont Colleges, Claremont, CA
Santa Monica College Visiting Artist Lecture
Playing Fair, Women in the Art Market- Conference- LA Art Fair 

Visiting Artists Lecture/California College of the Arts, San Francisco, CA 
Logan Lecture Series, Denver Art Museum, Denver, CO 
Lunch Box Series, Denver Art Museum, Denver, CO 
Lecture and Interview on Conservation, Denver Art Museum, Denver, CO

Claremont Graduate University/Art Claremont Colleges, Claremont, CA

Orange County Museum of Art, Newport Beach, CA, Panel Discussion 
Claremont Graduate University/Art Claremont Colleges, Claremont, CA 

Art Center College of Design, School of Fine Arts, Pasadena, CA, Lecture Series

San Francisco Art Institute, San Francisco, CA, New Genres

San Francisco State University, San Francisco, CA, Lecture Series
University of California Riverside, Riverside, CA, Lecture Series

Claremont Graduate University/Art Claremont Colleges, Claremont, CA
Art Center College of Design, School of Fine Arts, Pasadena, CA

Museum of Contemporary Art, Los Angles, CA

Los Angeles County Museum, Los Angeles, CA, Lecture Series
Los Angeles County Museum, Los Angeles, CA, Lecture for Museum Patrons
Newport Harbor Art Museum, Newport Beach, CA, Lecture Series

California Institute of the Arts, Art School, Valencia, CA Lecture Series

Museum of Modern Art, New York, NY, Panel Discussion

Newport Harbor Art Museum, Newport Beach, CA, Panel Discussion

Hochschule Der Kunste, Berlin, Germany, Visiting Artist Lecture

Newport Harbor Art Museum, Newport Beach, CA, Lecture Series

San Francisco Museum of Modern Art, San Francisco, CA, Panel Discussion