Difference: On Representation and Sexuality;New
Museum; New York, New York and traveled to Renais-
sance Society at the University of Chicago, Chicago, Illi-
nois and Institute of Contemporary Arts, London.
England
Brennpunkt: Kunst mit Eigen-Sinn; Museum Moder-
ner Kunst; Vienna, Austria
In the Tradition of...Photography; Light Gallery; New
York, New York
1986 Whitney Biennial; Whitney Museum of American Art;
New York, New York
1987 Sexual Difference: Both Sides of the Camera; C.E.P.A.
Gallery, Buffalo and traveling
1988 Signs; Art Gallery of Ontario; Toronto and traveling
1989 Whitney Biennial; Whitney Museum of American Art;
New York, New York
Mediated Issues: Women, Myth, & Sexuality; Institute
of Contemporary Art; Boston, Massachusetts
1992 Ima ́genes de Guerra; Centro Cultural/Arte Contem-
pora ́neo; Mexico City
Mistaken Identities; University Art Museum, Univer-
sity of California; Santa Barbara; Museum Folkwang,
Essen; Forum Stadtpark, Graz; Neues Museum Weser-
burg/Forum Langenstraße, Bremen; Louisiana Mu-
seum, Humlebaek, Denmark; University of Western
Washington, Bellingham, Washington
1994 Corpus Loquendi: The Body for Speaking; Dalhousie
Art Gallery; Halifax, Canada, and traveling
War Works: Women, Photography, and War; Neder-
lands Foto Instituut, Rotterdam, Netherlands and Vic-
toria and Albert Museum; London and traveling
Avant l’Histoire; Centre Georges Pompidou; Paris,
France
Defining Eye: Women Photographers of the Twentieth
Century, from the Collection of Helen Kornblum; The
Saint Louis Art Museum; St. Louis, Missouri
1997 Airport; The Photographers’ Gallery; London and
Nederlands Foto Instituut, Rotterdam, NetherlandsSelected Works
Body Beautiful, or Beauty Knows No Pain, 1966–1972
Bringing the War Back Home, 1967–1972
In the Place of the Public: Observations of a Frequent Flyer,
1983–1994
Unknown Secrets, (the secret of the Rosenbergs), 1988
It Lingers, 1993
Transitions & Digressions, 1991–1997Further Reading
Rosler, Martha.Service: A Trilogy on Colonization.New
York: Printed Matter, 1978.
———.3 Works. Halifax, N.S.: Press of the Nova Scotia
College of Art & Design, 1981.
Wallis, Brian, ed.If You Lived Here...The City in Art,
Theory, and Social Activism. Seattle: Bay Press, 1991.
Alberro, Alexander and Anthony Vidler.Rights of Passage
Ghent, Belgium: 1997.
Rosler, Martha, and Anthony Vidler.In the Place of the
Public/An der Stelle der Offentlichkeit: Observations of a
Frequent Flyer/Beobachtungen einer Vielfliegerin.Ostfil-
dern, Germany: Hat; eCantz, 1998.
de Zegher, Catherine, ed.Martha Rosler: Positions in the
Life World.Birmingham, Vienna, and Cambridge, MA:
Ikon, Generali & MIT, 1998.ARTHUR ROTHSTEIN
American
By the time Arthur Rothstein formed a Camera
Club at Columbia University in New York in
1935, photography had long been an interest.
A darkroom in the basement of his childhood
home allowed Rothstein to practice various pho-
tographic techniques and exhibit locally during
high school. At Columbia, Rothstein organized
exhibitions and events for the Camera Club, once
inviting Edward Steichen to speak. He also began to
understand the public demand for photographs at
this time, offering to make photographs for fellow
students’ theses as a way to offset the cost of tuition
during the first years of what would come to be
known as the Great Depression.
Rothstein met Roy Stryker, a professor of eco-
nomics at Columbia, during his senior year. Stryker
and fellow Columbia University professor Rexford
G. Tugwell were shaping a New Deal project to
document the state of American agriculture, the
Federal Resettlement Administration. Stryker had
quickly decided that one of the best ways to record
both the destitution of agricultural life in the United
States and the efforts of the New Deal government
to alleviate such hardships would be visually, andROSLER, MARTHA