1990 The Decade Show: Frameworks of Identity in the 1980s;
Museum of Contemporary Hispanic Art, New York
1991 Beyond the Frame: American Art, 1960–1990; Setagaya
Art Museum, Tokyo, traveled to Museum of Art, Osaka,
Japan; and Fukuoka Art Museum, Fukuoka, Japan
1993 The Mediated Image: American Photography in the
Age of Information; University Art Museum, University
of New Mexico, Albuquerque
1993 Photoplay: Obras de The Chase Manhattan Collection;
Center for the Fine Arts, Miami, Florida, traveled to six
locations in Latin America from 1993–1994
1998 Fast-Forward Trademarks; Kunstverein Hamburg, Ham-
burg, Germany
1998 In the Flesh (Multi-media Event); The Living Art Museum,
Reykjavik, Iceland
1998 The Promise of Photography—The DG Bank Collection,
traveled to Hara Museum of Contemporary Art, Tokyo;
Kestner-Gesellschaft, Hanover, Germany; Centre Nation-
al de la Photographie, Paris; Akademie der Ku ̈nste, Berlin;
and Schirn Kunsthalle Frankfurt, Frankfurt, Germany
1999 The American Century: Art & Culture 1900–2000 (Part
II: 1950–2000); Whitney Museum of American Art,
New York
Selected Works
Barbara Kruger. Exh. cat. New York: Mary Boone Gallery,
1987
Barbara Kruger. Exh. cat. Wellington, New Zealand: Na-
tional Art Gallery, 1996
Barbara Kruger. Exh. cat. Melbourne, Australia: Museum
of Modern Art at Heide, 1988
Barbara Kruger. Exhibition. Los Angeles: The Museum of
Contemporary Art, 1999
Kruger, Barbara, and Phil Mariani, eds.Remaking History,
Albany, CA: Bay Press, 1989
Kruger, Barbara.Remote Control: Power, Cultures and the
World of Appearances. Cambridge, MA: MIT Press, 1993
Linker, Kate.Love for Sale: The Words and Pictures of
Barbara Kruger. New York: Henry N. Abrams, 1990
Slices of Life: The Art of Barbara Kruger. Exhibition catalo-
gue. Champaign, Illinois: Krannert Art Museum, 1986
We Won’t Play Nature to Your Culture: Works by Barbara
Kruger. Exhibition catalogue. London: Institute of Con-
temporary Art, 1983Further ReadingBuchloh, Benjamin, H.D. ‘‘Allegorical Procedures: Appro-
priation and Montage in Contemporary Art.’’Arforum
21, no. 1 (September 1982): 43–57.
Crimp, Douglas, and Paula Marincola.Image Scavengers:
Photography. Philadelphia: Institute of Contemporary
Arts, 1982.
Deitcher, David. ‘‘Barbara Kruger: Resisting Arrest.’’Art-
forumxxix (February 1991): 84–92.
Floyd, Phylis. ‘‘Barbara Kruger.’’ InDictionary of Women
Artists (Volume 2), Chicago: Fitzroy Dearborn Publish-
ers, 1997, 808–809.
‘‘Forty Years of Aperture: A Photographic History.’’Aper-
ture129 (Fall 1992): 1–79.
Goodeve, Thyrza Nichols. ‘‘The Art of Public Address.’’
Art in America85, no. 11 (November 1997): 92–99.
Mitchell, W.J.T. ‘‘An Interview with Barbara Kruger.’’
Critical Inquiryxvii (1991): 434–448.
Nixon, Mignon. ‘‘You Thrive on Mistaken Identity.’’Octo-
ber, no. 60 (1992): 58–81.
Owens, Craig. ‘‘The Discourse of Others: Feminists and
Postmodernism.’’ InThe Anti-Aesthetic: Essays on Post-
modern Culture. Edited by Hal Foster. Port Townsend,
WA: Bay Press, 1983; London: Pluto Press, 1985.
Squiers, Carol. ‘‘Barbara Kruger.’’Aperture138 (Winter
1995): 58–67.
———. ‘‘‘Who Laughs Last?’: The Photographs of Barbara
Kruger.’’ InBarbara Kruger. Los Angeles: The Museum
of Contemporary Art, 1999.GERMAINE KRULL
Dutch, born in Germany
Although she had a long career and worked in
numerous genres, it was Germaine Krull’s experi-
mental photography from the 1930s that secured
her reputation. Krull is counted among the most
influential photographers of the classical avant-
garde. Her choice of subjects was uncompromising,
and her style of representation was completely new
for the time—a style both independent and
schooled. Krull’s contacts in Germany, Holland,
and France made her a key figure in the artistic
exchange between some of the most active centers
of artistic renewal, and her closeness to artists and
intellectuals such as Walter Benjamin, Jean Coc-
teau, Florent Fels, and Andre ́Malraux also con-
tributed to her success and fame. With the
recommendation of her friend, the artist Robert
Delaunay, she was the only female photographer
represented at the 1926 Salon d’Automne in Paris, aKRUGER, BARBARA