Artists

Allan McCollum

Allan McCollum, born in Los Angeles in 1944, is a conceptual artist. During the late 1970’s, McCollum began to develop his central thesis; one which transforms the relationship between viewer and artwork, by challenging the producer/receiver dichotomy. His work is defined by his artistic and sociological investigation of the individual within processes of mass production. To that extent, McCollum‘s works are often characterised by an extreme accumulation of individual parts – drawings or sculptural objects – with the aim of transcending such social categorizations as education and class which often divide audiences in their reception. Due to its focus on the processes of cultural reception, McCollum‘s work has often been set in the context of his contemporaries Michael Asher, Daniel Buren, Andrea Fraser, Louise Lawler, and Allan Ruppersberg. His most acclaimed works include his Plaster Surrogates, Perfect Vehicles, and his Over Ten Thousand Individual Works series, all of which have become icons of late 20th century conceptual art.

McCollum’s work has been recognized through numerous international museum exhibitions and publications. McCollum has held professorships at various art schools including the Rhode Island School of Design, Bard College, and the Massachusetts Institute of Technology. He currently holds a professorship at Columbia University, School of Arts, in New York City. Important solo exhibitions include Henry Art Gallery, University of Washington (2015), La Salle de Bains (2010/11), Clifford Gallery, Colgate University, Hamilton (2010), Kunsthalle Zurich (2008), Musée d’art moderne et contemporain, Geneva (2006), Texas Gallery, Houston (2004), Central Park in New York (2004). Important group exhibitions include the Weatherspoon Art Museum, Greensboro (2017), Hessel Museum of Art (2017), Museum van Hedendaagse Kunst, Antwerp (2016), Museum für Moderne Kunst, Frankfurt a.M. (2016), Tate Liverpool (2015/16), MUMOK, Vienna (2015/16), LACMA (2015/16), New Mexico Museum of Art, Santa Fe (2015), Bergen Kunsthall (2015), Hammer Museum of Art (2014), MoMA (2014), J. Paul Getty Museum (2012/13), Institute for Contemporary Art, Boston (2012/13), Walker Art Center (2012), Museum of Contemporary Art, Chicago (2012). McCollum‘s works can be viewed in many of the world’s most important collections, including MoMA, the Whitney Museum of American Art, the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The New Museum of Contemporary Art, New York, SFMOMA, LACMA, the Museum of Contemporary Art San Diego, the Art Institute of Chicago, Detroit Institute of the Arts, Museum of Fine Arts, Houston, Hirshhorn Museum and Sculpture Garden, National Gallery of Canada, Vancouver Art Gallery, Museum Boijmans Van Beuningen, Louisiana Museum of Modern Art, Musée National d’Art Moderne, Paris, Centre Georges Pompidou, MUMOK, Vienna, Sprengel Museum, Kunstmuseum Wolfsburg, Musée d’art contemporain et moderne, Geneva, “la Caixa” Foundation, Barcelona, Israel Museum, New Tokyo Metropolitan Museum, and the National Museum of Contemporary Art, Seoul. Allan McCollum lives and works in New York City.

 

TEACHING POSITIONS
at present: Columbia University, School of the Arts, New York, Adjunct Assistant Professor;
Yale University School of Art, New Haven, Senior Critic in Sculpture; Center for Curatorial Studies,
Bard College, Annandale-on-Hudson, Practicum Supervisor;
Massachusetts Institute of Technology, Cambridge, Visiting Associate Professor
2004–05
Massachusetts Institute of Technology, Cambridge, Visiting Associate Professor
2004
University of South Florida School of Art and History, Tampa, Visiting Professor
2002–04 Bard College,Annandale-on-Hudson, Practicum Supervisor
1988–89 Rhode Island School of Design, Visiting Professor
1975–76 Florida State University Art Department, Tallahassee, Visiting Professor
1972–74 Immaculate Heart College, Los Angeles, Visiting Professor

GRANTS and AWARDS
2008 Award for Excellence in Design, City of New York

selected  SOLO EXHIBITIONS

2017
Lost Objects, Mary Boone Gallery, New York, USA
Works: 1968–1977, Friedrich Petzel Gallery, New York, USA

2016
Perfect Couples & Shapes Spinoffs, Galerie Mitterrand, Paris, France

2015
The Shapes Project: Shapes Spinoffs, Galerie Thomas Schulte, Berlin, Germany

2014
The Shapes Project: Perfect Couples, Petzel Gallery, New York, USA
Twenty Plaster Surrogates, The Artmore Hotel, Atlanta, USA

2013
Allan McCollum: Perpetual photos 1982/90, Art & Public, Geneva, Switzerland
The Book of Shapes, mfc-michèle didier, Paris, France
Plaster Surrogates Colored and Organized by Andrea Zittel, Petzel Gallery, New York, NY, USA

2012
Drawings: 1988/91, mitterrand+cramer, Geneva, Switzerland
The Shapes Project: Perfect Couples, Barbara Krakow Gallery, Boston, USA

2011
Drawings, JGM. Galerie, Paris, France
Perfect Vehicles, Art & Public – Cabinet P.H., Geneva, Switzerland
Each and Every One of You, Galerie Thomas Schulte, Berlin, Germany

2010/11
Each and Every One of You. Curated by Jill Gasparina, La Salle de Bains, Lyon, France

2010
Stop Motion, Friedrich Petzel Gallery, New York, USA
Seriality: Sol le Witt and Allan McCollum, Armond Bartos Fine Art, New York, USA
The Shapes Project: Shapes for Hamilton, Clifford Gallery, Colgate University, Hamilton, NY, USA. Curated by DeWitt Godfrey and Jesse Henderson

2009
Shapes from Maine, Friedrich Petzel Gallery, New York, USA
Allan McCollum: Works 1980-2008 – A Selection, Luciana Brito Galeria, São Paulo, Brazil. Curated by Jacopo Crivelli Visconti. Catalog in Portugese and English

2008
Obra recent, Sala Pelaires, Palma de Mallorca, Spain
Sets and Situations (collaboration with Allen Ruppersperg), Studio Guenzani, Milan, Italy
Allan McCollum: The Shapes Project, BarbaraKrakow Gallery, Boston, Massachusetts, USA
Kunsthalle Zürich, Switzerland
Magasin – Centre National d’Art Contemporain, Grenoble, France

2006
The Shapes Project, Friedrich Petzel Gallery, New York, USA
Solo 8, Musée d´Art Moderne et Contemporain, Geneva, Switzerland
Shapes, Galerie Thomas Schulte, Berlin, Germany

2005
Galerie Mueller-Roth, Stuttgart, Germany
Each and Every One of You, Southeastern Center for Contemporary Art, Winston-Salem, USA

2004
Three Perfect Vehicles, Doris Friedman Plaza, New York, USA (organized by the Public Art Fund)
Each and Every One of You, Barbara Krakow Gallery, Boston, USA
Perpetual Photos, Friedrich Petzel Gallery, New York, USA
Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon Guggenheim Museum, New York, USA
Your Fate, Christine Burgin Gallery (with Matt Mullican), New York, USA
Texas Gallery (with Matt Mullican), Houston, USA

2003
The Kansas and Missouri Topographical Model Project, Grand Arts, Kansas City, USA

2001
Signs of the Imperial Valley: Sand Spikes from Mount Signal, University Art Gallery, San Diego State University, San Diego, USA

2000
Small World Drawings, Barbara Krakow Gallery, Boston, USA
Visible Markers, Susan Inglett Gallery, New York, USA
Signs of Mount Signal, Steppling Art Gallery, San Diego State University, Calexico, USA
El Cerro Imposible, Museuo Universitario, Universidad Autónoma de Baja California, Medicali, Mexico
The Return of the Sand Spikes, The Imperial Valley Historical Society Pioneers Museum, Imperial, USA

1998
Musée d’art moderne Villeneuve d’Ascq, France (cat. with text by Savine Faupin, in French)
Friedrich Petzel Gallery, New York, USA
Contemporary Art Museum, University of South Florida, Tampa, USA (cat.)

1997
Visible Markers, Susan Inglett Gallery, New York, USA

1996
Fixed Intervals, John Weber Gallery (with Louise Lawler), New York, USA; S.L. Simpson Gallery, Toronto, Canada
Actual Photos, Kunstraum, Munich, Germany (with Laurie Simmons)

1995
Natural Copies from the Coal Mines of Central Utah, John Weber Gallery, New York, USA
Natural Copies from the Coal Mines of Central Utah, Gallery Xavier Hufken, Brussels, Belgium
Actual Photos, Metro Pictures Gallery (with Laurie Simmons), New York, USA
Natural Copies and Actual Photos (with Laurie Simmons), Sprengel Museum, Hannover, Germany (cat. with text by Dietmar Elgar, in German and English)

1994
Drawings, Museum Haus Esters, Krefeld, Germany
Drawings, S.L. Simpson Gallery, Toronto, Canada

1993
Drawings, Centre d’ Art Contemporain, Geneva, Switzerland
Castello Di Rivara, Turin, Italy
Perpetual Photos, Modulo Centro Difusor De Arte, Lisbon, Portugal
Plaster Surrogates, Kohji Ogura Gallery, Nagoya, Japan
Drawings, Galerie Franck + Schulte, Berlin, Germany
The Dog From Pompei, Studio Trisorio, Naples, Italy
240 Plaster Surrogates, Shiraishi Contemporary Art Inc., Tokyo, Japan

1992
Lost Objects, John Weber Gallery, New York, USA
The Dog from Pompei, Galeria Weber, Alexander y Cobo, Madrid, Spain
The Dog from Pompei, John Weber Gallery, New York, USA

1991
More Drawings, Lisson Gallery, London, England
May I Help You?, with Andrea Fraser, American Fine Arts Co., New York, USA
Plaster Surrogates, Galerie Franck + Schulte, Berlin, Germany

1990
Serpentine Gallery, London, England; IVAM Centre del Carme, Valencia, Spain (cat. with texts
by Anne Rorimer, Lynne Cooke and Selma Klein-Essink)
Rooseum, Malmo, Sweden (cat. with texts by Lars Nittve, Anne Rorimer, Lynne Cooke and Selma Klein-Essink, in Swedish and English)
Plaster Surrogates, Galerie Yvon Lambert, Paris, France
Perfect Vehicles, Galerie Fahnemann, Berlin, Germany
Julian Pretto Gallery, New York, USA
Drawings, John Weber Gallery, New York, USA
Perpetual Photos, The Denver Art Museum, Denver, USA
Perpetual Photos, Richard Kuhlenschmidt Gallery, Los Angeles, USA

1989
Individual Works, Perpetual Photos, Kunstverein fur die Rheinlande und Westfalen, Düsseldorf, Germany (cat. with essay by Andrea Fraser and Ulrich Wilmes. Published by Walter König, Cologne, Germany, in German and English)
Perfect Vehicles, Studio Trisorio, Naples, Italy.
Perfect Vehicles, Rhona Hoffman Gallery, Chicago, USA
Actual Photos, Urbi et Orbi Gallery (in collaboration with Laurie Simmons), Paris, France
Perpetual Photos, John Weber Gallery, New York, USA
Plaster Surrogates, Galeria 57, Madrid, Spain
Perfect Vehicles, Richard Kuhlenschmidt Gallery, Los Angeles, USA
Surrogate Paintings, Julian Pretto Gallery, New York, USA
Stedelijk Van Abbemuseum, Eindhoven, Holland (cat. with texts by Anne Rorimer, Lynne Cooke and Selma Klein-Essink, in Dutch and English)

1988
Portikus, Frankfurt, Germany (cat. with texts by Andrea Fraser and Ulrich Wilmes. Published by Walther König, Cologne, Germany, in German and English)
Individual Works, John Weber Gallery, New York, USA (cat. with essay by Andrea Fraser)
Perfect Vehicles, Galerie Yvon Lambert, Paris, France
Plaster Surrogates, Annina Nosei Gallery, New York, USA
Glossies, Julian Pretto Gallery, New York, USA
Individual Works, Musee d’Art Contemporain, Nimes, France (cat. with text by Andrea Fraser, in French)
Perfect Vehicles, 1988, Brooke Alexander, New York, USA
Allan McCollum and Louise Lawler, Le Consortium, Centre d’Art Contemporain, Dijon, France
Perfect Vehicles, The John and Mable Ringling Museum of Art, Sarasota, USA (cat. with text by Joseph Jacobs)
Stichting De Appel, Amsterdam, Netherlands (cat. with texts by Andrea Fraser and Ulrich Wilmes, in German and English)
Kunsthalle Zürich, Zurich, Switzerland (with Richard Prince)

1987
Perfect Vehicles, Lisson Gallery, London, England
Julian Pretto Gallery, New York, USA
Perfect Vehicles, Diane Brown Gallery, New York, USA

1986
Perfect Vehicles, Cash/Newhouse, New York, USA
Plaster Surrogates, Guttenbergstrasse 62, Stuttgart, Germany
Investigations 1986: Allan McCollum, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA (Brochure with essay by Andrea Fraser)
Perfect Vehicles, Kuhlenschmidt/Simon Gallery, Los Angeles, USA
Perpetual Photos, Diane Brown Gallery, New York, USA
Perfect Vehicles, Rhona Hoffman Gallery, Chicago, USA

1985
Plaster Surrogates, Lisson Gallery, London, England (cat. with essay by Craig Owens)
Plaster Surrogates, Cash/Newhouse Gallery, New York, USA
Actual Photos, Gallery Nature Morte, New York, USA (with Laurie Simmons)
Actual Photos, Heath Gallery, Atlanta, USA (with Laurie Simmons)
Actual Photos, Texas Gallery, Houston, USA (with Laurie Simmons)
Actual Photos, Rhona Hoffman Gallery, Chicago, USA (with Laurie Simmons)
Actual Photos, Kuhlenschmidt Simon Gallery, Los Angeles, USA (with Laurie Simmons)

1984
Plaster Surrogates, Rhona Hoffman Gallery, Chicago, USA
Plaster Surrogates, Richard Kuhlenschmidt Gallery, Los Angeles, USA
For Presentation and Display: Ideal Settings, Diane Brown Gallery, New York, USA
(with Louise Lawler)

1983
Plaster Surrogates, Marian Goodman Gallery, New York, USA
Plaster Surrogates, Douglas Drake Gallery, Kansas City, USA

1982
Surrogate Paintings, Galerie Nicole Gonet, Lausanne, Switzerland.
Surrogate Paintings, Heath Gallery, Atlanta, USA
Ben Shahn Galleries, William Paterson College, Wayne, New Jersey, USA (brochure with
artist’s statement)

1981
Glossies, Dioptre, Geneva, Switzerland
Surrogate Paintings, Hal Bromm Gallery, New York, USA

1980
Surrogate Paintings, Galerie Yvon Lambert, Paris, France
Surrogate Paintings, Artists Space, New York, USA
Surrogate Paintings, 112 Workshop, New York, USA

1979
Surrogate Paintings, Julian Pretto and Co., New York, USA
Surrogate Paintings, Douglas Drake Gallery, Kansas City, USA

1977
Claire S. Copley Gallery, Los Angeles, USA

1975
Douglas Drake Gallery, Kansas City, USA

1974
Nicholas Wilder Gallery, Los Angeles, USA

1973
Nicholas Wilder Gallery, Los Angeles, USA
Cusack Gallery, Houston, USA

1972
Gallery, Corona Del Mar, USA

1971
Jack Glenn Gallery, Corona Del Mar, USA

 

selected GROUP EXHIBITIONS

2018        
Faithless Pictures, National Gallery, Oslo, Norway
Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington DC., USA
Untitled (Monochrome), 1957-2017, Richard Taittinger Gallery, New York, USA
Pressure: Art from the 1980s, Portland Museum of Art, Portland, Maine, USA

2017
EXO EMO, Greene Naftali Gallery, New York, USA
Minimalism/Post-Minimalism, Weatherspoon Art Museum, Greensboro, USA

2016
Block Parts, Barbara Krakow Gallery, Boston, Massachusetts, USA
A Vendre, Exposition, MFC-Michèle Didier Gallery, Paris, France
Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK, MMK Museum für Moderne Kunst, Frankfurt, Germany
Prototypology: An Index of Process and Mutation, Gagosian Gallery, Rome, Italy

2015/16
to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990, Museum Moderner Kunst Stiftung Ludwig (Ludwig Foundation), Vienna, Austria

2015
Various Small Fires (Working Documents), Los Angeles County Museum of Art, CA, USA
The Noing Uv It, curated by Martin Clark in collaboration with Steven Claydon, Kunsthall, Bergen, Norway
First Choice, Willem Baars Art Consultancy, Amsterdam, The Netherlands
Andy Warhol sul comò, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy
Sexe, béatitude et logique comptable, mfc – Michèle Didier, Paris, France

2014
Take it or Leave it – Institution. Image. Ideology,, Hammer Museum, Los Angeles, CA, USA
cycle Des histoires sans fin – séquence printemps 2014, Mamco (Musée d’art moderne et contemporain), Genève, Switzerland
I’m Still Here, Magasin 3 Stockholm Konsthall, Stockholm, Sweden

2013/14
Out of Hand. Materializing the Postdigital, MAD Museum of Arts and Design, New York, USA
9th Bienal do Mercosul, Porto Alegre, Brazil

2013
THOUGHT, Galerie Thomas Schulte, Berlin, Germany

2012
Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York, USA
De La Generosidad. Obras De La Colección Helga De Alvear, CGAC, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain
Smile, Amerikanische Kunst – Sammlung Kienbaum, Gummersbach / Köln, Germany
25 Years of Talent, Marianne Boesky Gallery, New York, USA
Pacific Standard Time. Kunst in Los Angeles 1950-1980, Martin-Gropius-Bau, Berlin, Germany
This Will Have Been: Art, Love, Politics in the 1980s, Museum of Contemporary Art, Chicago, USA, travelling to Walker Art Center, Minneapolis and Institute of Contemporary Art Boston, USA (until 27.01.2013)
Object Fictions, James Cohan Gallery, New York, USA
Last Exit: Pictures, Blondeau Fine Art Services, Geneva, Switzerland

2011
Frames and Documents, Conceptualist Practices: Selections from the Ella Fontanals-Cisneros Collection, CIFO, Miami, USA
Hirschfaktor. „Die Kunst des Zitierens”, ZKM – Museum für Neue Kunst, Karlsruhe, Germany
Par Par SET, The Barbara Krakow Gallery, Boston, MA, USA
Object Fictions, James Cohan Gallery, New York, NY, USA
CIRCA 1986, Hudson Valley Center for Contemporary Art, Peekskill, NY, USA
1991…(Memorial Promenade), Galerie Thomas Schulte, Berlin, Germany
Clap, Hessel Museum of Art, Bard College, Annadale-on-Hudson, NY, USA
gehen blühen fließen. Naturverhältnisse in der Kunst, Stadtgalerie Kiel, Germany
Picture No Picture, Carriage Trade Gallery, New York, USA

2010
SERIALITY. Sol LeWitt and Allan McCollum, Armand Bartos Fine Art, New York, USA
Néo Géo &Cie : L’image de l’abstraction à la fin du XXe siècle, Le Fonds Régional d’Art Contemporain du Limousin, Limoges, France
Human Rites, Bass Museum of Art, Miami, USA
Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York, USA
Americanana, Bertha & Karl Leubsdorf Art Gallery, Hunter College, New York
Gesture, Scrape, Combine, Calculate, Mildred Lane Kemper Art Museum, St. Louis, Missouri, USA
The Space between Reference and Regret, Friedrich Petzel Gallery, New York, USA
Collecting Biennials, Whitney Museum of American Art, New York, USA
In on under above and with, Barbara Krakow Gallery, Boston, USA
Vertically Integrated Manufacturing, Murray Guy, New York, USA
Le Sourire du Chat (opus 1), Frac des Pays de la Loire, Nantes, France
CLIMAX REDVX, Bac – Bâtiment d’art contemporain, Genève, Switzerland
The Shape of Abstraction, The Boston University Art Gallery, Boston, Massachusetts, USA

2009
Gegen den Strich! 15 Jahre Sammlung des Kunstmuseum Wolfsburg, Kunstmuseum Wolfsburg, Germany
A Twilight Art, Harris Lieberman Gallery, New York, USA. Organized by Lisa Oppenheim and Jessie Washburne-Harris
LA SUITE, Air de Paris, Paris, France. Allan McCollum & Allen Ruppersberg, Lily van der Stokker, Continuous Project, Philippe Parreno, M/M (Paris), Liam Gillick, Mrzyk & Moriceau, Ben Kinmont, Ann Veronica Janssens, Pierre Leguillon, Lili Reynaud-Dewar
Notation, ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany
Sammlung der Fundación La Caixa, Kunsthalle Emden, Germany
The Pictures Generation 1974-1984, Joce and Robert Menschel Hall for Modern Photography and Tisch Galleries, The Metropolitan Museum of Art, New York, USA
Body Memory, Princeton University Museum of Art, Princeton, New Jersey, USA
Art and context III: beyond the white cube, Espacio 1414, Santurce, Puerto Rico

2008
Kavalierstart. 1978 – 1982 Aufbruch in die Kunst der 80er, Museum Morsbroich Leverkusen, Germany
Art as Idea, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, USA (curated by Matthew Higgs)
Multiplex: Directions in Art, 1970 to Now, MoMA, New York, USA (curated by Deborah Wye)
Estratos, PAC (Contemporary Art Project), Murcia, Spain (curated by Nicolas Bourriaud)
P2P, Casino Luxembourg – Forum d’art contemporain, Luxembourg
Can of Worms, Christine Burgin Gallery, New York, USA
Flying Start 1978-1982, Museum Morsbroich, Leverkusen, Germany (cat.)
Notation: Calculus and Shape in the Arts, Akademie der Künste, Berlin, Germany (curated by Hubertus von Amelunxen, Dieter Appelt and Peter Weibel)
8 th São Paulo Biennial: In Living Contact, São Paulo, Brazil
Photography on Photography: Reflections on the Medium since 1960, Metropolitan Museum of Art, Art, New York (curated by Douglas Eklund)
Peripheral Vision and Collective Body, Museo d’arte moderna e contemporanea, Bolzano, Italy (curated by Corinne Diserens)
Standard Sizes, Andrew Kreps Gallery, New York (curated by Joao Ribas)
Alice, son miroir et ses merveilles, Le Musée des beaux-arts et de la dentelle, Calais, France (curated by Barbara Forest)
Snap Shot, Quint Contemporary Art, San Diego, California, USA
Biennale de Sculpture, Musée-école de la Perrine, Ville de Laval, France
Des Fantômes et des Anges, Musée des Arts Contemporains – Site du Grand-Hornu, Belgium

2007
Das schwarze Quadrat, Kunsthalle Hamburg, Germany
Beneath the Underdog, Gagosian Gallery Madison, New York, USA
What Is Painting?, The Museum of Modern Art, New York, USA (curated by Anne Umland )
Ironie der Objekte, MUSEION – Museo d’arte moderna e contemporanea, Bolzano, Italy
Klio – Eine kurze Geschichte der Kunst in Euramerika nach 1945, ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany
Repeat Performances: Seriality and Systems Art since 1960, Allen Memorial Art Museum, Oberlin, USA (organized by Colette Crossman)

2006
Espacio, Tiempo, Espectador, IVAM – Institut Valencià d’Art Modern, Valencia, Spain
The 1980s – a Topology, Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal (curated by Ulrich Loock)
Forms of Classification: Alternative Knowledge and Contemporary Art, Cisneros Fontanals Art Foundation, Miami, Florida, USA
Big Bang – Destruction and creation in 20th century art, Centre Georges Pompidou, Musée National d´Art Moderne, Paris, France
Flashback – Eine Revision der Kunst der 80er Jahre, Kunstmuseum Basel, Museum für Gegenwartskunst, Switzerland
Los Angeles 1955-1985. The Birth of an Artistic Capital, Centre Georges Pompidou, Musée National d´Art Moderne, Paris, France
An Ongoing Low-Grade Mystery, Paula Cooper Gallery, New York, USA
Part Object, Part Sculpture, Wexner Center, Columbus, USA
3D. An exhibition of Contemporary Sculpture, Carl Solway Gallery, Cincinnati, USA
Discussions dans le Boudoir, Musée Magnin, Dijon, France
Konkretismus: Material/sprache und abstraktion seit 1955, Baden-Württembergisch Bank Vorstand, Stuttgart, Germany
A Piece of History, Charles Cowles Gallery, New York, USA
Minimal to the Max: The Brownstone Collection, Tampa Museum of Art, Tampa, Florida, USA
Le noir est une couleur, Fondation Maeght, Saint-Paul-de-Vence, France
Faster!Bigger!Better!, ZKM/Zentrum für Kunst- und Medientechnologie, Karslruhe, Germany
Into a Journey, Meyer Riegger Galerie, Karlsruhe, Germany

2005
Needful Things, The Cleveland Museum of Art, Cleveland, Ohio. Curated by Jeffrey D. Grove and Cathleen Chaffee
Telling a Work of Art, Andrew Jensen Gallery, Auckland, and Dunedin Public Art Gallery, Dunedin, New Zealand. Organized by Karin Sander
Thirty Ways to Make a Painting, The Carl Solway Gallery, Cincinatti, Ohio
Public Passion, Ludwig forum for international art, Aachen, Germany
Estranged Objects, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York. Curated by Paula Bigboy
For Presentation and Display: Some Art of the ‘80s, Princeton University Art Museum, Princeton, New Jersey. Curated by Johanna Burton
Wilder: A Tribute to The Nicholas Wilder Gallery, Los Angeles, 1965-1979, Franklin Parrasch Gallery and Joan T. Washburn Gallery, New York. Essay by Katherine Bishop Crum
Une image sur un mur: Images et décoration intérieure au XIXe siécle, musée Goupil, Bordeaux, France. Curated by Pierre-Lin Renié
Telling a Work of Art, Barbara Gross Galerie, Munich, Germany. Organized by Karin Sander
An audiotour by Karin Sander, Galerie Mueller-Roth, Stuttgart, Germany. Organized by Karin Sander
Pairs, Groups, and Grids, Leslie Tonkonow Gallery + Projects, New York
Summer Exhibition: John Baldessari, Allan McCollum, Matt Mullican, Robert Rauschenberg, Brooke Alexander Gallery, New York
Good Timing, Georg Kargl Fine Arts, Vienna, Austria
Schöner Wohnen, BE-PART, Waregem, Belgium
O estado das cousas. O obxecto na arte contemporánea 1960-2000, Museo de Arte Contemporánea de Vigo, Spain
de Zomer van Middelburg,  Muhka/Museum van Hedendaagse Kunst, Antwerpen, Netherlands
Cereal Art – Feed your Head, Püerry Rubenstein Gallery, New York, USA
Looking at Words, Andrea Rosen Gallery, New York, USA 

2004
Singular Forms (Sometimes Repeated). Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York, USA
The Big Nothing, Institute of Contemporary Art, Philadelphia, Pennsylvania, USA
Modern Means. Continuity and Change in Art, 1880 to the Present, Mori Art Museum, Tokyo, Japan
About Painting, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, USA
Visions from America. Photographs from the Whitney Museum of American Art, 1940-2001, Wexner Center for the Arts, Columbus, USA
La Lettre Volee: The Purloined Letter, curated by Vincent Pécoil. FRAC Franche-Comté/Museum of Dole

2003
Crimes and Misdemeanors. Politics in U.S. Art of the 1980s, Contemporary Arts Center, Cincinnatti, USA
Strangely Familiar. Approaches to Scale in the Collection of The Museum of Modern Art, New York State Museum, Albany, New York, USA
Structures of Difference, Wadsworth Atheneum Museum of Art, Hartford, USA
Retrospectacle. 25 Years of Collecting Modern and Contemporary Art, Denver Art Museum, Denver, USA
Living with Duchamp, Tang Museum, Skidmore College, Saratoga Springs, New York, USA
Coollustre, Collection Lambert, Avignon, France
The LAPD Project. The Legacy of Pattern and Decoration, Rosamund Felsen Gallery, Santa Monica, USA
Minimal to the Max. The Brownstone Collection, Norton Museum of Art, West Palm Beach, USA

2002
Space Matters, Center for Curatorial Studies, Bard College, New York, USA
Conversation? Recent acquisitions of the Van Abbemuseum, Athens School of Fine Arts (The Factory), Athens, Greece
The Object Sculpture, Henry Moore Institute, Leeds, England
Re-Cast. Postmodern Classicism, Onassis Foundation, Olympic Tower, New York, USA
Malevich, Cinema, and Beyond, Centro Cultural de Belém, Lisbon, Portugal
Iconoclash. Beyond the Image Wars in Science, Religion and Art, ZKM / Center for Art and Media, Karlsruhe, Germany
Embracing the Present, Portland Art Museum, Portland, USA
Multiples. An Incomplete Survey, Brent Sikkema Gallery, New York, USA
Visions from America. Photographs from the Whitney Museum of American Art 1940-2001, The Whitney Museum of American Art, New York, USA
Malevich, Cinema, and Beyond, Fundació La Caixa, Madrid, Spain
Minimal Art and Its Legacy, The Hirshhorn Museum and Sculpture Garden, Washington D.C., USA

2001
Mythic Proportions. Painting in the Eighties, Museum of Contemporary Art, North Miami, USA
Richard Artschwager, Louise Bourgeois, Roni Horn, Allan McCollum, Xavier Hufkens, Brussels, Belgium
Picturing America, The Newark Museum, Newark, USA
The Presence of Absence, The Ezra and Cecile Zilkha Gallery at Wesleyan University Center for the Arts, USA
Fuzzy Logic, Laguna Art Museum, Laguna Beach, USA
A Work in Progress. Selections from the New Museum Collection, The New Museum, New York, USA
Conceptual Diversity. Selections from the Ringling Museum of Art Post-War Permanent Collection, The John and Mabel Ringling Museum of Art, USA
Televisions, Kunsthalle Wien, Vienna, Austria
Monet’s Legacy. Series – Order and Obsession, Hamburger Kunsthalle, Germany
Letters, Signs and Symbols, Brooke Alexander Gallery, New York, USA

1999
The Museum as Muse: Artists Reflect, The Museum of Modern Art, New York, USA; The Museum of Contemporary Art, San Diego, USA (curated by Kynaston McShine, cat.)
The American Century: Art and Culture: 1950-2000, Whitney Museum of American Art, New York, USA (curated by Lisa Phillips, cat.)

1998
Deep Thought, Basilico Fine Arts, New York, USA
Artificial, Museu d’Art Comtemporani, Barcelona, Spain.
Fast Forward, Kunstverein in Hamburg, Germany (curated by Stephan Schmidt-Wulffen, cat.)
Wanås 98, Wanås Foundation, Knislinge, Sweden (curated by Marika Wachtmeister)
Material Perfection: Minimal Art & Its Aftermath (selected from the Kerry M. Stokes Collection), in conjunction with the Festival of Perth, Lawrence Wilson Art Gallery, University of Western Australia, Australia (curated by John Stringer, cat.)

1997
Objects of Desire: The Modern Still Life, Hayward Gallery, London, England (curated by Margit Rowell, cat.)
Produkt: Kunst! wo bleibt das Original?, Neues Museum Weserberg Bremen, Germany; Kunstammlung Gera Orangerie, Gera (curated by Katerina Vatsella, cat. with texts by Ina Conzen, Dieter Daniels, Thomas Deecke, Peter Friese, Guy Shraenen, Anne Thurman Jases, Katerina Vatsella and Hanne Zech)
United Enemies: Mannerism and Synthesis in Contemporary Art, Jiri Svetska Gallery, Prague, Czech Republic
Allan McCollum/Laurie Simmons, and Karl Blossfeld, SL Simpson Gallery, Toronto, Canada

1996
L’Informe: Mode d’Emploi, Centre national d’art et de culture Georges Pompidou, Paris, France (curated by Rosalind Krauss and Yve-Alain Bois, cat. with text by Yve-Alain Bois and Rosalind Krauss, in French)
Screen, Friedrich Petzel Gallery, New York, USA (curated by Joshua Dechter)Twentieth Century American Sculpture at the White House: Exhibition IV, The Jaqueline Kennedy Garden,
The White House, Washington D.C., USA (curated by Marcia Tucker and Hillary Rodham Clinton)
Bringing It All Back Home, Gracie Mansion/Fred Dorfman Projects, New York, USA
Small Truths: Repetition and the Obsessional in Contemporary Art, John Hansard Gallery, University of Southampton, England (cat. with texts by Jill Sheridan, Nicholas deVille and Stephen Foster)
Objects of Desire: The Modern Still Life, Museum of Modern Art, New York, USA (curated by Margit Rowell, cat.)

1995
Critiques of Pure Abstraction, Independent Curators Incorperated, New York, USA (guest curator Mark Rosenthal, traveling exhibition, cat. with text by Mark Rosenthal)
Pittura/Immedia: malerei in den 90er Jahren, Neue Galerie am Landesmuseum Joanneum und Kunstlerhaus, Graz, Austria (curated by Peter Weibel, cat. with text by Peter Weibel and Thomas Dreher, in German)
The Reflected Image: A Selection of Contemporary Photography from the LAC Collection, Switzerland, Luigi Pecci Museum for Contemporary Art. Prato, Italy (cat. with texts by Antonella Soldaini, Paolo Colombo, Christopher Phillips, Antonella Russo, in Italian and English)
Summer Academy II , PaceWildenstein, New York, USA
Articircolo Melnick 95, Melcick Castle, Melnick, Czechoslovakia (curated by Jiri and Bettina Lobkowicz, cat. in German, Czech, and English)
Temporarily Posessed: The Semi-Permanent Collection, The New Museum of Contemporary Art, New York, USA (organized by Brian Goldfarb, John Hatfield, Laura Trippi and Mimi Young, cat. )

1994
Desire and Loss, Carl Solway Gallery, Cincinatti, USA
Tuning Up, Kunstmuseum Wolfsburg, Germany
AURA: The Reality of the Artwork between Autonomy, Reproduction and Context, Wiener Secession, Vienna, Austria (curated by Markus Brüderlin; cat. with texts by Markus Brüderlin, Harald Krämer, Johannes Meinhardt, Kathrin Rhomberg, and Theodora Bischer, in German and English)

1993
Sculpture and Multiples, Brooke Alexander Gallery, New York, USA
Internationale Fotografie aus der Sammlung Museum, Moderner Kunst, Wien
Pirouettes, The artists represented in the Olympic Collection ’94. Lillehammer Art Museum, Norway (cat. in Norwegian)
Kunstruktionzitat, Sprengel Museum, Hannover (cat. with essays by Thomas Weski and Stefan Iglhaut in German)
Am Beispiel Plastik. Konzeption und Form, Sprengel Museum, Hannover, Germany (cat. in German) Profil d’Une Galerie, Lieu d’ Art Contemporain, Hameau du Lac, Siegan, France

1992
Allegories of Modernism: Contemporary Drawings, Museum of Modern Art, New York, USA (cat. with text by Bernice Rose)
Repetition/Transformation, Museo Nacional de Arte Reina Sofia, Madrid (cat. with texts by Francisco Calva Serraller, Aurora Garcia, and Michael Tarantino, in English and Spanish)
C’est Pas la fin de Monde, Galerie d’Art et d’Essai, Bibliotheque Interuniversitaire, Université de Rennes, France (travelling exhibition)
Overlay, Louver Gallery, New York, USA
Fifteenth Aniversary Exhibition, Rhona Hoffman Gallery, New York, USA
Theoretically Yours, Chiesa di S. Lorenzo, Aosta, Italy (curated by Collins and Milazzo, cat. in Italian)
Drawings, Brooke Alexander Gallery, New York, USA
Selected Works from the Early Eighties, KRaum Daxer, Munich, Germany (cat. in German and English)
Functional Objects by Artists and Architects, Rhona Hoffman Gallery, Chicago, USA; S.L. Simpson Gallery, Toronto, Canada;  Galleri Faurschou, Copenhagen, Sweden
C’est pas la fin du monde, Faux Movement, France (cat. in French)
Points of Vue et Images du Monde, Galerie Pierre Nouvion, Monte Carlo, Monaco
Stills, Andrea Rosen Gallery, New York, USA

1991
Beyond the Frame: The Transition From Modernism to Postmodernism in American Art 1960-1990, Itinerary: Setagaya Art Museum, Tokyo, Japna; The National Museum of Art, Osaka, Japan; Fukuoka Art Museum, Japan (curated by Lynn Gumpert, cat.  in Japanese and English)
Objects for the Ideal Home; The Legacy of Pop Art, Serpentine Gallery, London, England (cat.)
Zomeropstelling eigen collectie: nieuwe aanwinsten, Stedelijk Van Abbemuseum, Eindohoven, Netherlands
Vom Verschwinden Der Dinge Aus Der Fotografie, Palais Liechtenstein, Vienna, Austria
Masterworks of Contemporary Sculpture, Painting and Drawing – The 1930’s to the 1990’s, Bellas Artes, Santa Fe, USA
Oevres Originales, Fonds Régional d’art Contemporain des Pays de La Loire, La Garenne Lemot Gétigné, Clisson, France
Just what is it that makes today’s homes so different, so appealing?, The Hyde Collection, Glen Falls, New York, USA (curated by Dan Cameron, cat.)
de-Persona, The Oakland Museum, Oakland, USA
Appropriation and Re-Photography, Fonds Régional d’art Contemporain des Pays de La Loire, La Garenne Lemot Gitign, Clisson, France
Large Sculpture, John Weber Gallery, New York, USA
La Revanche de L’Image, Galerie Pierre Huber, Geneve, Switzerland
Media Culture, Studio Oggetto, Milan, Italy; Galerie Samuel Lallouz, Montreal, Canada
Distribution: Random and Deliberate, Davis/McClain Gallery, Houston, USA
Works on Paper, Gallery 1709, St. Louis, USA
Three Rooms, Galerie Franck + Schulte, Berlin; Galeria Weber, Alexander y Cobo, Madrid, Spain
Drawings, ARCO, Madrid  (organized by John Weber Gallery, cat.)
Carnegie International, The Carnegie Museum of Art, Pittsburgh (curated by Lynne Cooke and Mark Francis, cat. with text by Lynne Cooke and with exerpts from an interview with Allan McCollum)
Departures: Photography 1923-1990“, College of the Holy Cross, Worcester, USA; Denver Art Museum, USA; Joslyn Art Museum, Omaha, USA; Pittsburgh Center for the Arts, USA; Goldie Paley Gallery, Moore College of Art and Design,
Philidelphia, USA; Telfair Acadamy of Arts and Sciences, Savannah, USA (curated by Edmund Yankov in conjunction with Independent Curators Incorporated Itinerary: Iris and B. Gerald Cantor Art Gallery, cat.)

1990
The Readymade Boomerang; Certain Relations in 20th Century Art, Sydney Biennale (cat. with texts by Lynne Cooke, Rene Block, et. Al)
The Indomitable Spirit, International Center for Photography, New York, USA (curated by Marvin Heiferman., organized by Photographers and Friends against Aids, cat with text by Andy Grundberg and Marvin Heiferman)
Life-Size: A Sense of the Real in Recent Art, Israel Museum, Jerusalem (cat. edited by Suzanne Landau, with essays by Douglas Crimp, Carolyn Cristov-Bakargiev, Germano Celant, Robert Storr and Christian Leigh, in Hebrew and English)
Un art de la Distinction, Abbaye Saint-Andre Centre d’Art Contemporain a Meymac (cat. with texts by Jean-Paul Blanchet, Nicholas Bourriaud, Dan Cameron, and Xavier Girard, in French)
Against Interpretation (Towards A Non-Representational Photography), CEPA, Buffalo, New York, USA (curated by Stephen Frailey)
Abstraction in Contemporary Photography, Emerson Gallery, Hamilton College, Richmond, USA (curated by Jimmy de Sana, cat. with texts by Andy Grundberg and Jerry Saltz)
La Collection Del Oeuvres Photographiques Du Musee De La Roche-Sur-Yon, Musee De La Roche-Sur-Yon (cat. in French. Johnen and Schottle Gallery, Cologne, Germany)
Par Hazard, Douglas Drake Gallery, New York, USA
Taking the Picture: Photography and Appropriation, Leo Castelli, New York, USA; Gallery Milano, Italy (curated by Manuela Gandini, cat. in Italian and English)
Linda Farris Gallery, Seattle, USA
The Last Decade: American Artists of the 80’s, Tony Shafrazi Gallery, New York, USA (curated by Collins and Milazzo with Diego Cortez, cat. with texts by Collins and Milazzo, Diego Cortez and Robert Pincus-Witten)
New York, New York, Galeria 57, Madrid, Spain
IS ’90 Exhibition, Washington, D.C., USA
Figures et Lectures, Galerie Samia Saouma, Paris. Summer Group Show, John Weber Gallery, New York, USA
Strategies for the Last Painting, Jamie Wolff Gallery, New York, USA (traveled to Feigen Inc., Chicago, USA, cat. with text by Saul Ostrow)
Three Decades, The Oliver-Hoffmann Collection, Museum of Contemporary Art, Chicago, USA (cat.)
La Guerre de Troie N’ Aura Pas Lieu, Chateau d’Oiron, France

1989
A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, Los Angeles, USA (curated by Ann Goldstein and Mary Jane Jacob. Catalog with texts by Ann Goldstein, Mary Jane Jacob, Anne Rorimer and Howard Singerman. MIT Press, Cambridge, Massachusetts and London)
Bilderstreit: Wiederspruch, Einheit und Fragment in der Kunst seit 1960, Museum Ludwig, Rheinhallen der Kölner Messe, Cologne, Germany (curated by Siegfried Gohr, Johannes Gachnang  and Piet de Young, cat.)
Contemporary American Sculpture: Signs of Life, Fundacao Calouste Gulbenkian, Lisbon, Portugal (curated by Judith Kirshner, cat.  in English and Portuguese)
1989 Whitney Biennial Exhibition, The Whitney Museum of American Art, New York, USA (cat.)
The Photography of Invention: American Pictures of the 1980’s, The National Museum of American Art, Washington D.C, USA (curated by Joshua Smith and Merry A. Foresta, cat. with text by Joshua Smith: MIT Press, Cambridge, USA and London, England)
Cultural Medium, International Center of Photography, New York, USA (curated by Charles Stainback, cat.)
The Desire of the Museum, Whitney Museum of American Art at Federal Reserve Plaza, New York, USA (curated by the Independent Study Program, cat.  with texts by Catsou Roberts, Timothy Landers, Marek Wieczorek, Jackie McCallister and Benjamin Weil)
Conspicuous Display, Stedman Art Gallery, Rutgers University, Camden, USA (curated by Sid Sachs, cat.)
Art at the End of The Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo)
Anti-Simulation: A Debate on Abstraction, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, USA (curated by Maurice Berger, cat.)
Departures: Photography 1924-1989, Hirschl and Adler Modern, New York, USA (cat.with text by Simon Watney)
Galerie Isabella Kacprzak, Cologne (cat.  with essays by Johannes Meinhardt and Jeffrey Rian, in German)
Art Collected: Private, Corporate and Museum Contexts, University Art Museum, Binghampton, USA (curated by Lynn Gamwell)
Hybrid Neutral: Modes of Abstraction and the Social, Richard F. Brush Art Gallery, St. Lawrence Museum, New York, USA (traveling exhibition coordinated by Independant Curators Incorporated, curated by Collins and Milazzo, cat. with essays by Collins and Milazzo and Gary Indiana)
Melancolia, Galerie Grita Insam, Vienna (cat. in German)
Das Licht Von Der Anderen Seite, PPS. Galerie F.C. Gundlach, Hamburg, Germany
Small-Scale Work, Scott Hanson Gallery, New York, USA
80’s International, Langer and Co., New York, USA
Mondi Possibili,  Le Casa d’Arte, Milan, Italy, Galerie Pierre Huber, Geneva, Switzerland
Recent Acquisitions, Carl Solway Gallery, Cincinnati, USA
Buena Vista, John Gibson Gallery, New York, USA (curated by Collins and Milazzo, cat.)
Image World: Art and Media Culture, The Whitney Museum of American Art, New York, USA (curated by Lisa Phillips, Marvin Heiferman and John Hanhardt, cat.)
The Play of the Unsayable, Wiener Secession, Vienna, Austria (curated by Joseph Kosuth)
Laurie Simmons et Allan McCollum, Urbi et Orbi Gallery, Paris, France
Group Show, Richard Kuhlenschmidt, Los Angeles, USA

1988
Biennale di Venezia, Aperto, Venice (cat. in Italian)
Allan McCollum/Richard Prince, Kunsthalle Zurich, Switzerland
The Color Alone: The Monochrome Experiment, Musée St. Pierre d’Art Contemporain, Lyon, France (cat. in French)
New York in View, Kunstverein Munchen, Munich, Germany (curated by Zdenek Felix, cat. with essay by Noemi Smolik)
Allan McCollum/Tim Ebner/Gaylen Gerber, Ricky Renier Gallery, Chicago, USA
une autre affaire, Le Consortium, Centre d’ Art Contemporain, Dijon, France (with Louise Lawler)
Cultural Geometry, Deka Foundation House of Cyprus, Athens, Greece (curated by Jeff Deitch, sponsored by the Deste Foundation, cat. in Greek)
Alive/Survive. Amerikanische Kunst in K3, Kampnagelgelände, Hamburg, Germany (curated by Janis Hendrickson, cat. with essay by Janis Hendrickson, in German)
John Weber Gallery, New York, USA (with Franz Erhard Walther and Thomas Joshua Cooper)
Active Surplus, The Power Plant, Toronto, Canada (curated by Bruce Grenville, cat. and pamphlet with text by Bruce Grenville)
Richard Artschwager: His Peers and Persuasion 1963-1988, Daniel Weinberg Gallery, Los Angeles, and Leo Castelli Gallery, New York, USA (catalogue with text by Klaus Kertess)
Sculpture Parallels, Sidney Janis Gallery, New York, USA
A ‘Drawing’ Show, Cable Gallery, New York, USA (curated by Jerry Saltz)
Art at the End of the Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo, cat. with text by Collins and Milazzo)
Studio de l’Arc, Arles, France
Two to Tango: Recent American Photography, International Center of Photography, New York, USA (with Laurie Simmons)
Matris, Malmö Konsthall, Sweden (cat. in Swedish)

1987
Implosion: et postmodernt perspektiv, Moderna Museet, Stockholm, Sweden (curated by Lars Nittve, cat.
with essays by Germano Celant, Kate Linker, Lars Nittve, and Craig Owens, in Swedish and English)
Photography and Art: Interactions Since 1946, Los Angeles County Museum of Art, Los Angeles, USA (curated by Andy Grundberg and Kathleen McCarthy Gauss, cat.)
Le Jour et la Nuit, 1’Orangerie du Chateau du Meudon, France (curated by le coin du miroir, cat. with artist’s statement, in French)
L’Objet de la Peinture, Ecole superieure d’art visuel, Geneva, Switzerland (curated by Catherine Quiloz cat. with texts by Catherine-Pier Favre, Catherine Quéloz, Ellen Versluis, Christine Weiss, and Vincent Vieck, in French)
Cadres en l’aire, Galerie d’Art et d’Essai, Bibliotheque Interuniversitaire, Universite de Rennes, France
Contemporary Photographic Portraiture, Musee St Pierre, Art Contemporain Lyon, France (with Laurie Simmons, cat. with text by Bernard Brunon, in French)
Avante-Garde in the Eighties, Los Angeles County Museum of Art, USA (curated by Howard Fox, cat.)
The Castle, an installation by Group Material, at Documenta 8, Kassel, West Germany
New York Now, Israel Museum, Jerusalem, Israel (curated by Suzanne Landau, cat.  in Hebrew)
Active Surplus: The Economy of the Object, The Power Plant, Toronto, Canada (curated by Bruce Grenville, cat.)
Armleder, Mosset, Rockenschaub, and McCollum,  Galerie Sylvana Lorenz, Paris, France
The Art of the Real, Galerie Pierre Huber, Geneva, Switzerland (cat. with text by Robert Nickas, in French)
Recent Tendencies in Black and White, Sidney Janis Gallery, New York, USA (curated by Jerry Saltz, cat.)
Photographic Work from 1974-1987, Douglas Drake Gallery, New York, USA
The Ironic Sublime, Galerie Albrecht, Munich, Germany (curated by Collins and Milazzo, cat. in German)
The Spiral of Artificiality, Hallwalls, Buffalo, USA (curated by Paul Laster and Renee Riccardo, cat.)
Selections from the John Weber Gallery, New York, Fay Gold Gallery, Atlanta, USA
Bronze, Plaster, and Polyester, Goldie Paley Gallery, Moore College of Art, Philadelphia (curated by Elsa Weiner Longhauser, cat. with text by Wade Saunders)
The Hallucination of Truth, P.S. 1, Long Island City, New York, USA (with Laurie Simmons, curated by Paul Laster and Renee Riccardo)
Alan Belcher, Nancy Dwyer, and Allan McCollum, Le Casa d’Arte, Milan, Italy
Sculptures, Galerie Charles Cartwright, Paris, France
NY Art Now: The Saatchi Collection, London, England (cat. with text by Dan Cameron: Giancarlo Politi Editore)
Currents 12: Simulations New American Conceptualism, Milwaukee Art Museum, USA (curated by Dean Sobel, brochure with text by Dean Sobel)

1986
Damaged Goods: Desire and the Economy of the Object, The New Museum of Contemporary Art, New York, USA (cat. with artist statements and texts by Deborah Bershad, Hal Foster, Marcia Tucker, and Brian Wallis)
Dissent: The Issue of Modern Art in Boston, Part III, ‘As Found’, Institute of Contemporary Art, Boston, USA (cat. with text by Benjamin Buchloh, Reinhold Heller, Serge Guilbaut, David Joselit, David Ross, and Elizabeth Sussman)
In the Tradition of: Photography 1915-1986, Light Gallery, New York, USA
MASS, The New Museum of Contemporary Art, New York, USA (curated by Group Material, cat. with text by William Olander and Group Material)
P, Gallery 303, New York, USA
Signs of Painting, Metro Pictures, New York, USA
Time After Time, Diane Brown Gallery, New York, USA (curated by Collins and Milazzo)
Rooted Rhetoric, Castel Dell ‘Ovo, Naples, Italy (curated by Gabriele Cuercio, cat. with texts by Benjamin H.D. Buchloh, Joseph Kosuth, Thomas Lawson, Charles Le Vine, David Robbins, Angelo Trimarco, and Gabriele Cuercio, in Italian and English)
The Real Big Picture, Queens Museum, Queens, New York, USA (cat. with text by Marvin Heiferman)
The Red Show, Massimo Audiello Gallery, New York, USA (curated by Robert Nickas)
Acceptable Entertainment, Bruno Faccetti Gallery, New York, USA (curated by Paul Laster and Renee Riccardo, cat. with text by Deborah Bershad)
Spiritual America, CEPA, Buffalo, New York, USA (curated by Collins and Milazzo, text in CEPA Quarterly by Collins and Milazzo)
Television’s Impact on Contemporary Art, Queens Museum, New York, USA (curated by Marc H. Miller, cat.)
Ultrasurd, S.L. Simpson Gallery, Toronto, Canada (curated by Collins and Milazzo, cat.)
Arts and Leisure, The Kitchen, New York, USA (curated by Group Material, cat.)
Il Cagiante,  Padiglione d’Arte Contemporanea, Milan, Italy (curated by Corrado Levi, cat. in Italian)

1985
The Anticipated Ruin, The Kitchen, New York, USA (curated by Howard Halley)
Final Love, Cash Newhouse, New York, USA (curated by Collins and Milazzo)
Persona Non Grata, Daniel Newburg Gallery, New York (with Laurie Simmons, curated by Collins and Milazzo)
Americana, Whitney Museum of American Art, New York, USA (curated by Group Material for 1985 Biennial Exhibition, cat.).
The Public Art Show, Nexus Contemporary Art Center, Atlanta, USA (curated by Ronald Jones, cat.)
A Life of Signs, Michael Klein, Inc., New York, USA (Metro Pictures, New York)

1984
Ailleurs et Autrement, Musée d’Art Moderne de la Ville de Paris, France (catalog with text by Claude Gintz, in French)
Allan McCollum and James Welling, Cash Newhouse Gallery, New York, USA
Artists’ Call, Marian Goodman Gallery, New York, USA
Contemporary Perspectives, Center Gallery, Bucknell University, Lewisburg, USA (cat. with text by Thomas Lawson)
A Different Climate: Aspects of Beauty in Contemporary Art, Städtische Kunsthalle Düsseldorf, Germany (curated by Jürgen Harten)
Natural Genre, Florida State University Fine Arts Gallery, Tallahassee, USA (cat. with text by Collins and Milazzo)
POP, Spiritual America, New York, USA (curated by Richard Prince)
Re-place-ment, Hallwalls, Buffalo, USA (curated by Robin Dodds)

1983
New York Now, Kestner-Gesellschaft, Hanover, West Germany (curated by Carl Haenlein, cat.  in German)
The California Collection: Sixteen Paintings from the Gifford and Joann Phillips Collection,  Museum of Fine Arts, Museum of New Mexico, Santa Fe, USA

1982
Louise Lawler, Allan McCollum, Sherrie Levine, The Eyelevel Gallery, Halifax, Canada
Dark Thoughts: Black Paintings, Pratt Institute Gallery, New York, USA (curated By Ellen Schwartz)
Punctuated/Unpunctuated, The Grommet Gallery, New York, USA (curated by Marcia Hafif)
U.S. Art Now, Nordiska Kompaniet, NK-Teatren, Stockholm, Sweden; Konsthallen, Gstaplatsen,
Gsteborg, Sweden (curated by Jan Eric Lswenadler, cat.)

1981
Thirty-Five Artists Return to Artists Space: A Benefit Exhibition, Artists Space, New York, USA (cat.)

1980
Further Furniture, Marian Goodman Gallery, New York, USA (curated by Nicholas Calas and Marian Goodman)
Drawings, Leo Castelli Gallery, New York, USA (Benefit for the Foundation for Contemporary Performing Arts)

1979
New Work/September 1979, Hal Bromm Gallery, New York, USA

1978
Drawing and Painting on Paper, Charlotte Crosby Kemper Gallery, Kansas City Art Institute, Kansas City, USA

1977
Unstretched Surfaces, Los Angeles Institute of Contemporary Art, USA (curated by Dr. Jean-Luc Bordeaux, cat. in French and English)
Group Exhibition, Artists Space, New York, USA

1975
Biennial Exhibition, Whitney Museum of American Art, New York, USA (cat. with foreword by Tom Armstrong)
Eight Artists from Los Angeles, Emanuel Walter Gallery, San Francisco, USA (curated by Phil Linhares, brochure with text by Phil Linhares)
Drawings and Works on Paper, Dootson Calderhead Gallery, Seattle, USA

1974
Contemporary American Painting and Sculpture, Krannert Art Museum, Champaign, USA (cat. with text by James R. Shipley and Alan S. Weller)
15 Abstract Artists, Los Angeles, Santa Barbara Museum of Art, Santa Barbara, USA (cat. with text by Ronald Kuchta and Michael Walls)
Painting in America: Yesterday and Tomorrow, The Decorative Arts Center, New York, USA (curated by Dave Hickey)

1973
Twelve Statements beyond the Sixties, The Detroit Institute of Arts, Detroit, USA (curated by Frank Kolbert)

1972
Color-Field Painting to Post-Color-Field Abstraction: Art for the Seventies, Nelson Art Gallery, Kansas City, USA
Fifteen Los Angeles Artists, Pasadena Art Museum, USA (curated by Barbara Haskell, cat.)
Los Angeles ’72, Sidney Janis Gallery, New York, USA (cat.)
Arnoldi/ Cooper/ McCollum/ Wudl, Art Gallery, California State University, Fullerton, USA (curated by Dextra Frankl)
Art of the Seventies, Seattle Art Museum, USA (curated by Robert Dootson)

1971
24 Young Los Angeles Artists, Los Angeles County Museum of Art, Los Angeles, USA (curated by Maurice Tuchman and Jane Livingston)
New Painting in Los Angeles, Newport Harbor Art Museum, Balboa, USA (curated by Tom Garver, cat. with text by Cara Montgomery)
Off the Stretcher, Oakland Museum, Oakland, USA (cat. with text by George W. Neubert)
After-Quake, The Friends of Contemporary Art, Denver, USA (curated by Leroy Butler)

1970
Venice, California/70, California State Art Gallery, California State College at Los Angeles, USA (curated by Josine Starrels)
Eighth Annual Southern California Exhibition, Long Beach Museum of Art, USA (cat.)

1969
Los Angeles Annual Art Exhibition, The Municipal Art Gallery, Los Angeles, USA (cat.)
Mt. San Antonio College Second Biennial Exhibition of Painting and Drawing, Mt. San Antonio College Art Galleries, Walnut, USA

 

PUBLICLY  SITED  WORKS

2004
Three Perfect Vehicles, A Public Art Fund project for Doris Friedman Plaza, Central Park, New York

2003
The Kansas and Missouri Topographical Model Project, A project for 120 historical society museums in Kansas and Missouri

2001
The New City Markers, A project for the City of Malmö, Sveden

2000/01
Signs of the Imperial Valley: Sand Spikes from Mount Signal, A project for the Imperial Valley and the Mexicali Valley, sponsored by inSITE2000-2001: New Contemporary Art Projects for San Diego/ Tijuana, in California and Mexico

2000
Five Allegories, A project for the City of Montpellier, France

1998
Twelve Parables, A project for Wanås Sculpture Park, Knislinge, Sweden

1997
THE EVENT: Petrified Lightning from Central Florida (with Supplementary Didactics), The Museum of Science and Industry, Tampa, Hillsborough County, Florida, and the University of South Florida Contemporary Art Museum, Tampa, Florida

 

COLLABORATIVE  PROJECTS  DONE  WITH  MUSEUMS  OTHER  THAN  ART  MUSEUMS

Carnegie Museum of Natural History, Pittsburgh, Pennsylvania
Museo Vesuviano (Vesuvius Museum), Pompei, Italy
College of Eastern Utah Prehistoric Museum, Price, Utah
Hillsborough County Museum of Science and Industry, Tampa, Florida
Imperial Valley Historical Society Pioneers Museum, Imperial, California
Museo Universitario, Universidad Autónoma de Baja California, Mexicali, Mexico

  • Collection of Thirty Plaster Surrogates, 1982-1990
    Enamel on Hydrostone

  • Four Perfect Vehicles, 1992
    Enamel on solid-cast Hydrocal

  • Collection of Five Plaster Surrogates, 1982/90
    Enamel on cast Hydrostone Hydrocal

  • Collection of Forty Plaster Surrogates, 1982/89
    Enamel on cast Hydrostone Hydrocal

  • Fifty Perfect Vehicles, 1989
    Enamel on solid-cast Hydrocal

  • Four Perfect Vehicles, 1992
    Enamel on solid-cast Hydrocal

  • Collection of Ninety Drawings, 1988/90
    Graphite pencil on museum board, each unique, framed

  • Collection of Thirty Drawings, 1988/92
    Graphite pencil on museum board

  • The Dog From Pompei, 1982/89
    cast Hydrostone reinforced fiberglass Hydrocal

  • The Dog From Pompei, 1982/89, installation view Sprengel Museum 1995

  • The Shapes Project: Shapes Spinoffs, 2005/2014, installation view Galerie Thomas Schulte, Berlin, 2015

  • The Shapes Project: Shapes Spinoffs, 2005/2015

  • Each and Everyone of You, 2004
    Installation view, detail

  • Each and Everyone of You, 2004
    installation view Galerie Thomas Schulte, Berlin, 2011

  • Perpetual Photo, 1982-89
    Silver Gelatin print, sepia-toned

  • Perpetual Photo, 1982-89
    Silver Gelatin print, sepia-toned

  • Perpetual Photo, 1982-89
    Silver Gelatin print, sepia-toned

CAPTION

Collection of Thirty Plaster Surrogates, 1982-1990
Enamel on Hydrostone
162 x 370 cm | 63 3/4 x 145 2/3 in
AMCC/GTS 257

Four Perfect Vehicles, 1992
Enamel on solid-cast Hydrocal
(4x) 50.2 x 20.3 cm | 19 3/4 x 8 in
AMCC/GTS 251

Collection of Five Plaster Surrogates
1982 - 1990
Enamel on cast Hydrostone
M 1: 51 x 41 x 4.5 cm | 20 x 16 1/8 x 1 3/4 in
(2x) M 2: 46.5 x 30.7 x 4.5 cm | 18 1/3 x 12 x 1 3/4 in
M 3: 44 x 25.7 x 4.5 cm | 17 1/3 x 10 1/8 x 1 3/4 in
M 4: 41 x 33.2 x 4.5 cm | 16 1/8 x 13 x 1 3/4 in
Overall width approx. 188 cm | 74 in
AMCC/GTS 254

Collection of Forty Plaster Surrogates, 1982/89
Enamel on cast Hydrostone Hydrocal
Size variable
sold

Fifty Perfect Vehicles, 1989
Enamel on solid-cast Hydrocal
50 cm x 20 cm | 19.6 x 7.8 in
AMCC/GTS 82

Four Perfect Vehicles, 1992
Enamel on solid-cast Hydrocal
(4x) 50 x 20 cm / 19.7 x 8 inch
sold

Collection of Ninety Drawings, 1988/90
Graphite pencil on museum board, each unique, framed
Size variable
sold

Collection of Thirty Drawings, 1988/92
Graphite pencil on museum board, each unique
Size variable
sold

The Dog From Pompei, 1982/89
cast Hydrostone reinforced fiberglass Hydrocal
53 x 53 x 53 cm | 20 3/4 x 20 3/4 x 20 3/4 in
AMCC/GTS 206

The Dog From Pompei, 1982/89, installation view Sprengel Museum, Hannover, 1995

The Shapes Project: Shapes Spinoffs, 2005/2014, installation view Galerie Thomas Schulte, Berlin, 2015

The Shapes Project: Shapes Spinoffs, 2005/2015
6 collections of 6 unique parts each: ash wood, hand lathed
Each part: 25.4 x 16.9 cm | 10 x 6 21/32 in

Each and Every One of You, 2004
1200 Digital Inkjet Prints, Black Metal Frames
Each Print: 10 x 15 cm | 6 x 4 in
Each Frame: 21 x 26 x 3 cm | 8 ¼ x 10 ¼ in
Edition 1/3
AMCC/GTS 252

Each and Every One of You, 2004
1200 Digital Inkjet Prints, Black Metal Frames
Each Print: 10 x 15 cm | 6 x 4 in
Each Frame: 21 x 26 x 3 cm | 8 ¼ x 10 ¼ in
Edition 1/3
AMCC/GTS 252

Perpetual Photo, 1982-89
Silver Gelatin print, sepia-toned
114 x 122 cm | 45 x 48 in
AMCC/GTS 5

Perpetual Photo, 1982-89
Silver Gelatin print, sepia-toned
152 x 114 cm | 59 3/4 x 45 in
AMCC/GTS 4

Perpetual Photo, 1982-89
Silver Gelatin print, sepia-toned
114 x 160 cm | 45 x 63 in
AMCC/GTS 2

Biography and Concept

Allan McCollum, born in Los Angeles in 1944, is a conceptual artist. During the late 1970’s, McCollum began to develop his central thesis; one which transforms the relationship between viewer and artwork, by challenging the producer/receiver dichotomy. His work is defined by his artistic and sociological investigation of the individual within processes of mass production. To that extent, McCollum‘s works are often characterised by an extreme accumulation of individual parts – drawings or sculptural objects – with the aim of transcending such social categorizations as education and class which often divide audiences in their reception. Due to its focus on the processes of cultural reception, McCollum‘s work has often been set in the context of his contemporaries Michael Asher, Daniel Buren, Andrea Fraser, Louise Lawler, and Allan Ruppersberg. His most acclaimed works include his Plaster Surrogates, Perfect Vehicles, and his Over Ten Thousand Individual Works series, all of which have become icons of late 20th century conceptual art.

McCollum’s work has been recognized through numerous international museum exhibitions and publications. McCollum has held professorships at various art schools including the Rhode Island School of Design, Bard College, and the Massachusetts Institute of Technology. He currently holds a professorship at Columbia University, School of Arts, in New York City. Important solo exhibitions include Henry Art Gallery, University of Washington (2015), La Salle de Bains (2010/11), Clifford Gallery, Colgate University, Hamilton (2010), Kunsthalle Zurich (2008), Musée d’art moderne et contemporain, Geneva (2006), Texas Gallery, Houston (2004), Central Park in New York (2004). Important group exhibitions include the Weatherspoon Art Museum, Greensboro (2017), Hessel Museum of Art (2017), Museum van Hedendaagse Kunst, Antwerp (2016), Museum für Moderne Kunst, Frankfurt a.M. (2016), Tate Liverpool (2015/16), MUMOK, Vienna (2015/16), LACMA (2015/16), New Mexico Museum of Art, Santa Fe (2015), Bergen Kunsthall (2015), Hammer Museum of Art (2014), MoMA (2014), J. Paul Getty Museum (2012/13), Institute for Contemporary Art, Boston (2012/13), Walker Art Center (2012), Museum of Contemporary Art, Chicago (2012). McCollum‘s works can be viewed in many of the world’s most important collections, including MoMA, the Whitney Museum of American Art, the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The New Museum of Contemporary Art, New York, SFMOMA, LACMA, the Museum of Contemporary Art San Diego, the Art Institute of Chicago, Detroit Institute of the Arts, Museum of Fine Arts, Houston, Hirshhorn Museum and Sculpture Garden, National Gallery of Canada, Vancouver Art Gallery, Museum Boijmans Van Beuningen, Louisiana Museum of Modern Art, Musée National d’Art Moderne, Paris, Centre Georges Pompidou, MUMOK, Vienna, Sprengel Museum, Kunstmuseum Wolfsburg, Musée d’art contemporain et moderne, Geneva, “la Caixa” Foundation, Barcelona, Israel Museum, New Tokyo Metropolitan Museum, and the National Museum of Contemporary Art, Seoul. Allan McCollum lives and works in New York City.

 

TEACHING POSITIONS
at present: Columbia University, School of the Arts, New York, Adjunct Assistant Professor;
Yale University School of Art, New Haven, Senior Critic in Sculpture; Center for Curatorial Studies,
Bard College, Annandale-on-Hudson, Practicum Supervisor;
Massachusetts Institute of Technology, Cambridge, Visiting Associate Professor
2004–05
Massachusetts Institute of Technology, Cambridge, Visiting Associate Professor
2004
University of South Florida School of Art and History, Tampa, Visiting Professor
2002–04 Bard College,Annandale-on-Hudson, Practicum Supervisor
1988–89 Rhode Island School of Design, Visiting Professor
1975–76 Florida State University Art Department, Tallahassee, Visiting Professor
1972–74 Immaculate Heart College, Los Angeles, Visiting Professor

GRANTS and AWARDS
2008 Award for Excellence in Design, City of New York

Exhibitions

selected  SOLO EXHIBITIONS

2017
Lost Objects, Mary Boone Gallery, New York, USA
Works: 1968–1977, Friedrich Petzel Gallery, New York, USA

2016
Perfect Couples & Shapes Spinoffs, Galerie Mitterrand, Paris, France

2015
The Shapes Project: Shapes Spinoffs, Galerie Thomas Schulte, Berlin, Germany

2014
The Shapes Project: Perfect Couples, Petzel Gallery, New York, USA
Twenty Plaster Surrogates, The Artmore Hotel, Atlanta, USA

2013
Allan McCollum: Perpetual photos 1982/90, Art & Public, Geneva, Switzerland
The Book of Shapes, mfc-michèle didier, Paris, France
Plaster Surrogates Colored and Organized by Andrea Zittel, Petzel Gallery, New York, NY, USA

2012
Drawings: 1988/91, mitterrand+cramer, Geneva, Switzerland
The Shapes Project: Perfect Couples, Barbara Krakow Gallery, Boston, USA

2011
Drawings, JGM. Galerie, Paris, France
Perfect Vehicles, Art & Public – Cabinet P.H., Geneva, Switzerland
Each and Every One of You, Galerie Thomas Schulte, Berlin, Germany

2010/11
Each and Every One of You. Curated by Jill Gasparina, La Salle de Bains, Lyon, France

2010
Stop Motion, Friedrich Petzel Gallery, New York, USA
Seriality: Sol le Witt and Allan McCollum, Armond Bartos Fine Art, New York, USA
The Shapes Project: Shapes for Hamilton, Clifford Gallery, Colgate University, Hamilton, NY, USA. Curated by DeWitt Godfrey and Jesse Henderson

2009
Shapes from Maine, Friedrich Petzel Gallery, New York, USA
Allan McCollum: Works 1980-2008 – A Selection, Luciana Brito Galeria, São Paulo, Brazil. Curated by Jacopo Crivelli Visconti. Catalog in Portugese and English

2008
Obra recent, Sala Pelaires, Palma de Mallorca, Spain
Sets and Situations (collaboration with Allen Ruppersperg), Studio Guenzani, Milan, Italy
Allan McCollum: The Shapes Project, BarbaraKrakow Gallery, Boston, Massachusetts, USA
Kunsthalle Zürich, Switzerland
Magasin – Centre National d’Art Contemporain, Grenoble, France

2006
The Shapes Project, Friedrich Petzel Gallery, New York, USA
Solo 8, Musée d´Art Moderne et Contemporain, Geneva, Switzerland
Shapes, Galerie Thomas Schulte, Berlin, Germany

2005
Galerie Mueller-Roth, Stuttgart, Germany
Each and Every One of You, Southeastern Center for Contemporary Art, Winston-Salem, USA

2004
Three Perfect Vehicles, Doris Friedman Plaza, New York, USA (organized by the Public Art Fund)
Each and Every One of You, Barbara Krakow Gallery, Boston, USA
Perpetual Photos, Friedrich Petzel Gallery, New York, USA
Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon Guggenheim Museum, New York, USA
Your Fate, Christine Burgin Gallery (with Matt Mullican), New York, USA
Texas Gallery (with Matt Mullican), Houston, USA

2003
The Kansas and Missouri Topographical Model Project, Grand Arts, Kansas City, USA

2001
Signs of the Imperial Valley: Sand Spikes from Mount Signal, University Art Gallery, San Diego State University, San Diego, USA

2000
Small World Drawings, Barbara Krakow Gallery, Boston, USA
Visible Markers, Susan Inglett Gallery, New York, USA
Signs of Mount Signal, Steppling Art Gallery, San Diego State University, Calexico, USA
El Cerro Imposible, Museuo Universitario, Universidad Autónoma de Baja California, Medicali, Mexico
The Return of the Sand Spikes, The Imperial Valley Historical Society Pioneers Museum, Imperial, USA

1998
Musée d’art moderne Villeneuve d’Ascq, France (cat. with text by Savine Faupin, in French)
Friedrich Petzel Gallery, New York, USA
Contemporary Art Museum, University of South Florida, Tampa, USA (cat.)

1997
Visible Markers, Susan Inglett Gallery, New York, USA

1996
Fixed Intervals, John Weber Gallery (with Louise Lawler), New York, USA; S.L. Simpson Gallery, Toronto, Canada
Actual Photos, Kunstraum, Munich, Germany (with Laurie Simmons)

1995
Natural Copies from the Coal Mines of Central Utah, John Weber Gallery, New York, USA
Natural Copies from the Coal Mines of Central Utah, Gallery Xavier Hufken, Brussels, Belgium
Actual Photos, Metro Pictures Gallery (with Laurie Simmons), New York, USA
Natural Copies and Actual Photos (with Laurie Simmons), Sprengel Museum, Hannover, Germany (cat. with text by Dietmar Elgar, in German and English)

1994
Drawings, Museum Haus Esters, Krefeld, Germany
Drawings, S.L. Simpson Gallery, Toronto, Canada

1993
Drawings, Centre d’ Art Contemporain, Geneva, Switzerland
Castello Di Rivara, Turin, Italy
Perpetual Photos, Modulo Centro Difusor De Arte, Lisbon, Portugal
Plaster Surrogates, Kohji Ogura Gallery, Nagoya, Japan
Drawings, Galerie Franck + Schulte, Berlin, Germany
The Dog From Pompei, Studio Trisorio, Naples, Italy
240 Plaster Surrogates, Shiraishi Contemporary Art Inc., Tokyo, Japan

1992
Lost Objects, John Weber Gallery, New York, USA
The Dog from Pompei, Galeria Weber, Alexander y Cobo, Madrid, Spain
The Dog from Pompei, John Weber Gallery, New York, USA

1991
More Drawings, Lisson Gallery, London, England
May I Help You?, with Andrea Fraser, American Fine Arts Co., New York, USA
Plaster Surrogates, Galerie Franck + Schulte, Berlin, Germany

1990
Serpentine Gallery, London, England; IVAM Centre del Carme, Valencia, Spain (cat. with texts
by Anne Rorimer, Lynne Cooke and Selma Klein-Essink)
Rooseum, Malmo, Sweden (cat. with texts by Lars Nittve, Anne Rorimer, Lynne Cooke and Selma Klein-Essink, in Swedish and English)
Plaster Surrogates, Galerie Yvon Lambert, Paris, France
Perfect Vehicles, Galerie Fahnemann, Berlin, Germany
Julian Pretto Gallery, New York, USA
Drawings, John Weber Gallery, New York, USA
Perpetual Photos, The Denver Art Museum, Denver, USA
Perpetual Photos, Richard Kuhlenschmidt Gallery, Los Angeles, USA

1989
Individual Works, Perpetual Photos, Kunstverein fur die Rheinlande und Westfalen, Düsseldorf, Germany (cat. with essay by Andrea Fraser and Ulrich Wilmes. Published by Walter König, Cologne, Germany, in German and English)
Perfect Vehicles, Studio Trisorio, Naples, Italy.
Perfect Vehicles, Rhona Hoffman Gallery, Chicago, USA
Actual Photos, Urbi et Orbi Gallery (in collaboration with Laurie Simmons), Paris, France
Perpetual Photos, John Weber Gallery, New York, USA
Plaster Surrogates, Galeria 57, Madrid, Spain
Perfect Vehicles, Richard Kuhlenschmidt Gallery, Los Angeles, USA
Surrogate Paintings, Julian Pretto Gallery, New York, USA
Stedelijk Van Abbemuseum, Eindhoven, Holland (cat. with texts by Anne Rorimer, Lynne Cooke and Selma Klein-Essink, in Dutch and English)

1988
Portikus, Frankfurt, Germany (cat. with texts by Andrea Fraser and Ulrich Wilmes. Published by Walther König, Cologne, Germany, in German and English)
Individual Works, John Weber Gallery, New York, USA (cat. with essay by Andrea Fraser)
Perfect Vehicles, Galerie Yvon Lambert, Paris, France
Plaster Surrogates, Annina Nosei Gallery, New York, USA
Glossies, Julian Pretto Gallery, New York, USA
Individual Works, Musee d’Art Contemporain, Nimes, France (cat. with text by Andrea Fraser, in French)
Perfect Vehicles, 1988, Brooke Alexander, New York, USA
Allan McCollum and Louise Lawler, Le Consortium, Centre d’Art Contemporain, Dijon, France
Perfect Vehicles, The John and Mable Ringling Museum of Art, Sarasota, USA (cat. with text by Joseph Jacobs)
Stichting De Appel, Amsterdam, Netherlands (cat. with texts by Andrea Fraser and Ulrich Wilmes, in German and English)
Kunsthalle Zürich, Zurich, Switzerland (with Richard Prince)

1987
Perfect Vehicles, Lisson Gallery, London, England
Julian Pretto Gallery, New York, USA
Perfect Vehicles, Diane Brown Gallery, New York, USA

1986
Perfect Vehicles, Cash/Newhouse, New York, USA
Plaster Surrogates, Guttenbergstrasse 62, Stuttgart, Germany
Investigations 1986: Allan McCollum, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA (Brochure with essay by Andrea Fraser)
Perfect Vehicles, Kuhlenschmidt/Simon Gallery, Los Angeles, USA
Perpetual Photos, Diane Brown Gallery, New York, USA
Perfect Vehicles, Rhona Hoffman Gallery, Chicago, USA

1985
Plaster Surrogates, Lisson Gallery, London, England (cat. with essay by Craig Owens)
Plaster Surrogates, Cash/Newhouse Gallery, New York, USA
Actual Photos, Gallery Nature Morte, New York, USA (with Laurie Simmons)
Actual Photos, Heath Gallery, Atlanta, USA (with Laurie Simmons)
Actual Photos, Texas Gallery, Houston, USA (with Laurie Simmons)
Actual Photos, Rhona Hoffman Gallery, Chicago, USA (with Laurie Simmons)
Actual Photos, Kuhlenschmidt Simon Gallery, Los Angeles, USA (with Laurie Simmons)

1984
Plaster Surrogates, Rhona Hoffman Gallery, Chicago, USA
Plaster Surrogates, Richard Kuhlenschmidt Gallery, Los Angeles, USA
For Presentation and Display: Ideal Settings, Diane Brown Gallery, New York, USA
(with Louise Lawler)

1983
Plaster Surrogates, Marian Goodman Gallery, New York, USA
Plaster Surrogates, Douglas Drake Gallery, Kansas City, USA

1982
Surrogate Paintings, Galerie Nicole Gonet, Lausanne, Switzerland.
Surrogate Paintings, Heath Gallery, Atlanta, USA
Ben Shahn Galleries, William Paterson College, Wayne, New Jersey, USA (brochure with
artist’s statement)

1981
Glossies, Dioptre, Geneva, Switzerland
Surrogate Paintings, Hal Bromm Gallery, New York, USA

1980
Surrogate Paintings, Galerie Yvon Lambert, Paris, France
Surrogate Paintings, Artists Space, New York, USA
Surrogate Paintings, 112 Workshop, New York, USA

1979
Surrogate Paintings, Julian Pretto and Co., New York, USA
Surrogate Paintings, Douglas Drake Gallery, Kansas City, USA

1977
Claire S. Copley Gallery, Los Angeles, USA

1975
Douglas Drake Gallery, Kansas City, USA

1974
Nicholas Wilder Gallery, Los Angeles, USA

1973
Nicholas Wilder Gallery, Los Angeles, USA
Cusack Gallery, Houston, USA

1972
Gallery, Corona Del Mar, USA

1971
Jack Glenn Gallery, Corona Del Mar, USA

 

selected GROUP EXHIBITIONS

2018        
Faithless Pictures, National Gallery, Oslo, Norway
Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington DC., USA
Untitled (Monochrome), 1957-2017, Richard Taittinger Gallery, New York, USA
Pressure: Art from the 1980s, Portland Museum of Art, Portland, Maine, USA

2017
EXO EMO, Greene Naftali Gallery, New York, USA
Minimalism/Post-Minimalism, Weatherspoon Art Museum, Greensboro, USA

2016
Block Parts, Barbara Krakow Gallery, Boston, Massachusetts, USA
A Vendre, Exposition, MFC-Michèle Didier Gallery, Paris, France
Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK, MMK Museum für Moderne Kunst, Frankfurt, Germany
Prototypology: An Index of Process and Mutation, Gagosian Gallery, Rome, Italy

2015/16
to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990, Museum Moderner Kunst Stiftung Ludwig (Ludwig Foundation), Vienna, Austria

2015
Various Small Fires (Working Documents), Los Angeles County Museum of Art, CA, USA
The Noing Uv It, curated by Martin Clark in collaboration with Steven Claydon, Kunsthall, Bergen, Norway
First Choice, Willem Baars Art Consultancy, Amsterdam, The Netherlands
Andy Warhol sul comò, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy
Sexe, béatitude et logique comptable, mfc – Michèle Didier, Paris, France

2014
Take it or Leave it – Institution. Image. Ideology,, Hammer Museum, Los Angeles, CA, USA
cycle Des histoires sans fin – séquence printemps 2014, Mamco (Musée d’art moderne et contemporain), Genève, Switzerland
I’m Still Here, Magasin 3 Stockholm Konsthall, Stockholm, Sweden

2013/14
Out of Hand. Materializing the Postdigital, MAD Museum of Arts and Design, New York, USA
9th Bienal do Mercosul, Porto Alegre, Brazil

2013
THOUGHT, Galerie Thomas Schulte, Berlin, Germany

2012
Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York, USA
De La Generosidad. Obras De La Colección Helga De Alvear, CGAC, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain
Smile, Amerikanische Kunst – Sammlung Kienbaum, Gummersbach / Köln, Germany
25 Years of Talent, Marianne Boesky Gallery, New York, USA
Pacific Standard Time. Kunst in Los Angeles 1950-1980, Martin-Gropius-Bau, Berlin, Germany
This Will Have Been: Art, Love, Politics in the 1980s, Museum of Contemporary Art, Chicago, USA, travelling to Walker Art Center, Minneapolis and Institute of Contemporary Art Boston, USA (until 27.01.2013)
Object Fictions, James Cohan Gallery, New York, USA
Last Exit: Pictures, Blondeau Fine Art Services, Geneva, Switzerland

2011
Frames and Documents, Conceptualist Practices: Selections from the Ella Fontanals-Cisneros Collection, CIFO, Miami, USA
Hirschfaktor. „Die Kunst des Zitierens”, ZKM – Museum für Neue Kunst, Karlsruhe, Germany
Par Par SET, The Barbara Krakow Gallery, Boston, MA, USA
Object Fictions, James Cohan Gallery, New York, NY, USA
CIRCA 1986, Hudson Valley Center for Contemporary Art, Peekskill, NY, USA
1991…(Memorial Promenade), Galerie Thomas Schulte, Berlin, Germany
Clap, Hessel Museum of Art, Bard College, Annadale-on-Hudson, NY, USA
gehen blühen fließen. Naturverhältnisse in der Kunst, Stadtgalerie Kiel, Germany
Picture No Picture, Carriage Trade Gallery, New York, USA

2010
SERIALITY. Sol LeWitt and Allan McCollum, Armand Bartos Fine Art, New York, USA
Néo Géo &Cie : L’image de l’abstraction à la fin du XXe siècle, Le Fonds Régional d’Art Contemporain du Limousin, Limoges, France
Human Rites, Bass Museum of Art, Miami, USA
Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York, USA
Americanana, Bertha & Karl Leubsdorf Art Gallery, Hunter College, New York
Gesture, Scrape, Combine, Calculate, Mildred Lane Kemper Art Museum, St. Louis, Missouri, USA
The Space between Reference and Regret, Friedrich Petzel Gallery, New York, USA
Collecting Biennials, Whitney Museum of American Art, New York, USA
In on under above and with, Barbara Krakow Gallery, Boston, USA
Vertically Integrated Manufacturing, Murray Guy, New York, USA
Le Sourire du Chat (opus 1), Frac des Pays de la Loire, Nantes, France
CLIMAX REDVX, Bac – Bâtiment d’art contemporain, Genève, Switzerland
The Shape of Abstraction, The Boston University Art Gallery, Boston, Massachusetts, USA

2009
Gegen den Strich! 15 Jahre Sammlung des Kunstmuseum Wolfsburg, Kunstmuseum Wolfsburg, Germany
A Twilight Art, Harris Lieberman Gallery, New York, USA. Organized by Lisa Oppenheim and Jessie Washburne-Harris
LA SUITE, Air de Paris, Paris, France. Allan McCollum & Allen Ruppersberg, Lily van der Stokker, Continuous Project, Philippe Parreno, M/M (Paris), Liam Gillick, Mrzyk & Moriceau, Ben Kinmont, Ann Veronica Janssens, Pierre Leguillon, Lili Reynaud-Dewar
Notation, ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany
Sammlung der Fundación La Caixa, Kunsthalle Emden, Germany
The Pictures Generation 1974-1984, Joce and Robert Menschel Hall for Modern Photography and Tisch Galleries, The Metropolitan Museum of Art, New York, USA
Body Memory, Princeton University Museum of Art, Princeton, New Jersey, USA
Art and context III: beyond the white cube, Espacio 1414, Santurce, Puerto Rico

2008
Kavalierstart. 1978 – 1982 Aufbruch in die Kunst der 80er, Museum Morsbroich Leverkusen, Germany
Art as Idea, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, USA (curated by Matthew Higgs)
Multiplex: Directions in Art, 1970 to Now, MoMA, New York, USA (curated by Deborah Wye)
Estratos, PAC (Contemporary Art Project), Murcia, Spain (curated by Nicolas Bourriaud)
P2P, Casino Luxembourg – Forum d’art contemporain, Luxembourg
Can of Worms, Christine Burgin Gallery, New York, USA
Flying Start 1978-1982, Museum Morsbroich, Leverkusen, Germany (cat.)
Notation: Calculus and Shape in the Arts, Akademie der Künste, Berlin, Germany (curated by Hubertus von Amelunxen, Dieter Appelt and Peter Weibel)
8 th São Paulo Biennial: In Living Contact, São Paulo, Brazil
Photography on Photography: Reflections on the Medium since 1960, Metropolitan Museum of Art, Art, New York (curated by Douglas Eklund)
Peripheral Vision and Collective Body, Museo d’arte moderna e contemporanea, Bolzano, Italy (curated by Corinne Diserens)
Standard Sizes, Andrew Kreps Gallery, New York (curated by Joao Ribas)
Alice, son miroir et ses merveilles, Le Musée des beaux-arts et de la dentelle, Calais, France (curated by Barbara Forest)
Snap Shot, Quint Contemporary Art, San Diego, California, USA
Biennale de Sculpture, Musée-école de la Perrine, Ville de Laval, France
Des Fantômes et des Anges, Musée des Arts Contemporains – Site du Grand-Hornu, Belgium

2007
Das schwarze Quadrat, Kunsthalle Hamburg, Germany
Beneath the Underdog, Gagosian Gallery Madison, New York, USA
What Is Painting?, The Museum of Modern Art, New York, USA (curated by Anne Umland )
Ironie der Objekte, MUSEION – Museo d’arte moderna e contemporanea, Bolzano, Italy
Klio – Eine kurze Geschichte der Kunst in Euramerika nach 1945, ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany
Repeat Performances: Seriality and Systems Art since 1960, Allen Memorial Art Museum, Oberlin, USA (organized by Colette Crossman)

2006
Espacio, Tiempo, Espectador, IVAM – Institut Valencià d’Art Modern, Valencia, Spain
The 1980s – a Topology, Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal (curated by Ulrich Loock)
Forms of Classification: Alternative Knowledge and Contemporary Art, Cisneros Fontanals Art Foundation, Miami, Florida, USA
Big Bang – Destruction and creation in 20th century art, Centre Georges Pompidou, Musée National d´Art Moderne, Paris, France
Flashback – Eine Revision der Kunst der 80er Jahre, Kunstmuseum Basel, Museum für Gegenwartskunst, Switzerland
Los Angeles 1955-1985. The Birth of an Artistic Capital, Centre Georges Pompidou, Musée National d´Art Moderne, Paris, France
An Ongoing Low-Grade Mystery, Paula Cooper Gallery, New York, USA
Part Object, Part Sculpture, Wexner Center, Columbus, USA
3D. An exhibition of Contemporary Sculpture, Carl Solway Gallery, Cincinnati, USA
Discussions dans le Boudoir, Musée Magnin, Dijon, France
Konkretismus: Material/sprache und abstraktion seit 1955, Baden-Württembergisch Bank Vorstand, Stuttgart, Germany
A Piece of History, Charles Cowles Gallery, New York, USA
Minimal to the Max: The Brownstone Collection, Tampa Museum of Art, Tampa, Florida, USA
Le noir est une couleur, Fondation Maeght, Saint-Paul-de-Vence, France
Faster!Bigger!Better!, ZKM/Zentrum für Kunst- und Medientechnologie, Karslruhe, Germany
Into a Journey, Meyer Riegger Galerie, Karlsruhe, Germany

2005
Needful Things, The Cleveland Museum of Art, Cleveland, Ohio. Curated by Jeffrey D. Grove and Cathleen Chaffee
Telling a Work of Art, Andrew Jensen Gallery, Auckland, and Dunedin Public Art Gallery, Dunedin, New Zealand. Organized by Karin Sander
Thirty Ways to Make a Painting, The Carl Solway Gallery, Cincinatti, Ohio
Public Passion, Ludwig forum for international art, Aachen, Germany
Estranged Objects, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York. Curated by Paula Bigboy
For Presentation and Display: Some Art of the ‘80s, Princeton University Art Museum, Princeton, New Jersey. Curated by Johanna Burton
Wilder: A Tribute to The Nicholas Wilder Gallery, Los Angeles, 1965-1979, Franklin Parrasch Gallery and Joan T. Washburn Gallery, New York. Essay by Katherine Bishop Crum
Une image sur un mur: Images et décoration intérieure au XIXe siécle, musée Goupil, Bordeaux, France. Curated by Pierre-Lin Renié
Telling a Work of Art, Barbara Gross Galerie, Munich, Germany. Organized by Karin Sander
An audiotour by Karin Sander, Galerie Mueller-Roth, Stuttgart, Germany. Organized by Karin Sander
Pairs, Groups, and Grids, Leslie Tonkonow Gallery + Projects, New York
Summer Exhibition: John Baldessari, Allan McCollum, Matt Mullican, Robert Rauschenberg, Brooke Alexander Gallery, New York
Good Timing, Georg Kargl Fine Arts, Vienna, Austria
Schöner Wohnen, BE-PART, Waregem, Belgium
O estado das cousas. O obxecto na arte contemporánea 1960-2000, Museo de Arte Contemporánea de Vigo, Spain
de Zomer van Middelburg,  Muhka/Museum van Hedendaagse Kunst, Antwerpen, Netherlands
Cereal Art – Feed your Head, Püerry Rubenstein Gallery, New York, USA
Looking at Words, Andrea Rosen Gallery, New York, USA 

2004
Singular Forms (Sometimes Repeated). Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York, USA
The Big Nothing, Institute of Contemporary Art, Philadelphia, Pennsylvania, USA
Modern Means. Continuity and Change in Art, 1880 to the Present, Mori Art Museum, Tokyo, Japan
About Painting, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, USA
Visions from America. Photographs from the Whitney Museum of American Art, 1940-2001, Wexner Center for the Arts, Columbus, USA
La Lettre Volee: The Purloined Letter, curated by Vincent Pécoil. FRAC Franche-Comté/Museum of Dole

2003
Crimes and Misdemeanors. Politics in U.S. Art of the 1980s, Contemporary Arts Center, Cincinnatti, USA
Strangely Familiar. Approaches to Scale in the Collection of The Museum of Modern Art, New York State Museum, Albany, New York, USA
Structures of Difference, Wadsworth Atheneum Museum of Art, Hartford, USA
Retrospectacle. 25 Years of Collecting Modern and Contemporary Art, Denver Art Museum, Denver, USA
Living with Duchamp, Tang Museum, Skidmore College, Saratoga Springs, New York, USA
Coollustre, Collection Lambert, Avignon, France
The LAPD Project. The Legacy of Pattern and Decoration, Rosamund Felsen Gallery, Santa Monica, USA
Minimal to the Max. The Brownstone Collection, Norton Museum of Art, West Palm Beach, USA

2002
Space Matters, Center for Curatorial Studies, Bard College, New York, USA
Conversation? Recent acquisitions of the Van Abbemuseum, Athens School of Fine Arts (The Factory), Athens, Greece
The Object Sculpture, Henry Moore Institute, Leeds, England
Re-Cast. Postmodern Classicism, Onassis Foundation, Olympic Tower, New York, USA
Malevich, Cinema, and Beyond, Centro Cultural de Belém, Lisbon, Portugal
Iconoclash. Beyond the Image Wars in Science, Religion and Art, ZKM / Center for Art and Media, Karlsruhe, Germany
Embracing the Present, Portland Art Museum, Portland, USA
Multiples. An Incomplete Survey, Brent Sikkema Gallery, New York, USA
Visions from America. Photographs from the Whitney Museum of American Art 1940-2001, The Whitney Museum of American Art, New York, USA
Malevich, Cinema, and Beyond, Fundació La Caixa, Madrid, Spain
Minimal Art and Its Legacy, The Hirshhorn Museum and Sculpture Garden, Washington D.C., USA

2001
Mythic Proportions. Painting in the Eighties, Museum of Contemporary Art, North Miami, USA
Richard Artschwager, Louise Bourgeois, Roni Horn, Allan McCollum, Xavier Hufkens, Brussels, Belgium
Picturing America, The Newark Museum, Newark, USA
The Presence of Absence, The Ezra and Cecile Zilkha Gallery at Wesleyan University Center for the Arts, USA
Fuzzy Logic, Laguna Art Museum, Laguna Beach, USA
A Work in Progress. Selections from the New Museum Collection, The New Museum, New York, USA
Conceptual Diversity. Selections from the Ringling Museum of Art Post-War Permanent Collection, The John and Mabel Ringling Museum of Art, USA
Televisions, Kunsthalle Wien, Vienna, Austria
Monet’s Legacy. Series – Order and Obsession, Hamburger Kunsthalle, Germany
Letters, Signs and Symbols, Brooke Alexander Gallery, New York, USA

1999
The Museum as Muse: Artists Reflect, The Museum of Modern Art, New York, USA; The Museum of Contemporary Art, San Diego, USA (curated by Kynaston McShine, cat.)
The American Century: Art and Culture: 1950-2000, Whitney Museum of American Art, New York, USA (curated by Lisa Phillips, cat.)

1998
Deep Thought, Basilico Fine Arts, New York, USA
Artificial, Museu d’Art Comtemporani, Barcelona, Spain.
Fast Forward, Kunstverein in Hamburg, Germany (curated by Stephan Schmidt-Wulffen, cat.)
Wanås 98, Wanås Foundation, Knislinge, Sweden (curated by Marika Wachtmeister)
Material Perfection: Minimal Art & Its Aftermath (selected from the Kerry M. Stokes Collection), in conjunction with the Festival of Perth, Lawrence Wilson Art Gallery, University of Western Australia, Australia (curated by John Stringer, cat.)

1997
Objects of Desire: The Modern Still Life, Hayward Gallery, London, England (curated by Margit Rowell, cat.)
Produkt: Kunst! wo bleibt das Original?, Neues Museum Weserberg Bremen, Germany; Kunstammlung Gera Orangerie, Gera (curated by Katerina Vatsella, cat. with texts by Ina Conzen, Dieter Daniels, Thomas Deecke, Peter Friese, Guy Shraenen, Anne Thurman Jases, Katerina Vatsella and Hanne Zech)
United Enemies: Mannerism and Synthesis in Contemporary Art, Jiri Svetska Gallery, Prague, Czech Republic
Allan McCollum/Laurie Simmons, and Karl Blossfeld, SL Simpson Gallery, Toronto, Canada

1996
L’Informe: Mode d’Emploi, Centre national d’art et de culture Georges Pompidou, Paris, France (curated by Rosalind Krauss and Yve-Alain Bois, cat. with text by Yve-Alain Bois and Rosalind Krauss, in French)
Screen, Friedrich Petzel Gallery, New York, USA (curated by Joshua Dechter)Twentieth Century American Sculpture at the White House: Exhibition IV, The Jaqueline Kennedy Garden,
The White House, Washington D.C., USA (curated by Marcia Tucker and Hillary Rodham Clinton)
Bringing It All Back Home, Gracie Mansion/Fred Dorfman Projects, New York, USA
Small Truths: Repetition and the Obsessional in Contemporary Art, John Hansard Gallery, University of Southampton, England (cat. with texts by Jill Sheridan, Nicholas deVille and Stephen Foster)
Objects of Desire: The Modern Still Life, Museum of Modern Art, New York, USA (curated by Margit Rowell, cat.)

1995
Critiques of Pure Abstraction, Independent Curators Incorperated, New York, USA (guest curator Mark Rosenthal, traveling exhibition, cat. with text by Mark Rosenthal)
Pittura/Immedia: malerei in den 90er Jahren, Neue Galerie am Landesmuseum Joanneum und Kunstlerhaus, Graz, Austria (curated by Peter Weibel, cat. with text by Peter Weibel and Thomas Dreher, in German)
The Reflected Image: A Selection of Contemporary Photography from the LAC Collection, Switzerland, Luigi Pecci Museum for Contemporary Art. Prato, Italy (cat. with texts by Antonella Soldaini, Paolo Colombo, Christopher Phillips, Antonella Russo, in Italian and English)
Summer Academy II , PaceWildenstein, New York, USA
Articircolo Melnick 95, Melcick Castle, Melnick, Czechoslovakia (curated by Jiri and Bettina Lobkowicz, cat. in German, Czech, and English)
Temporarily Posessed: The Semi-Permanent Collection, The New Museum of Contemporary Art, New York, USA (organized by Brian Goldfarb, John Hatfield, Laura Trippi and Mimi Young, cat. )

1994
Desire and Loss, Carl Solway Gallery, Cincinatti, USA
Tuning Up, Kunstmuseum Wolfsburg, Germany
AURA: The Reality of the Artwork between Autonomy, Reproduction and Context, Wiener Secession, Vienna, Austria (curated by Markus Brüderlin; cat. with texts by Markus Brüderlin, Harald Krämer, Johannes Meinhardt, Kathrin Rhomberg, and Theodora Bischer, in German and English)

1993
Sculpture and Multiples, Brooke Alexander Gallery, New York, USA
Internationale Fotografie aus der Sammlung Museum, Moderner Kunst, Wien
Pirouettes, The artists represented in the Olympic Collection ’94. Lillehammer Art Museum, Norway (cat. in Norwegian)
Kunstruktionzitat, Sprengel Museum, Hannover (cat. with essays by Thomas Weski and Stefan Iglhaut in German)
Am Beispiel Plastik. Konzeption und Form, Sprengel Museum, Hannover, Germany (cat. in German) Profil d’Une Galerie, Lieu d’ Art Contemporain, Hameau du Lac, Siegan, France

1992
Allegories of Modernism: Contemporary Drawings, Museum of Modern Art, New York, USA (cat. with text by Bernice Rose)
Repetition/Transformation, Museo Nacional de Arte Reina Sofia, Madrid (cat. with texts by Francisco Calva Serraller, Aurora Garcia, and Michael Tarantino, in English and Spanish)
C’est Pas la fin de Monde, Galerie d’Art et d’Essai, Bibliotheque Interuniversitaire, Université de Rennes, France (travelling exhibition)
Overlay, Louver Gallery, New York, USA
Fifteenth Aniversary Exhibition, Rhona Hoffman Gallery, New York, USA
Theoretically Yours, Chiesa di S. Lorenzo, Aosta, Italy (curated by Collins and Milazzo, cat. in Italian)
Drawings, Brooke Alexander Gallery, New York, USA
Selected Works from the Early Eighties, KRaum Daxer, Munich, Germany (cat. in German and English)
Functional Objects by Artists and Architects, Rhona Hoffman Gallery, Chicago, USA; S.L. Simpson Gallery, Toronto, Canada;  Galleri Faurschou, Copenhagen, Sweden
C’est pas la fin du monde, Faux Movement, France (cat. in French)
Points of Vue et Images du Monde, Galerie Pierre Nouvion, Monte Carlo, Monaco
Stills, Andrea Rosen Gallery, New York, USA

1991
Beyond the Frame: The Transition From Modernism to Postmodernism in American Art 1960-1990, Itinerary: Setagaya Art Museum, Tokyo, Japna; The National Museum of Art, Osaka, Japan; Fukuoka Art Museum, Japan (curated by Lynn Gumpert, cat.  in Japanese and English)
Objects for the Ideal Home; The Legacy of Pop Art, Serpentine Gallery, London, England (cat.)
Zomeropstelling eigen collectie: nieuwe aanwinsten, Stedelijk Van Abbemuseum, Eindohoven, Netherlands
Vom Verschwinden Der Dinge Aus Der Fotografie, Palais Liechtenstein, Vienna, Austria
Masterworks of Contemporary Sculpture, Painting and Drawing – The 1930’s to the 1990’s, Bellas Artes, Santa Fe, USA
Oevres Originales, Fonds Régional d’art Contemporain des Pays de La Loire, La Garenne Lemot Gétigné, Clisson, France
Just what is it that makes today’s homes so different, so appealing?, The Hyde Collection, Glen Falls, New York, USA (curated by Dan Cameron, cat.)
de-Persona, The Oakland Museum, Oakland, USA
Appropriation and Re-Photography, Fonds Régional d’art Contemporain des Pays de La Loire, La Garenne Lemot Gitign, Clisson, France
Large Sculpture, John Weber Gallery, New York, USA
La Revanche de L’Image, Galerie Pierre Huber, Geneve, Switzerland
Media Culture, Studio Oggetto, Milan, Italy; Galerie Samuel Lallouz, Montreal, Canada
Distribution: Random and Deliberate, Davis/McClain Gallery, Houston, USA
Works on Paper, Gallery 1709, St. Louis, USA
Three Rooms, Galerie Franck + Schulte, Berlin; Galeria Weber, Alexander y Cobo, Madrid, Spain
Drawings, ARCO, Madrid  (organized by John Weber Gallery, cat.)
Carnegie International, The Carnegie Museum of Art, Pittsburgh (curated by Lynne Cooke and Mark Francis, cat. with text by Lynne Cooke and with exerpts from an interview with Allan McCollum)
Departures: Photography 1923-1990“, College of the Holy Cross, Worcester, USA; Denver Art Museum, USA; Joslyn Art Museum, Omaha, USA; Pittsburgh Center for the Arts, USA; Goldie Paley Gallery, Moore College of Art and Design,
Philidelphia, USA; Telfair Acadamy of Arts and Sciences, Savannah, USA (curated by Edmund Yankov in conjunction with Independent Curators Incorporated Itinerary: Iris and B. Gerald Cantor Art Gallery, cat.)

1990
The Readymade Boomerang; Certain Relations in 20th Century Art, Sydney Biennale (cat. with texts by Lynne Cooke, Rene Block, et. Al)
The Indomitable Spirit, International Center for Photography, New York, USA (curated by Marvin Heiferman., organized by Photographers and Friends against Aids, cat with text by Andy Grundberg and Marvin Heiferman)
Life-Size: A Sense of the Real in Recent Art, Israel Museum, Jerusalem (cat. edited by Suzanne Landau, with essays by Douglas Crimp, Carolyn Cristov-Bakargiev, Germano Celant, Robert Storr and Christian Leigh, in Hebrew and English)
Un art de la Distinction, Abbaye Saint-Andre Centre d’Art Contemporain a Meymac (cat. with texts by Jean-Paul Blanchet, Nicholas Bourriaud, Dan Cameron, and Xavier Girard, in French)
Against Interpretation (Towards A Non-Representational Photography), CEPA, Buffalo, New York, USA (curated by Stephen Frailey)
Abstraction in Contemporary Photography, Emerson Gallery, Hamilton College, Richmond, USA (curated by Jimmy de Sana, cat. with texts by Andy Grundberg and Jerry Saltz)
La Collection Del Oeuvres Photographiques Du Musee De La Roche-Sur-Yon, Musee De La Roche-Sur-Yon (cat. in French. Johnen and Schottle Gallery, Cologne, Germany)
Par Hazard, Douglas Drake Gallery, New York, USA
Taking the Picture: Photography and Appropriation, Leo Castelli, New York, USA; Gallery Milano, Italy (curated by Manuela Gandini, cat. in Italian and English)
Linda Farris Gallery, Seattle, USA
The Last Decade: American Artists of the 80’s, Tony Shafrazi Gallery, New York, USA (curated by Collins and Milazzo with Diego Cortez, cat. with texts by Collins and Milazzo, Diego Cortez and Robert Pincus-Witten)
New York, New York, Galeria 57, Madrid, Spain
IS ’90 Exhibition, Washington, D.C., USA
Figures et Lectures, Galerie Samia Saouma, Paris. Summer Group Show, John Weber Gallery, New York, USA
Strategies for the Last Painting, Jamie Wolff Gallery, New York, USA (traveled to Feigen Inc., Chicago, USA, cat. with text by Saul Ostrow)
Three Decades, The Oliver-Hoffmann Collection, Museum of Contemporary Art, Chicago, USA (cat.)
La Guerre de Troie N’ Aura Pas Lieu, Chateau d’Oiron, France

1989
A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, Los Angeles, USA (curated by Ann Goldstein and Mary Jane Jacob. Catalog with texts by Ann Goldstein, Mary Jane Jacob, Anne Rorimer and Howard Singerman. MIT Press, Cambridge, Massachusetts and London)
Bilderstreit: Wiederspruch, Einheit und Fragment in der Kunst seit 1960, Museum Ludwig, Rheinhallen der Kölner Messe, Cologne, Germany (curated by Siegfried Gohr, Johannes Gachnang  and Piet de Young, cat.)
Contemporary American Sculpture: Signs of Life, Fundacao Calouste Gulbenkian, Lisbon, Portugal (curated by Judith Kirshner, cat.  in English and Portuguese)
1989 Whitney Biennial Exhibition, The Whitney Museum of American Art, New York, USA (cat.)
The Photography of Invention: American Pictures of the 1980’s, The National Museum of American Art, Washington D.C, USA (curated by Joshua Smith and Merry A. Foresta, cat. with text by Joshua Smith: MIT Press, Cambridge, USA and London, England)
Cultural Medium, International Center of Photography, New York, USA (curated by Charles Stainback, cat.)
The Desire of the Museum, Whitney Museum of American Art at Federal Reserve Plaza, New York, USA (curated by the Independent Study Program, cat.  with texts by Catsou Roberts, Timothy Landers, Marek Wieczorek, Jackie McCallister and Benjamin Weil)
Conspicuous Display, Stedman Art Gallery, Rutgers University, Camden, USA (curated by Sid Sachs, cat.)
Art at the End of The Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo)
Anti-Simulation: A Debate on Abstraction, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, USA (curated by Maurice Berger, cat.)
Departures: Photography 1924-1989, Hirschl and Adler Modern, New York, USA (cat.with text by Simon Watney)
Galerie Isabella Kacprzak, Cologne (cat.  with essays by Johannes Meinhardt and Jeffrey Rian, in German)
Art Collected: Private, Corporate and Museum Contexts, University Art Museum, Binghampton, USA (curated by Lynn Gamwell)
Hybrid Neutral: Modes of Abstraction and the Social, Richard F. Brush Art Gallery, St. Lawrence Museum, New York, USA (traveling exhibition coordinated by Independant Curators Incorporated, curated by Collins and Milazzo, cat. with essays by Collins and Milazzo and Gary Indiana)
Melancolia, Galerie Grita Insam, Vienna (cat. in German)
Das Licht Von Der Anderen Seite, PPS. Galerie F.C. Gundlach, Hamburg, Germany
Small-Scale Work, Scott Hanson Gallery, New York, USA
80’s International, Langer and Co., New York, USA
Mondi Possibili,  Le Casa d’Arte, Milan, Italy, Galerie Pierre Huber, Geneva, Switzerland
Recent Acquisitions, Carl Solway Gallery, Cincinnati, USA
Buena Vista, John Gibson Gallery, New York, USA (curated by Collins and Milazzo, cat.)
Image World: Art and Media Culture, The Whitney Museum of American Art, New York, USA (curated by Lisa Phillips, Marvin Heiferman and John Hanhardt, cat.)
The Play of the Unsayable, Wiener Secession, Vienna, Austria (curated by Joseph Kosuth)
Laurie Simmons et Allan McCollum, Urbi et Orbi Gallery, Paris, France
Group Show, Richard Kuhlenschmidt, Los Angeles, USA

1988
Biennale di Venezia, Aperto, Venice (cat. in Italian)
Allan McCollum/Richard Prince, Kunsthalle Zurich, Switzerland
The Color Alone: The Monochrome Experiment, Musée St. Pierre d’Art Contemporain, Lyon, France (cat. in French)
New York in View, Kunstverein Munchen, Munich, Germany (curated by Zdenek Felix, cat. with essay by Noemi Smolik)
Allan McCollum/Tim Ebner/Gaylen Gerber, Ricky Renier Gallery, Chicago, USA
une autre affaire, Le Consortium, Centre d’ Art Contemporain, Dijon, France (with Louise Lawler)
Cultural Geometry, Deka Foundation House of Cyprus, Athens, Greece (curated by Jeff Deitch, sponsored by the Deste Foundation, cat. in Greek)
Alive/Survive. Amerikanische Kunst in K3, Kampnagelgelände, Hamburg, Germany (curated by Janis Hendrickson, cat. with essay by Janis Hendrickson, in German)
John Weber Gallery, New York, USA (with Franz Erhard Walther and Thomas Joshua Cooper)
Active Surplus, The Power Plant, Toronto, Canada (curated by Bruce Grenville, cat. and pamphlet with text by Bruce Grenville)
Richard Artschwager: His Peers and Persuasion 1963-1988, Daniel Weinberg Gallery, Los Angeles, and Leo Castelli Gallery, New York, USA (catalogue with text by Klaus Kertess)
Sculpture Parallels, Sidney Janis Gallery, New York, USA
A ‘Drawing’ Show, Cable Gallery, New York, USA (curated by Jerry Saltz)
Art at the End of the Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo, cat. with text by Collins and Milazzo)
Studio de l’Arc, Arles, France
Two to Tango: Recent American Photography, International Center of Photography, New York, USA (with Laurie Simmons)
Matris, Malmö Konsthall, Sweden (cat. in Swedish)

1987
Implosion: et postmodernt perspektiv, Moderna Museet, Stockholm, Sweden (curated by Lars Nittve, cat.
with essays by Germano Celant, Kate Linker, Lars Nittve, and Craig Owens, in Swedish and English)
Photography and Art: Interactions Since 1946, Los Angeles County Museum of Art, Los Angeles, USA (curated by Andy Grundberg and Kathleen McCarthy Gauss, cat.)
Le Jour et la Nuit, 1’Orangerie du Chateau du Meudon, France (curated by le coin du miroir, cat. with artist’s statement, in French)
L’Objet de la Peinture, Ecole superieure d’art visuel, Geneva, Switzerland (curated by Catherine Quiloz cat. with texts by Catherine-Pier Favre, Catherine Quéloz, Ellen Versluis, Christine Weiss, and Vincent Vieck, in French)
Cadres en l’aire, Galerie d’Art et d’Essai, Bibliotheque Interuniversitaire, Universite de Rennes, France
Contemporary Photographic Portraiture, Musee St Pierre, Art Contemporain Lyon, France (with Laurie Simmons, cat. with text by Bernard Brunon, in French)
Avante-Garde in the Eighties, Los Angeles County Museum of Art, USA (curated by Howard Fox, cat.)
The Castle, an installation by Group Material, at Documenta 8, Kassel, West Germany
New York Now, Israel Museum, Jerusalem, Israel (curated by Suzanne Landau, cat.  in Hebrew)
Active Surplus: The Economy of the Object, The Power Plant, Toronto, Canada (curated by Bruce Grenville, cat.)
Armleder, Mosset, Rockenschaub, and McCollum,  Galerie Sylvana Lorenz, Paris, France
The Art of the Real, Galerie Pierre Huber, Geneva, Switzerland (cat. with text by Robert Nickas, in French)
Recent Tendencies in Black and White, Sidney Janis Gallery, New York, USA (curated by Jerry Saltz, cat.)
Photographic Work from 1974-1987, Douglas Drake Gallery, New York, USA
The Ironic Sublime, Galerie Albrecht, Munich, Germany (curated by Collins and Milazzo, cat. in German)
The Spiral of Artificiality, Hallwalls, Buffalo, USA (curated by Paul Laster and Renee Riccardo, cat.)
Selections from the John Weber Gallery, New York, Fay Gold Gallery, Atlanta, USA
Bronze, Plaster, and Polyester, Goldie Paley Gallery, Moore College of Art, Philadelphia (curated by Elsa Weiner Longhauser, cat. with text by Wade Saunders)
The Hallucination of Truth, P.S. 1, Long Island City, New York, USA (with Laurie Simmons, curated by Paul Laster and Renee Riccardo)
Alan Belcher, Nancy Dwyer, and Allan McCollum, Le Casa d’Arte, Milan, Italy
Sculptures, Galerie Charles Cartwright, Paris, France
NY Art Now: The Saatchi Collection, London, England (cat. with text by Dan Cameron: Giancarlo Politi Editore)
Currents 12: Simulations New American Conceptualism, Milwaukee Art Museum, USA (curated by Dean Sobel, brochure with text by Dean Sobel)

1986
Damaged Goods: Desire and the Economy of the Object, The New Museum of Contemporary Art, New York, USA (cat. with artist statements and texts by Deborah Bershad, Hal Foster, Marcia Tucker, and Brian Wallis)
Dissent: The Issue of Modern Art in Boston, Part III, ‘As Found’, Institute of Contemporary Art, Boston, USA (cat. with text by Benjamin Buchloh, Reinhold Heller, Serge Guilbaut, David Joselit, David Ross, and Elizabeth Sussman)
In the Tradition of: Photography 1915-1986, Light Gallery, New York, USA
MASS, The New Museum of Contemporary Art, New York, USA (curated by Group Material, cat. with text by William Olander and Group Material)
P, Gallery 303, New York, USA
Signs of Painting, Metro Pictures, New York, USA
Time After Time, Diane Brown Gallery, New York, USA (curated by Collins and Milazzo)
Rooted Rhetoric, Castel Dell ‘Ovo, Naples, Italy (curated by Gabriele Cuercio, cat. with texts by Benjamin H.D. Buchloh, Joseph Kosuth, Thomas Lawson, Charles Le Vine, David Robbins, Angelo Trimarco, and Gabriele Cuercio, in Italian and English)
The Real Big Picture, Queens Museum, Queens, New York, USA (cat. with text by Marvin Heiferman)
The Red Show, Massimo Audiello Gallery, New York, USA (curated by Robert Nickas)
Acceptable Entertainment, Bruno Faccetti Gallery, New York, USA (curated by Paul Laster and Renee Riccardo, cat. with text by Deborah Bershad)
Spiritual America, CEPA, Buffalo, New York, USA (curated by Collins and Milazzo, text in CEPA Quarterly by Collins and Milazzo)
Television’s Impact on Contemporary Art, Queens Museum, New York, USA (curated by Marc H. Miller, cat.)
Ultrasurd, S.L. Simpson Gallery, Toronto, Canada (curated by Collins and Milazzo, cat.)
Arts and Leisure, The Kitchen, New York, USA (curated by Group Material, cat.)
Il Cagiante,  Padiglione d’Arte Contemporanea, Milan, Italy (curated by Corrado Levi, cat. in Italian)

1985
The Anticipated Ruin, The Kitchen, New York, USA (curated by Howard Halley)
Final Love, Cash Newhouse, New York, USA (curated by Collins and Milazzo)
Persona Non Grata, Daniel Newburg Gallery, New York (with Laurie Simmons, curated by Collins and Milazzo)
Americana, Whitney Museum of American Art, New York, USA (curated by Group Material for 1985 Biennial Exhibition, cat.).
The Public Art Show, Nexus Contemporary Art Center, Atlanta, USA (curated by Ronald Jones, cat.)
A Life of Signs, Michael Klein, Inc., New York, USA (Metro Pictures, New York)

1984
Ailleurs et Autrement, Musée d’Art Moderne de la Ville de Paris, France (catalog with text by Claude Gintz, in French)
Allan McCollum and James Welling, Cash Newhouse Gallery, New York, USA
Artists’ Call, Marian Goodman Gallery, New York, USA
Contemporary Perspectives, Center Gallery, Bucknell University, Lewisburg, USA (cat. with text by Thomas Lawson)
A Different Climate: Aspects of Beauty in Contemporary Art, Städtische Kunsthalle Düsseldorf, Germany (curated by Jürgen Harten)
Natural Genre, Florida State University Fine Arts Gallery, Tallahassee, USA (cat. with text by Collins and Milazzo)
POP, Spiritual America, New York, USA (curated by Richard Prince)
Re-place-ment, Hallwalls, Buffalo, USA (curated by Robin Dodds)

1983
New York Now, Kestner-Gesellschaft, Hanover, West Germany (curated by Carl Haenlein, cat.  in German)
The California Collection: Sixteen Paintings from the Gifford and Joann Phillips Collection,  Museum of Fine Arts, Museum of New Mexico, Santa Fe, USA

1982
Louise Lawler, Allan McCollum, Sherrie Levine, The Eyelevel Gallery, Halifax, Canada
Dark Thoughts: Black Paintings, Pratt Institute Gallery, New York, USA (curated By Ellen Schwartz)
Punctuated/Unpunctuated, The Grommet Gallery, New York, USA (curated by Marcia Hafif)
U.S. Art Now, Nordiska Kompaniet, NK-Teatren, Stockholm, Sweden; Konsthallen, Gstaplatsen,
Gsteborg, Sweden (curated by Jan Eric Lswenadler, cat.)

1981
Thirty-Five Artists Return to Artists Space: A Benefit Exhibition, Artists Space, New York, USA (cat.)

1980
Further Furniture, Marian Goodman Gallery, New York, USA (curated by Nicholas Calas and Marian Goodman)
Drawings, Leo Castelli Gallery, New York, USA (Benefit for the Foundation for Contemporary Performing Arts)

1979
New Work/September 1979, Hal Bromm Gallery, New York, USA

1978
Drawing and Painting on Paper, Charlotte Crosby Kemper Gallery, Kansas City Art Institute, Kansas City, USA

1977
Unstretched Surfaces, Los Angeles Institute of Contemporary Art, USA (curated by Dr. Jean-Luc Bordeaux, cat. in French and English)
Group Exhibition, Artists Space, New York, USA

1975
Biennial Exhibition, Whitney Museum of American Art, New York, USA (cat. with foreword by Tom Armstrong)
Eight Artists from Los Angeles, Emanuel Walter Gallery, San Francisco, USA (curated by Phil Linhares, brochure with text by Phil Linhares)
Drawings and Works on Paper, Dootson Calderhead Gallery, Seattle, USA

1974
Contemporary American Painting and Sculpture, Krannert Art Museum, Champaign, USA (cat. with text by James R. Shipley and Alan S. Weller)
15 Abstract Artists, Los Angeles, Santa Barbara Museum of Art, Santa Barbara, USA (cat. with text by Ronald Kuchta and Michael Walls)
Painting in America: Yesterday and Tomorrow, The Decorative Arts Center, New York, USA (curated by Dave Hickey)

1973
Twelve Statements beyond the Sixties, The Detroit Institute of Arts, Detroit, USA (curated by Frank Kolbert)

1972
Color-Field Painting to Post-Color-Field Abstraction: Art for the Seventies, Nelson Art Gallery, Kansas City, USA
Fifteen Los Angeles Artists, Pasadena Art Museum, USA (curated by Barbara Haskell, cat.)
Los Angeles ’72, Sidney Janis Gallery, New York, USA (cat.)
Arnoldi/ Cooper/ McCollum/ Wudl, Art Gallery, California State University, Fullerton, USA (curated by Dextra Frankl)
Art of the Seventies, Seattle Art Museum, USA (curated by Robert Dootson)

1971
24 Young Los Angeles Artists, Los Angeles County Museum of Art, Los Angeles, USA (curated by Maurice Tuchman and Jane Livingston)
New Painting in Los Angeles, Newport Harbor Art Museum, Balboa, USA (curated by Tom Garver, cat. with text by Cara Montgomery)
Off the Stretcher, Oakland Museum, Oakland, USA (cat. with text by George W. Neubert)
After-Quake, The Friends of Contemporary Art, Denver, USA (curated by Leroy Butler)

1970
Venice, California/70, California State Art Gallery, California State College at Los Angeles, USA (curated by Josine Starrels)
Eighth Annual Southern California Exhibition, Long Beach Museum of Art, USA (cat.)

1969
Los Angeles Annual Art Exhibition, The Municipal Art Gallery, Los Angeles, USA (cat.)
Mt. San Antonio College Second Biennial Exhibition of Painting and Drawing, Mt. San Antonio College Art Galleries, Walnut, USA

 

PUBLICLY  SITED  WORKS

2004
Three Perfect Vehicles, A Public Art Fund project for Doris Friedman Plaza, Central Park, New York

2003
The Kansas and Missouri Topographical Model Project, A project for 120 historical society museums in Kansas and Missouri

2001
The New City Markers, A project for the City of Malmö, Sveden

2000/01
Signs of the Imperial Valley: Sand Spikes from Mount Signal, A project for the Imperial Valley and the Mexicali Valley, sponsored by inSITE2000-2001: New Contemporary Art Projects for San Diego/ Tijuana, in California and Mexico

2000
Five Allegories, A project for the City of Montpellier, France

1998
Twelve Parables, A project for Wanås Sculpture Park, Knislinge, Sweden

1997
THE EVENT: Petrified Lightning from Central Florida (with Supplementary Didactics), The Museum of Science and Industry, Tampa, Hillsborough County, Florida, and the University of South Florida Contemporary Art Museum, Tampa, Florida

 

COLLABORATIVE  PROJECTS  DONE  WITH  MUSEUMS  OTHER  THAN  ART  MUSEUMS

Carnegie Museum of Natural History, Pittsburgh, Pennsylvania
Museo Vesuviano (Vesuvius Museum), Pompei, Italy
College of Eastern Utah Prehistoric Museum, Price, Utah
Hillsborough County Museum of Science and Industry, Tampa, Florida
Imperial Valley Historical Society Pioneers Museum, Imperial, California
Museo Universitario, Universidad Autónoma de Baja California, Mexicali, Mexico