2024

• Jody Zellen, “Uta Barth: 1301PE,” Artillery (September 10, 2024) web

2023

• Kathryn Scanlan, “Uta Barth,” Art Forum (May 2023) web
• Loring Knoblauch, “Uta Barth @ Tanya Bonakdar,” Collector Daily (April 18, 2023) web
• Jennifer Tobias, “Uta Barth’s Impressive …from dawn to dusk Studies the Grid of the Getty Center,” The Architect’s Newspaper (April 5, 2023) web
• Jessica Holmes, “Uta Barth,” The Brooklyn Rail (April 2023) web
• Johanna Fateman, “Goings on About Town: Uta Barth,” The New Yorker (March 2023) web
• Wenjie (Demi) Zhao, “Exhibition Review: Uta Barth,” Musée Magazine (March 14, 2023) web
• Marcus Bunyan, “Exhibition: ‘Uta Barth: Peripheral Vision’ at the J. Paul Getty Museum, Los Angeles,” Art Blart (February 17, 2023) web
• Arthur Lubow, “How Uta Barth’s Art Illuminates,” The New York Times (February 9, 2023) web
• Christopher Knight, “Review: Uta Barth’s Fuzzy Photographs Come Into Stirring Focus in a Major Getty Show,” Los Angeles Times (February 7, 2023) web
• Kate Palmer Albers, “What Uta Barth’s Images Tell Us About the Limits of Sight,” Aperture (February 3, 2023) web
• Jessica Simmons-Reid, “Uta Barth at the Getty,” Contemporary Art Review Los Angeles (February 2, 2023) web
• Renée Reizman, “Uta Barth Chases Light at the Getty Center,” Hyperallergic (January 30, 2023) web
• Jody Zellen, “Uta Barth: ‘Peripheral Vision’, Perception and the Act of Looking,” ArtnowLA (January 19, 2023) web
• Jill Spalding, “Uta Barth: Peripheral Vision,” Studio International (January 9, 2023) web
• “Getty Exhibition Examines 40-Year Career of Artist Uta Barth,” Artdaily (January 8, 2023) web
• Catherine Wagley, “A Career-Spanning Survey of Uta Barth’s Rigorous, Seductive Photographs,” Photograph (January 3, 2023) web

2022

• Leah Ollman, “For Artist Uta Barth, Learning to Photograph is a Way of Learning to See,” Los Angeles Times (December 29, 2022) web
• “The J. Paul Getty Museum: Uta Barth: Peripheral Vision,” L’Œil de la Photographie (December 21, 2022) web
• William Poundstone, “Uta Barth Takes on Richard Meier’s Light,” Lacma on Fire (November 21, 2022) web
• Gabrielle Keung, “Exhibition Review: Uta Barth,” Musée Magazine (November 16, 2022) web
• Tiana Molony, “Uta Barth | ‘Peripheral Vision’ at the Getty Center,” Flaunt Magazine (October 26, 2022) web
• David S. Rubin, “Uta Barth at Tanya Bonakdar Gallery and 1301PE,” Art and Cake (July 6, 2022) web
• Shelia Pippin, “Uta Barth | Premieres Joint Exhibition ‘Figure/Ground, Figure/Ground,” Flaunt (June 2, 2022) web

2021

• Thierry Grillet, “Uta Barth – In The Light and Shadow of Morandi,” The Gaze of a Parisienne (July 19, 2021) web

2020

• Arpad Kovacs, “Is the Still Life the Form of the Moment?,” Aperture (May 19, 2020) web

2017

• Eva Recinos, “15 Female Artists Who’ve Shaped the L.A. Art Scene,” LA Weekly, (April 4, 2017)
• Hunter Drohojowska-Philp, “Uta Barth at 1301PE,” KCRW Art Talk, kcrw.com (March 23, 2017)
• Ezrha Jean Black, “Pick of the Week: Uta Barth,” artillerymag.com (March 23, 2017)
• Martin Herbert, “Ten Shows to See,” ArtReview.com (March 2017)
• Catherine Wagley, “Five Art Shows to See in L.A. This Week,” LA Weekly (March 22, 2017)
• “Uta Barth: In the Light and Shadow of Morandi,” culturadar.com (March 7, 2017)
• “Uta Barth’s Projects at Tanya Bonakdar Gallery, New York,” blouinartinfo.com (February 28, 2017)
• Martha Schwendener, “What to See in New York Art Galleries This Week,” The New York Times (February 23, 2017)
• Robbie O’Halloran, “200 words: Uta Barth,” theglazelondon.com (February 26, 2017)
• “Uta Barth at Tanya Bonakdar Gallery,” juxtapoz.com (February 22, 2017)
• “The top five New York art shows this week,” timeout.com/newyork  (February 21, 2017)
• “Time Out Loves..,” Time Out New York, (February 21, 2017)
• “Tanya Bonakdar Gallery presents two distinct yet related projects by Uta Barth,” artdaily.org (February 15, 2017)
• “10 Art Events to Attend in New York City This Week,” artnews.com (February 6, 2017)

2015

• Uta Barth, “luz / light,” EXIT 58, MINIMO / MINIMUM [Madrid], ed. Rosa Olivares (May–July 2015)

2014

• Catherine Corman, “New Wave Women: Paris Photo Los Angeles,” HUFFPOST Arts & Culture (October 9, 2014)
• John Haber, “Private Visions – ‘A World of Its Own: Photographic Practices in the Studio,’” The New York Photo Review
• Georgia Francis King, “The Meaning of Light.” KINFOLK (The Winter Issue), 2014
• Alanna Martinez, “5 Artists to Watch at Paris Photo LA’s Solo Booths,” blouinartinfo.com (April 25, 2014)
• Ricardo Mor, “Fort Lauderdale Girls’ Club show explores the forces that shape perception,” Miami Herald (July 10, 2014)
• Jeffrey Saddoris, “Sublimely Mundane: Uta Barth,” fadedandblurred.com (October 4, 2013)
• Roberta Smith, “When a Form is Given its Room to Play – ‘A World of its Own’, Examining Photography at MoMA,” The New York Times (February 6, 2014)
• “Uta Barth,” Union-Mag.com (November 30, 2014)

2013

• Stacy Dacheux, “Uta Barth’s Photographs Quote the Lightness in Her Own Life,” beautifuldecay.com (October 4, 2013)
• Nicholas Grider, Public Display #2, PublicAccessJournal.wordpress.com
• “Artsy Asks Gregory Crewdson, Uta Barth, and Yuki Onodera All About the Window,” artsy.net (September 30, 2013) web
• “Stockholm: Uta Barth – la transformation invisible,” Le Journal de la Photographie (March 1, 2013)

2012

• Jackie Adams, “The Genius Series: MacArthur Winner Uta Barth,” Los Angeles Magazine (December 10, 2012)
• Christina Anglada, “Uta Barth en Elvira González,” Nosotros [Madrid] (June 11, 2012)
• Darren Campion, “Uta Barth: The Density of Light,” [The Incoherent Light] Perspectives on Photography (December 10, 2012) web pdf
• Laura Caso, “Uta Barth – La fotografia es dibujar con lineas de luz,” El Mundo [Madrid] (May 29, 2012)
• Rafael de las Cuevas, “Una raya brillante de luz,” De Scubrir El Arte [Madrid] (May 22, 2012)
• Ian Farr, ed., MEMORY (Whitechapel: Documents of Contemporary Art) London: The MIT Press 2012 pdf
• Julia Halperin, “Photographers Uta Barth and An-My Lê Score MacArthur Genius Grants,” blouinartinfo.com (October 2, 2012)
• Bettye Miller, “Art Professor Wins MacArthur Fellowship,” ucrtoday.ucr.edu (October 1, 2012) pdf
• Julio Municio, “Uta Barth en la Galería Elvira González,” whyonwhite.blogspot.com [Madrid] (June 26, 2012)
• David Ng, “MacArthur 2012 Fellows Include Uta Barth, Chris Thile,” latimes.com (October 1, 2012)
• Javier Panizo, “Uta Barth – Luz al final del tunnel,” blogearte.com [Madrid] (June 22, 2012)
• Amalia Rubi, “Luces y sombras de Uta barth en la Galería Elvira González,” infoenpunto.com [Madrid] (May 6, 2012)
• Sara Torres Sifon, “La fotografia de Uta Barth en la Galería Elvira González,” plataformadeartecontemporaneo.com [Madrid] (May 21, 2012)
• Elena Vozmediano, “Uta barth, los Caminos del sol,” elcultural.es [Madrid] (June 22, 2012)
• James Yood, “Reviews: Uta Barth,” Aperture 206 (Spring 2012)
• Siona Wilson, “Uta Barth,” artreview.com (February 28, 2012)
• Jonathan Blaustein, “This Week in Photography Books – Uta Barth,” aphotoeditor.com (July 20, 2012)

2011

• Alexander Adler, “What’s going on? Chelsea Round Up,” huffingtonpost.com (November 16, 2011)
• “The Art Institute of Chicago Presents Work by Los Angeles-Based Artist Uta Barth,” chicago.localme.me (May 15, 2011)
• Janet Arvia, “The Art Institute debuts new photographs from Uta Barth,” examiner.com/chicago (May 4, 2011)
• “Uta Barth,” arttattler.com (2011)
• “Uta Barth,” artweek.la (September 14, 2011)
• “Uta Barth,” Escape Into Life Digest 42 (October 2, 2011)
• “Uta Barth @ Bonakdar,” DLK Collection (November 9, 2011) web pdf
• “Uta Barth at 1301PE Gallery,” NY Arts Magazine (Autumn 2011)
• Bill Bush, “The Haze of Memory: This artweek.la (September 19–26),” huffingtonpost.com (September 19, 2011)
• Amy Cavanaugh, “Uta Barth Exhibit,” cbschicago.com (June 6, 2011)
• “Chicago Uta Barth,” lalettredelaphotographie.com (June 1, 2011)
• Blake Gopnik, “Subtlety, Squared,” thedailybeast.com (November 5, 2011)
• “Happenings: Uta Barth Exhibition at Tanya Bonakdar Gallery,” blog.conveyormagazine.org (November 29, 2011)
• Megan Hoetger, “Don’t Miss – New York: Uta Barth at Tanya Bonakdar Gallery through December 22nd, 2011,” artobserved.com [AO Art Observed] (December 18, 2011)
• Claudine Ise, “Uta Barth,” artforum.com (June 21, 2011)
• Laurie K, “Uta Barth and More at The Henry Art Gallery,” culturemob.com [Seattle] (January 27, 2011)
• Merrily Kerr, “Review: Uta Barth,” timeout.com/newyork (November 29, 2011)
• Morgan McCarty, “A ribbon runs through Barth’s exploration of photography,” The Chicago Maroon (May 24, 2011)
• Brian Miller, “Uta Barth,” The Seattle Weekly (April 15, 2011)
• “New This Month in U.S. Museums,” artnet.com (May 1, 2011)
• Laura Pearson, “Uta Barth at the Art Institute of Chicago,” timeout.com/chicago (May 25, 2011)
• Susan Snodgrass, “Uta Barth,” Art in America 99, no. 10 (November 2011)
• Tema Stauffer, “Art Watch Weekly,” Mana Fine Arts (December 7, 2011)
• Kyle T. Webster, “Uta Barth,” “Goings on About Town,” The New Yorker (December 5, 2011)
• Michael Weinstein, “Review – Uta Barth/Art Institute of Chicago,” art.newcity.com [New City Art] (May 30, 2011)
• Erik Wenzel, “The Curtains of Perception,” artslant.com (July 11, 2011)
• Monica Westin, “Uta Barth,” flavorpill.com/chicago (May 14, 2011)
• Natacha Wolinski, “Traces de Presences,” Air France Magazine (October 2011)

2010

• “artnet News – Still More Summer Shows in New York,” artnet.com (July 1, 2010)
• “Checking in with John Casteen, Poet, Teacher,” C-Ville Charlottesville News & Arts 22, no. 43 (October 26–November 1, 2010)
• Joshua Cohen, “Camera Obscura: Novelist Tao Lin projects his life as a series of boredom-filled blog posts,” image reproduced in review of Tao Lin, Richard Yates,” Bookforum 17, no. 3 (September–October–November 2010)
• “Exceptional Work by Uta Barth at Taya Bonakdar Gallery,” All Art News (May 10, 2010)
• Mat Gleason, “The Ten Most Underrated Los Angeles Art World Stars,” huffingtonpost.com (August 17, 2010); coagula.com [Coagula Art Journal] (October 17, 2010)
• Edward Goldman, “Making the Most of It…,” KCRW Art Talk, kcrw.com (May 18, 2010)
• Edward Goldman, “The Best and Worst of 2010,” huffingtonpost.com (December 30, 2010)
• John Haber, “Pedestrian Crossings,” haberarts.com (June 13, 2010)
• Howard Halle, “Critics pics: Best in Photography: Uta Barth,” timeout.com/newyork (May 6–12, 2010)
• Tim Kane, “Invisible at Mass MoCA,” Albany Times Union, June 3, 2010
• Lyra Kilston, “Uta Barth: Seeing is Forgetting the Name of the Thing One Sees,” artreview.com (July 15, 2010)
• Aislinn Leggett, “Uta Barth,” SlightlyLucid.com (March 24, 2010)
• J. Lindblad, “Go See – Stockholm: ‘Thrice Upon a Time’ at Magazine 3 Konsthall,” artobserved.com [AO Art Observed] (September 16, 2010)
• Audrey Mandelbaum, “Uta Barth…to walk without destination and see only to see,” X-TRA 13, no. 2 (Winter 2010) pdf
• Cate McQuaid, “Echoing Ellsworth Kelly in Electrifying Fashion,” The Boston Globe, November 28, 2010
• Håkan Nilsson, “Anonymous motifs come close,” Svenska Dagbladet [Stockholm], December 3, 2010
• Anders Olofsson, “Uta Barth at Andréhn-Schiptjenko,” konsten.net [Stockholm] (November 22, 2010)
• Carlos Suarez De Jesus, “From Ed Ruscha to Man Ray: CiFo Exhibits Photos Curated by Tate Modern’s Tanya Barson,” Miami New Times, December 21, 2010
• “Uta Barth,” The New Yorker (May 31, 2010)
• “Uta Barth: …to walk without destination and to see only to see @ Tanya Bonakdar,” DLK Collection, May 20, 2010
• “Uta Barth at Andréhn-Schiptjenko Gallery, Stockholm,” Mousse Magazine [Milan] (December 22, 2010)
• Katia Zavistovski, “Come Curious: The Artists Look,” blog.art21.org (September 15, 2010)
• Katia Zavistovski, “Come Curious,” blog.art21.org (June 7, 2010)
• Carol McCusker, “An Eruption of Color,” Color Magazine [Novato, California] 2 (July 2010)
• Lanee Neil, “The Lens of L. A.: From Motion to Stillness,” Fabrik Magazine 6 (Summer 2010)

2009

• “Twenty Top Shows,” artnet.com (November 3, 2009)

2008

• “artnet News – Art Benefits for Obama,” artnet.com (September 30, 2008)
• “artnet News – New Museum for Kansas,” artnet.com (January 17, 2008)
• Brian Dillon, “Uta Barth: Sundial, In Praise of Indifference,” Portfolio: Contemporary Photography in Britain 48 (December 2008)
• Morgan Falconer, “Uta Barth,” Frieze 113 (March 2008)
• Adrian Grant, “Blur,” Seattle Weekly, April 30, 2008
• Camilla Hammarström, “An Eye For Light,” Aftonbladet [Stockholm], June 15, 2008
• A. Mead, “Critic’s Choice,” Architects’ Journal (June 12, 2008)
• Holly Myers, “Uta Barth: Domestic Bliss,” ArtReview 23 (June 2008) pdf
• Håkan Nilsson, “A Sideways Perspective,” DN [Stockholm] (May 24, 2008)
• Anders Olofsson, “Andréhn-Schiptjenko, Stockholm: Uta Barth (15/5–19/6),” konsten.net [Stockholm] (May 21, 2008)
• Kristen Peterson, “What’s Private, in Public,” Las Vegas Sun, May 25, 2008
• Cherry Smyth, “Uta Barth: Alison Jacques Gallery,” Modern Painters 20, no. 7 (September 2008)
• Lina Wennersten, “The Art of Seeing,” City [Stockholm] (May 23, 2008)

2007

• Vince Aletti, “Uta Barth,” “Goings on About Town,” The New Yorker (November 12, 2007)
• “Architectural Photography,” Arkitektur DK (August 2007)
• Uta Barth, “Learning How to Look,” Exit 26, Through the Window [Madrid], ed. Rosa Olivares (May–July 2007)
• Barbara Bestor, “The Big Fix: Hand over the Mini-Malls,” Los Angeles Times, December 26, 2007
• Hunter Drohojowska-Philp, “Pussy Power,” artnet.com (March 23, 2007)
• Jeremy Melvin, ” Architecture and Photography: a work in progress,” Blueprint 251 (February 2007)
• Holly Myers, “Dynamically capturing the feminist spirit,” Los Angeles Times, March 13, 2007
• Christian Nelson, “Looking vs. Seeing,” The Daily [Seattle], August 1, 2007
• Karen Rosenberg, “Sundial: Uta Barth,” The New York Times, November 9, 2007 pdf

2006

• “artnet News – New Gallery in Venice,” artnet.com (January 17, 2006)
• Mark Bolland, “Subject-less Photography,” Source 47 (Summer 2006) pdf
• Lisa Bosse, “Uta Barth,” Contemporary 84 (Autumn 2006) pdf
• “Calendar – Museums and Galleries,” The New York Times, July 16, 2006
• Vittoria Di Palma, “Blurs, Blots, and Clouds: Architecture and the Dissolution of the Surface,” AA Files: Journal of the Architectural Association School of Architecture [London] 54 (Summer 2006) pdf
• Irene Gerogianni, “Inner Go Go at vamiali’s: Athens Critics’ Picks,” artforum.com (May 24, 2006)
• Adam Minte, “On Sofas and Sublimity,” The Rake [Minneapolis] (September 25, 2006) pdf
• Chuck Mobley, “Everyone Here is from Somewhere Else,” Camerawork 33, no. 2 (Autumn–Winter 2006)
• Liz Wells, “Writing with Light,” Daylight & Architecture [Velux Group] 4 (Autumn 2006) pdf

2005

• Vince Aletti, “Uta Barth,” “Goings on About Town,” The New Yorker (May 23, 2005)
• Vince Aletti, “Voice Choices: Photo,” The Village Voice, May 18–24, 2005
• Sophie Allgårdh, “Alla anspelningar skymmer insikten,” Svenska Dagbladet [Stockholm], September 17, 2005
• R. C. Baker, “Voice Choices: Uta Barth,” The Village Voice, March 2–8, 2005
• Sanna Bjorling, “konstgant,” Dagans Nyheter [Stockholm], August 26, 2005
• Clayton Campbell, “Uta Barth at Acme,” Flash Art (July–September 2005) pdf
• Jon Carver, “Critical Reflections,” The Magazine (April 2005)
• Bruno Chalifour, “What Pictures Look Like,” book review of Uta Barth, by Pamela M. Lee, Matthew Higgs, Jeremy Gilert-Rolfe, Afterimage 32, no. 6 (May 1, 2005) pdf
• Tom Collins, “SITE Santa Fe Revisits the Theme of What We See and How We See It,” Albuquerque Journal, March 18, 2005
• Marcelle Fischler, “Long Island Journal; Celebrating Art and Wine in Cutchogue,” The New York Times, July 17, 2005
• Garret KeKizer, “Life Everlasting,” Harper’s Magazine (February 2005)
• “Konstgång,” Dagens Nyheter På Stan, [Stockholm], August 26, 2005
• Bruno LeMieux-Ruibal, “Uta Barth,” Lápiz 214 (June 2005) pdf
• Nell McClister, “Uta Barth at Tanya Bonakdar,” Artforum 44, no. 1 (September 2005) pdf
• Sharon Mizota, “Reality in Abstract,” San Francisco Weekly, June 29, 2005
• Holly Myers, “Formica never looked so intimate,” Los Angeles Times, May 20, 2005 pdf
• Håkan Nilsson, “Kritikerns val,” Dagens Nyheter [Stockholm], September 10, 2005
• Håkan Nilsson, “Lekfulla optiska villor,” Dagens Nyheter [Stockholm], September 17, 2005
• Anders Olofsson, “Gå och se,” konsten.net [Stockholm] (September 13, 2005)
• Anders Olofsson, “Samtal med Uta Barth,” konsten.net [Stockholm] (September 9, 2005)
• Ilana Swerdlin, “In Focus: Themes in Photography,” Afterimage 32, no. 4 (January–February 2005)
• “Und ewig lockt die Kunst in Düsseldorf,” Handelsblatt-Kunstmarkt 185 (September 23–25, 2005)

2004

• Uta Barth, “Findings,” Harper’s Magazine (April 2004)
• Chas Bowie, “Double Exposure,” The Portland Mercury [Portland, Oregon], June 30, 2004
• Ruth Keffer, “The Subject is Architecture,” arcCA 4.3 (October 2004)

2003

• Peder Alton, Dagens Nyheter På Stan [Stockholm], June 6, 2003
• Micaela Martegani, “Uta Barth: Tanya Bonakdar Gallery,” Tema Celeste (January–February 2003) pdf
• Håkan Nilsson, Dagens Nyheter [Stockholm], May 31, 2003
• Anders Olofsson, “Andréhn-Schiptjenko, Stockholm: Uta Barth (8/5–7/6),” konsten.net [Stockholm] (2003)
• P. C. Smith, “Uta Barth at Tanya Bonakdar,” Art in America 91, no. 3 (March 2003) pdf
• Jody Zellen, “Uta Barth at ACME.,” Art Papers 27, no. 1 (January–February 2003)
• Jane Rendell, “Where the Thinking Stops, Time Crystallises …,” Urban Futures: Critical Commentaries on Shaping the City, Malcolm Miles and Tim Hall, eds. London: Routledge, 2003

2002

• Vince Aletti, “Voice Choices: Photo,” The Village Voice, November, 6–12, 2002
• “Art Guide,” The New York Times, August 16, 2002
• Sarah Boxer, “If a Medium Loses Its Message, is it Still a Medium?” The New York Times, August 9, 2002
• Johana Burton, “Uta Barth,” timeout.com/newyork (November 7–14, 2002) pdf
• Clifford Elgin, “Uta Barth, Gerhard Richter, and the influence of Photography on Painting,” thoughtsonart.com (June 2002)
• Inga Kiderra, “Home Is Where the Art Is,” news.usc.edu (February 25, 2002) Victoria Martin, “‘Global Address’ at USC Fisher Gallery,” Artweek 22, no. 3 (April 2002)
• Holly Myers, “Loaded Questions amid the Treetops,” Los Angeles Times, October 25, 2002 pdf
• David Pagel, “Some Things Old, Some Things New,” Los Angeles Times, May 10, 2002
• Eric Steinman, “Think Globally, Art Locally,” Los Angeles Downtown News 31, no. 11 (March 18, 2002)

2001

• Jill Conner, “Blurring the Boundaries,” Afterimage 28, no. 5 (March–April 2001)
• Joan Crowder, “Photographic Exhibition Covers a Wide Variety of Styles,” Santa Barbara News-Press, December 5, 2001
• Bill Davenport, “Tire Iron 12: Uta Barth,” Glasstire, May 2, 2001 web
• Patricia C. Johnson, “Uta Barth Focuses on Changing Perceptions,” Houston Chronicle, May 12, 2001 pdf
• Kelly Klaasmeyer, “Blurring the Lines,” Houston Press Weekly, June 14, 2001
• Elena Kornbluth, “Triple Exposure, Three Photographers in Focus: Sam Taylor-Wood, Uta Barth, Jessica Craig-Martin,” Elle Decor 81 (February–March 2001) pdf
• Katy Siegel, “Uta Barth: In Between Places,” artforum.com (April 2001)

2000

• Vince Aletti, “Photography about Photography,” The Village Voice, February 29, 2000
• Dore Bowen, “Rattle & Roll: Rattling the Frame, The Photographic Space 1974–1999,” Afterimage 27, no. 5 (March 2000)
• Catherine Dorsey, “There’s No Place Like Home” Port Folio Weekly [Hampton Roads, Virginia] (October 24, 2000)
• Emily Hall, “Seeing Straight: The Encompassing Worlds of Uta Barth,” The Stranger [Seattle], November 23, 2000
• Doug Harvey, “Mounds: Monumental Edibles at the Getty Contemporary,” L. A. Weekly, March 10–16, 2000
• Christopher Knight, “Fuzzy Images, Focused Ideas,” Los Angeles Times, December 29, 2000 pdf
• Charles Labelle, “Uta Barth at ACME.,” Artext 68 (February–April 2000) pdf
• David Littlejohn, “The Gallery: Hilltop Invitational,” The Wall Street Journal, April 24, 2000
• Thomas McGovern, “Uta Barth at ACME.,” Artweek 31, no. 1 (January 2000) pdf
• David Pagel, “Fresh Riffs on a Theme,” Los Angeles Times, March 1, 2000
• Katy Siegel, “Uta Barth: In Between Places at Henry Art Gallery,” Artforum 39, no. 1 (September 2000)
• Mark St. John Erickson, “Exhibit that gets you where you live,” Daily Press [Hampton Roads, Virginia], October 15, 2000
• Margaret Sundell, “Uta Barth at Bonakdar Jancou,” Artforum 38, no. 5 (January 2000) pdf
• Alice Thorson, “The world outside her windows,” The Kansas City Star, July 2, 2000 pdf
• Robin Updike, “Uta Barth photos offer new angle on the world,” The Seattle Times, November 9, 2000 pdf
• Lawrence Van Gelder, “Footlights,” The New York Times, February 29, 2000
• “Voice Choices,” The Village Voice, November 6–12, 2000

1999

• Vince Aletti, “Voice Choice” The Village Voice, November 23, 1999
• Sarah Boxer, “The Guggenheim Sounds Alarm: It Ain’t Necessarily So,” The New York Times, March 19, 1999
• Bonnie Clearwater, “Slight of Hand: Photography in the 1990s,” Art Papers (September–October 1999)
• Roy Exley, “New Abstract Photography, Towards Abstraction: The Painterly Photograph,” Creative Camera 358 (June–July 1999)
• Regina Hackett, “Out-of-Focus Photography Comes into its Own,” Seattle Post-Intelligencer, December 17, 1999 pdf
• David Pagel, “Space Exploration,” Los Angeles Times, October 22, 1999 pdf
• Sue Spaid, “Seeing Eye,” The Village Voice, April 27, 1999
• Carol Vogel, “Inside Art,” The New York Times, August 6, 1999
• Anne Wilkes Tucker, “Peer Reviews,” Art News (January 1999)

1998

• Vince Aletti, “Voice Choices,” The Village Voice, March 31, 1998
• Vince Aletti, “Voice Choices,” The Village Voice, April 15–21, 1998
• “Art Market,” The Art Newspaper 85 (October 1998)
• Linda Brown, “(Not Pictured) The Presence of Absence,” Art Papers (November–December 1998)
• Mark Currah, “Uta Barth, London Projects,” timeout.com/london (October 14-21, 1998)
• Carol Diehl, “Uta Barth at Bonakdar Jancou,” Art in America 86, no. 10 (October 1998) pdf
• Roy Exley, “Uta Barth: London Projects,” Zing Magazine (Winter 1998) pdf
• Monica Geran, “Art and Soul,” Interior Design (September 1998)
• Michelle Grabner, “Fuzzy Logic,” Cakewalk 1 (Spring–Summer 1998) pdf
• Terry Grimley, “Haunting Art from the Kosovo Frontline,” Birmingham Post, June 10, 1998
• Hans Hedberg, “The Photograph as Cannibal,” Index 21 (January 1998)
• Robert Hicks, “Blurred Images Used to Highlight the Subject,” The Villager [New York City], April 15-21, 1998
• Reena Jana, “‘Spread’ at Rena Bransten,” Flash Art (October 1998)
• Ken Johnson, “Art Guide,” The New York Times, April 17, 1998
• Charles LaBelle, “Scene of the Crime,” World Art: The Magazine of Contemporary Visual Arts [Melbourne] 16 (1998)
• Elizabeth Mahoney, “Claustrophobia,” Art Monthly [London] (July–August 1998)
• David Pagel, “Diptych World,” Los Angeles Times, February 13, 1998
• Victoria Pederson, “Uta Barth,” Paper (March 1998)
• Andrew Perchuk, “Uta Barth at Bonakdar Jancou,” Artforum 37, no. 1 (September 1998)
• Barry Schwabsky, “In Person; The Art of the Camera,” The New York Times, October 4, 1998
• William Thompson, “Monumental Photographs,” Spot (Autumn 1998)
• Julia Thrift, “L. A. Cool,” timeout.com/london (May 20–27, 1998)
• Jan Tumlir, “Uta Barth at ACME.,” Art & Text 62 (August–September 1998)
• “Uta Barth,” Flash Art vol. 31, no. 202 (October 1998) pdf

1997

• Vince Aletti, “Our Biennial,” The Village Voice, January 21, 1997
• Vince Aletti, “Uta Barth/Rineke Dijkstra/Tracey Moffatt/Inez van Lamsweerde,” The Village Voice, July 25, 1997
• Daniel Birnbaum, “Dånande våldshyllning och tyst laboratorium,” Dagens Nyheter [Stockholm], November 18, 1997
• Eleanor Charles, “Westchester Guide” The New York Times, March 23, 1997
• Tom Folland, “Uta Barth: S. L. Simpson Gallery,” Parachute 86 (Spring 1997)
• David A. Greene, “Flashback,” The Village Voice, August 19, 1997
• Hans Hedberg, “Bakgrunden träder fram,” Svenska Dagbladet [Stockholm], November 15, 1997
• Susan Kandel, “Pointed Images,” Los Angeles Times, June 27, 1997
• Christopher Knight, “There Is Evidence of Good Work Found at ‘Scene of Crime’,” Los Angeles Times, July 29, 1997
• Luigi Meneghelli, “Portraits of Interiors,” Flash Art (February–March 1997)
• Watt Mitchell, “Review,” Casco Bay Weekly [Portland, Maine], December, 1997
• David Pagel, “Inside Jobs: Portraits of Interiors,” Los Angeles Times, August 1, 1997
• Ralph Rugoff, “L. A.’s Female Art Explosion,” Harper’s Bazaar (April 1997)
• Michael Scott, “Backgrounds Come to the Fore,” Vancouver Sun, April 19, 1997
• Bill Stament, “Uta Barth: Field #20 and Field #21,” Chicago Sun Times, June 25, 1997
• Jeanne S. M. Willette, “Reinventing Photography; ‘Photography as Commentary: The Camera (Obscura) and Post-Philosophical Systems’,” Artweek 28, no. 7 (July 1997)
• Silvio Wolf, “Le Rangioni della nuova–Fotographia analogica,” Tema Celeste (March–April 1997)

1996

• Vince Aletti, “Voice Choices,” The Village Voice, April 9, 1996
• Vince Aletti, “Voice Choice: Making Pictures: Women and Photography, 1975–Now,” The Village Voice, November 19, 1996
• Clemens Altgård, “De sju provokatörerna,” Sydsvenska Dagbladet [Malmö, Sweden], October 8, 1996
• Sara Arrhenius, “Död eller,” Aftonbladet [Stockholm], October 16, 1996
• Daniel Birnbaum, “Måleri i nya skepnader,” Dagens Nyheter [Stockholm], October 15, 1996
• C. B. Brisley, “MoMA: New Photography 11,” Art Press 209 (January 1996)
• Kelvin Browne, “More to Those Images Than Meets the Eye,” The Financial Post [Toronto], November 2, 1996
• Fred Camper, “Focus on the Invisible,” Chicago Reader 25, no. 26 (April 5, 1996)
• Mårten Castenfors, “Rått avslöjande av måleriets klyschor,” Svenska Dagbladet [Stockholm], October 19, 1996
• Elisabet Corlin, “The Extended Field,” När & Var (November 15–February 1, 1997)
• Joan Crowder, “Nature Redux: A Landscape of L. A. Photographers,” Santa Barbara News Press, December 14, 1996
• Cathy Curtis, “Filling the ‘Absence’,” Los Angeles Times, April 4, 1996
• Sheila Dewan, “Quiet Please,” Houston Press, October 3-9, 1996
• Abigail Foerstner, “Altered Perception,” Chicago Tribune, May 12, 1996
• Jeremy Gilbert-Rolfe, “Cabbages, Raspberries and Video’s Thin Brightness,” Art & Design: Painting in the Age of Artificial Intelligence 48 [London] (May–June 1996)
• Viviana Gravano, “Il Rapporto annuale 1995–96: Città minori assai interessanti,” Giornale dell’Arte (November 1996)
• Kathryn Hixon, “Clarity,” New Art Examiner (May 1996)
• Hans Johansson, “Maleriskt Foto,” Göteborg Observer, December 8, 1996
• Patricia C. Johnson, “Communication, or lack of it, is exhibit’s theme,” Houston Chronicle, September 20, 1996
• Jordan, Betty Ann. “Uta Barth and Michael Snow at S L Simpson,” The Globe and Mail [Toronto)], November 2, 1996
• Jessica Kempe, “Klargörande som tidsuttryck—nollgradig som konstupplevelse,” Dagens Nyheter [Stockholm], October 15, 1996
• Soo Jin Kim, “Undoing Space,” Art and the Home, ed. David A. Greene, Art and Design 11, nos. 11/12 (November–December 1996)
• Jörgen Klinthage, “På jakt efter bilder Måleriet som utvidgat fält på Rooseum i Malmö,” Hallandsposten [Halmstad, Sweden)], October 28, 1996
• Kay Koeniger, “Photographs Document Human Places Mostly by Leaving People Out,” Columbus Dispatch, March 23, 1996
• Kim Leddy, “Artifacts in Emulsion,” Columbus Alive [Ohio], February 19–25, 1996
• Bo Madestrand, “Humla utan båt?” Expressen [Stockholm)], October 16, 1996
• Conny C-A. Malmqvist, “Ryktet om måleriets död är betydligt överdrivet,” Kvällsposten [Malmö, Sweden], October 20, 1996
• Luigi Meneghelli, “Interrogativi sul fotografare,” L’Arena [Verona, Italy], October 24, 1996
• Marianne Nanne-Bråhammar, “Måleri är inte bara…Nya utvecklingstendenser på Rooseum,” Arbetet Nyheterna [Malmö and Göteborg, Sweden], October 20, 1996
• Brita Orstadius, “Rooseum: En mjuk provokcation,” Borås Tidning [Borås, Sweden], November 11, 1996
• Adriano Pedrosa, “Uta Barth: Museum of Contemporary Art, Los Angeles,” Frieze (May 1996)
• Nancy Princenthal, “Uta Barth…In Passing,” On Paper 1, no. 2 (November–December 1996)
• Roberta Smith, “The Annotated Calendar; Photography,” The New York Times, September 8, 1996
• Rebecca Simpson, “Flirting with Reality, MoCA Exhibition Explores Transitions of Photographs, Paintings,” Miami SunPost, December 26, 1996
• Julia Thrift, “Uta Barth,” timeout.com/london (July 15–24, 1996)
• Giorgio Trevisan, “Tante pitture nessuna memoria,” L’Arena [Verona, Italy], July 11, 1996
• Mark Van de Walle, “Uta Barth at Tanya Bonakdar,” Artforum 35, no. 1 (September 1996)
• Helga Wachholz, “Belebung und Erneuerung der Malerei?” Handelsblat [Düsseldorf, Germany], November 23, 1996
• Lilith Waltenberg, “Måleriet har hittat nya vägar,” Sydsvenska Dagbladet [Malmö, Sweden], October 6, 1996
• Peter Weiermair, “Portraits of Interiors,” Studio la Città (September 1996)
• Jody Zellen, “What Is a Geographical Space? Uta Barth: ACME., MOCA, Los Angeles,” Artpress 209 (January 1996)
• Håkan Zeylon, “Ger en känsla av frånvaro,” Sydsvenska Dagbladet [Malmö, Sweden], October 8, 1996

1995

• Vince Aletti, “Voice Choices,” The Village Voice, February 14, 1995
• Vince Aletti, “New Photography 11,” The Village Voice, November 7, 1995
• Kenneth Baker, “Five at Bransten,” San Francisco Chronicle, September 22, 1995
• David Bonetti, “Gallery Watch,” San Francisco Examiner, September 22, 1995
• Donatella Brun, “Regards: Uta Barth,” Jardin des Modes (Autumn 1995)
• Joshua Decter, “Uta Barth at Tanya Bonakdar Gallery,” Artforum 33, no. 8 (April 1995)
• Judy Fiskin, “Trompe l’Oeil for Our Time,” Art Issues 40 (November–December 1995)
• David A. Green, “Warm and Fuzzy,” Los Angeles Reader, November 3, 1995
• Charles Hagen, “Found Photographs and Chance: Serendipity,” The New York Times, October 27, 1995
• Susan Hapgood, “Uta Barth at Tanya Bonakdar Gallery,” Art in America 83, no. 5 (May 1995)
• Alfred Jan, “Barth, Casebere, Gursky, Hoffer, Welling: Five Artists Honor the Integrity of the Photograph,” Artist/Writer 4, no. 9 (November–December 1995)
• Susan Kandel, “A Wry Survey of What Artists Collect,” Los Angeles Times, September 28, 1995
• Susan Kandel, “Uta Barth,” Art & Text 52 (September 1995)
• Christopher Knight, “Art in All the Right Spaces,” Los Angeles Times, September 21, 1995
• Timothy Martin, “Uta Barth: Focus Series of Exhibitions,” Art Talk (October 1995)
• Vivien Raynor, “Art; Photographers Putting Their Eggs in Technology’s Basket,” The New York Times, July 30, 1995
• Ralph Rugoff, “Smear Tactics.” L. A. Weekly, October 20–26, 1995
• Martha Schwendener, “Uta Barth at Tanya Bonakdar Gallery,” New Art Examiner (April 1995)

1994

• Vince Aletti, “Voice Choice,” The Village Voice, July 28, 1994
• Vince Aletti, “Voice Choice,” The Village Voice, August 3, 1994
• Peter Frank, “Pick of the Week: ‘The World of Tomorrow’,” L. A. Weekly, March 3, 1994
• Peter Frank, “Tracing L. A.’s Influence on Artists,” Long Beach Press Telegram, March 3, 1994
• Charles Hagen, “Review: Wooster Gardens,” The New York Times, January 28, 1994
• Alfred Jan, “Photos Beyond Description,” Artist/Writer 36 (June 1994)
• Amelia Jones, “Uta Barth at domestic setting,” Art Issues 35 (November–December 1994)
• Julie Joyce, “Images of Anywhere,” Artweek 25, no. 16 (August 18, 1994)
• Christopher Knight, “A Suggestion of Cultural Edginess,” Los Angeles Times, March 10, 1994
• Catherine Maclay, “Taking Realism to the Extreme,” San Jose Mercury News, May 13, 1994
• Suzanne Muchnic, “Uta Barth and Vikky Alexander,” Art News (November 1994)
• David Pagel, “Life’s Intermissions,” Los Angeles Times, July 28, 1994
• David Pagel, “Taking a Glimpse into ‘The World of Tomorrow’,” Los Angeles Times, February 24, 1994
• John Papageorge, “Putting Abstract Photograph in Focus,” Santa Rosa Press Democrat, May 16, 1994
• Michael Rogers, “Love and Art amid the Ruins of California’s Paradise Lost,” Orange County Register, March 11, 1994

1993

• Michael Anderson, “‘A Carafe, That Is a Blind Glass’ and ‘Sugar ‘n’ Spice’,” Art Issues (May–June 1993)
• Peter Kosenko, “FAR BAZAAR at the Old Federal Reserve Bank Building, Los Angeles,” Artweek 24, no. 2 (January 21, 1993)
• Timothy Nolan, “Reading Lessons,” Artweek 24, no. 7 (April 8, 1993)
• David Pagel, “Smart and Sensuous,” Los Angeles Times, March 4, 1993
• Tumlir, Jan. “Homebodies: P.O.P. at 1529 Wellesley,” Artweek 24, no. 6 (March 18, 1993)

1992

• Vince Aletti, “Voice Choices: ‘Voyeurism’,” The Village Voice, March 3, 1992
• Peter Frank, “Far Out of Art/LAX,” L. A. Weekly, December 4, 1992
• Peter Frank, “Pick of the Week: ‘Far Bazaar’,” L. A. Weekly, December 18, 1992
• Shauna Snow, “Artists Cash In on Empty Bank Building,” Los Angeles Times, December 2, 1992

1991

• Graham Howe and Pilar Perez, “Portfolio 1991 – Southern California,” Frame/Work 4, no. 2 (1991)
• Jeanette Ross, “Kicking Their Gurus,” Artweek (October 3, 1991)
• Will Spearman, “L. A. Artists Forego Glitz for Truth,” Idaho Statesman, September 6, 1991

1990

• Joan Crowder, “Catching the Spirit of Our Time,” Santa Barbara News Press, November 23, 1990
• Cathy Curtis, “Brain Busters,” Los Angeles Times, Orange County Edition, June 28, 1990
• Cathy Curtis, “Costa Mesa Group Exhibit Unified by Provocative Nature,” Los Angeles Times Orange County Edition, June 25, 1990
• Gene Harbrecht, “The Conceptual Impulse,” Orange County Register, June 29, 1990
• Josef Woodard, “Spirit of Our Time,” Artweek 21, no. 43 (December 20, 1990)

1989

• Dinah Berland, “An Elegant, Graphic Photo Vision,” Long Beach Press Telegram, February 26, 1989
• Lance Carlson, “…Or, Images of a Make-Believe Reality?” Artweek (September 30, 1989)
• Cathy Curtis, “Photography Lies and Tricks Are Focus of ‘Investigations’,” Los Angeles Times, October 23, 1989
• Marlene Donohue, “Galleries–Reviews,” Los Angeles Times, September 29, 1989
• Peter Frank, “Art Pick of the Week: ‘Landscape Constructions: Thick and Thin’,” L. A. Weekly, October 20–26, 1989
• David French, “Uta Barth,” Visions: Art Quarterly 3, no. 3 (Spring 1989)
• Colin Gardner, “Uta Barth at the Los Angeles County Museum of Art,” Artforum 28, no. 3 (November 1989)
• Andy Grundberg, “Photography: A Selective Guide,” The New York Times, September 10, 1989
• Susan Kandel, “L. A. in Review: ‘Deliberate Investigations’,” Arts Magazine (December 1989)
• Christopher Knight, “Finding the Point of ‘Deliberate’,” Los Angeles Herald Examiner, June 23, 1989
• Christopher Knight, “Narrative Puzzle to Please Eye,” Los Angeles Herald Examiner, June 23, 1989
• Marina La Palma, “A Painterly Reading of Photographed Imagery,” Artweek (September 30, 1989)
• Ben Marks, “Reality Lies Somewhere In-Between,” Santa Monica Bay News, September 15–22, 1989
• David Pagel, “Disposable Diagrams,” Artweek (October 14, 1989)
• Diana Rico, “For Los Angeles Artists, Media Is the Subject,” International Herald Tribune, April 28, 1989
• Ralph Rugoff, “Remembering the Present: Advertisements Against Our Own Amnesia,” L. A. Weekly, November 3–9, 1989
• “Unconventional Perspectives: The Emerging Image,” L. A. Style Magazine, Fourth Anniversary Issue: Photography in Los Angeles (June 1989)

1985

• Dinah Berland, “The Truth of Proof and Perjury,” Los Angeles Times, October 6, 1985
• David French, “Pick of the Week,” L. A. Weekly, May 17–23, 1985
• Chris Keledjian, “Ironies and Contradictions,” Artweek (October 12, 1985)