T.J. Demos, “Between Rebel Creativity and Reification: For and Against Visual Activism,” (a discussion of the work of Subhankar Banerjee, GIAP: Grupo de Investigación en Arte y Politica, and Laboratory of Insurrectionary Imagination), Journal of Visual Culture (2016), 1-18. [pdf]

T.J. Demos, Response to October Questionnaire: “On Matter and Materialism,” October 155 (Winter 2016), 27-29. [pdf]

T.J. Demos, “Gentrification after Institutional Critique: On Renzo Martens’ Institute for Human Activities,” Afterall (Winter 2015), 79-90. [pdf]

T.J. Demos, “Photography at the End of the World: On Darren Almond’s Fullmoon Series,” Image & Narrative 16/1 (2015), 32-44. [pdf]

T.J. Demos, “A Colonial Hauntology: Vincent Meessen’s Vita Nova,” Polish translation, in View: Theories and Practices of Visual Culture, no. 7, 2014. [link]

T.J. Demos, “Return of a Lake: Contemporary Art and Political Ecology in Mexico,” Rufián Revista 17 (Chile) (January 2014), 50-63. Translated as “El regreso de un Lago: Arte Contemporáneo y Ecología Política en México,” in Rufián Revista. [link] (Reprinted in Maria Thereza Alves: The Long Road to Xico (Seville: Centro Andaluz de Arte Contemporaneo, 2016).)

T.J. Demos, “Contemporary Art and the Politics of Ecology: An Introduction,” in Special Issue of Third Text no. 120 on “Contemporary Art and the Politics of Ecology,” ed., T.J. Demos (January 2013), 1-9.

T.J. Demos, “Spaces of Global Capital: On the Photography of Jason Larkin and Corrine Silva,” Photoworks / Brighton Photo Biennial: Agents of Change (October 2012 – April 2013), 6-17.

T.J. Demos, “Gardens Beyond Eden: Bio-aesthetics, Eco-Futurism, and Dystopia at dOCUMENTA (13),” The Brooklyn Rail (October 2012), at:

T.J. Demos, “Poverty Pornography, Humanitarianism, and Neoliberal Globalization: Notes on Some Paradoxes in Contemporary Art,” Stedelijk Bureau Newsletter 121 (April 2011). (Russian translation in Prostory (, (2013).)

T.J. Demos, Response to Questionnaire on “The Contemporary,” October 130 (Fall 2009).

T.J. Demos, “The Politics of Sustainability: Contemporary Art and Ecology,” in Rethink: Contemporary Art & Climate Change (Aarhus, Denmark: Alexandra Institute, 2010).

T.J. Demos, “The Right to Opacity: The Otolith Group’s Nervus Rerum,” October 129 (Autumn 2009), 113-128.

T.J. Demos, “Moving Images of Globalization,” Grey Room 37 (Autumn 2009), 6-29.

T.J. Demos, “Means without End: Ayreen Anastas and Rene Gabri’s Camp Campaign,” October 126 (Winter 2009), 69-90.

T.J. Demos, Response to Questionnaire on Art and Politics, October 123 (Winter 2008).

T.J. Demos, “Life Full of Holes,” Grey Room, no. 24 (Fall 2006), 72-88.

T.J. Demos, “The Art of Darkness: on Steve McQueen,” October, no. 114 (Fall 2005), 61-89.

T.J. Demos, “Cutting: Kara Walker’s Salvation,” Link (2005), 117-121.

T.J. Demos, “Desire in Diaspora: Emily Jacir,” Art Journal (Winter 2003), 68-78.

T.J. Demos, “The Cruel Dialectic: On the Work of Nils Norman,” Grey Room no. 13 (Fall 2003), 33-50.

T.J. Demos, “Circulations: In and Around Zurich Dada,” October no. 105 (Summer 2003), 147-159.

T.J. Demos, “Duchamp’s La Boîte-en-valise: Between Institutional Acculturation and Geopolitical Displacement,” Grey Room no. 8 (Summer 2002), 6-38.

T.J. Demos, “Davina Grunstein and the Archaeology of the Spectacle,” Link no. 8 (Fall 2002), 65-73.

T.J. Demos, “Duchamp’s Labyrinth: ‘First Papers of Surrealism,’ 1942,” October no. 97 (Summer 2001), 91-119.


T.J. Demos, “‘We Are The Ones We Have Been Waiting For’: Collective Becoming in the Age of Climate Breakdown,” FORMER WEST: Art and the Contemporary after 1989 (Utrecht: BAK—basis voor actuele kunst, forthcoming).

T.J. Demos, “Renzo Martens: The Haunting” (reprint), in Ortsbestimmungen. Das Dokumentarische zwischen Kino und Kunst, Eva Hohenberger and Katrin Mundt, eds. (Berlin: Vorwerk 8, 2016), 158-184.

T.J. Demos, “Curating Against the Apocalypse: dOCUMENTA (13), 2012,” Curating and Politics Beyond the Curator: Initial Reflections, ed. Heidi Bale Amundsen and Gerd Elise Mørland (Ostfildern: Hatje Cantz Verlag, 2015), 71-90. [pdf]

T.J. Demos, “Post-Militant Image,” in The Militant Image, ed., Urban Subjects (Sabine Bitter, Jeff Derksen, and Reinhard Braun) (Graz: Camera Austria, 2015), 41-48. [pdf]

T.J. Demos, “Gardens Beyond Eden: Bio-aesthetics, Eco-Futurism, and Dystopia at dOCUMENTA (13) and Beyond,” Critical Cartographies, ed. Nasheli Jiménez del Val (Barcelona, 2016).

T.J. Demos, “Conversation with Minerva Cuevas,” in SITAC IX: Theory and Practice of Catastrophe, ed. Eduardo Abaroa (Mexico City: Patronato de Arte Contemporáneo, 2013), 380-390.

T.J. Demos and Renzo Martens, “A Conversation about The Institute for Human Activities,” in Scandalous. A book on Art & Ethics, ed. Nina Möntmann (2013), 134-56.

T.J. Demos, “Is Another World Possible? The Politics of Utopia in Recent Exhibition Practice,” in Art Production and Social Movements, ed. Gavin Grindon (New York: Autonomedia, 2013), 52-83.

T.J. Demos, “Art Criticism in the Global Field,” Let’s Get Critical!: Art Criticism and Globalization, ed., Malene Vest Hansen (Copenhagen, 2013).

T.J. Demos, “Art After Nature, Ecology Before Economy,” A Guidebook of Alternative Nows, ed. Amber Hickey (Los Angeles: The Journal of Aesthetics & Protest, 2012).

T.J. Demos, "The Cruel Dialectic: On the Work of Nils Norman," in Spatialities: The Geographies of Art and Architecture, ed. Judith Rug and Craig Martin (Bristol: Intellect, 2012), 115-44.

T.J. Demos, “Is Another World Possible? The Politics of Utopia in Recent Exhibition Practice,” in On Horizons: A Critical Reader in Contemporary Art, ed. Maria Hlavajova, Simon Sheikh and Jill Winder (Utrecht and Rotterdam: BAK and post editions, 2011), 52-82.

T.J. Demos, “Globalization and (Contemporary) Art,” in Art and Globalization, ed. James Elkins (Chicago: Prickly Paradigm Press, 2010), 209-13.

T.J. Demos, “Dada’s Event,” Communities of Sense, ed. Jaleh Mansoor et al., (Durham, N.C.: Duke University Press, 2010), 135-52.

T.J. Demos, “Desire in Diaspora,” in Contemporary Art in the Middle East, ed. Paul Sloman (London: Black Dog, 2009). [Reprint of “Desire in Diaspora: Emily Jacir,” Art Journal (Winter 2003)]

T.J. Demos, “The Tate Effect,” in The Global Art World: Audiences, Markets and Museums, ed. Hans Belting, Andrea Buddensieg, Peter Weibel (Karlsruhe: ZKM, Center for Art and Media, 2009), 78-87.

T.J. Demos, “Life Full of Holes,” in The Greenroom: Reconsidering the Documentary and Contemporary Art, ed. Maria Lind and Hito Steyerl (New York: CCS Bard, 2008), 104-127 [Reprint of “Life Full of Holes,” Grey Room, no. 24 (Fall 2006), 72-88.]

T.J. Demos, “Sahara Chronicle: Video’s Migrant Geography,” Mission Reports: Artistic Practice in the Field: The Video Works of Ursula Biemann, ed. Ursula Biemann and Jan-Erik Lundström (Bildmuseet Umea and Arnolfini Bristol: Cornerhouse Publishers, 2008), 178-190. (Finnish translation and reprint, in Ars 11 (Helsinki: Museum of Contemporary Art Kiasma, 2011), 72-77).

T.J. Demos, “Recognizing the Unrecognized: The Photographs of Ahlam Shibli,” in Photography Between Poetry and Politics, ed. Hilde Van Gelder and Helen Westgeest (Leuven University Press, 2008), 124-43.

T.J. Demos, “Seeing Double,” The Blossoming of Perspective, ed. Penelope Haralambidou, Domo Baal Gallery, London, exh. cat., January, 2007, 9-13.

T.J. Demos, “The Ends of Photography,” in Vitamin Ph: New Perspectives in Photography (London: Phaidon, 2006), 6-10. (French translation and reprint, “Les fins de la photographie,” Vitamin Ph, 2007).

T.J. Demos, “The Language of ‘Expatriation,’” in Dada Culture, ed. Dafydd Jones (Amsterdam: Rodopi Verlag, 2006), 91-117.

T.J. Demos, “Zurich Dada: The Aesthetics of Exile,” The Dada Seminars, ed. Leah Dickerman (Washington D.C.: National Gallery of Art, 2005), 7-30.

T.J. Demos, “On the Diasporic Public Sphere,” in Visions of a Future: Art and Art History in Changing Contexts (Zurich: The Swiss Institute for Art Research, 2004), 103-116.


T.J. Demos, “Against the Anthropocene,” in The Edge of the Earth, Photography and Video of Climate Change, ed. Bénédicte Ramade (Montreal and London: Ryerson Image Centre and Black Dog Publishing, forthcoming, 2016).

T.J. Demos, “Animal Cosmopolitics: Terika Haapoja’s History of Others,” in Terike Happoja: Works (forthcoming).

T.J. Demos, “On Terror and Beauty: John Akomfrah’s Vertigo Sea,” John Akomfrah (London: Lisson, 2016 ), 15-21.

T.J. Demos, “Rights of Nature: The Art and Politics of Earth Jurisprudence,” Rights of Nature: Art and Ecology of the Americas (Nottingham: Nottingham Contemporary, 2015). [pdf] Reprinted in: Elemental: An Arts and Ecology Reader, ed. James Brady (Manchester: Gaia Project, 2016), 131-149.

T.J. Demos, “Decolonizing Futures,” Other Future: China Pavilion, Venice Biennale, ed., Lijie Wang et al., (Beijing: Beijing Contemporary Art Foundation, 2015), 33-36.

T.J. Demos, “Climates of Displacement: the Argos Collective’s Maldives,” Altern Ecologies: Emergent Perspectives on the Ecological Threshold at the 55th Venice Biennale, ed. Taru Elfving and Terike Haapoja (Helsinki: Frame Visual Art Finland, 2015), 44-57. [pdf]

T.J. Demos, “Specters: A Cinema of Haunting,” Museo Reina Sofia, Madrid (2014), Screening Series, curated by T.J. Demos. [link]

T.J. Demos, “Decolonizing Nature: Making the World Matter,” World of Matter, ed. Inke Arns (Berlin and Dortmund: Sternberg Press and Hartware MedienKunstVerein, 2014), 14-25. [pdf] Reprinted for Social Text online dossier on “Radical Materialism” (March 2015). [link]

T.J. Demos, “Return of a Lake: Contemporary Art and Political Ecology in Mexico,” reprinted for Catalogue for Maria Thereza Alves exhibition, at Museo Universitario Arte Contemporáneo (MUAC), Mexico City, (Mexico City: MUAC, 2014), 30-43. [pdf]

T.J. Demos, “On the Institute for Human Activities,” (Renzo Martens), Artes Mundi Prize (Cardiff, Wales, 2014), 66-71. [pdf]

T.J. Demos, “Denaturalizing the Economy: Oliver Ressler’s Political Ecology,” in Oliver Ressler (Nürnberg : Verlag für Moderne Kunst, 2015). (Republished in Spanish by Centro Andaluz de Arte Contemporáneo – CAAC, 2015). [pdf]

T.J. Demos, “Penny Siopis’s Film Fables,” in Penny Siopis: Time and Again (Cape Town: Stevenson Gallery, 2015), 208-217. [pdf]

T.J. Demos, “There’s No Such Thing as a Happy Ending,” [Reprint] in Pieter Hugo: Este debe ser el Lugar (This Must be the Place) (Las Palmas de Gran Canaria: CAAM [Centro Atlántico de Arte Moderno], 2014).

T.J. Demos, “Photography at the End of the World,” Darren Almond (London: White Cube, 2014), 25-31.

T.J. Demos, “Painting and Uprising: Julie Mehretu’s Third Space,” Julie Mehretu (New York: Marian Goodman Gallery, 2013), 54-61. Reprinted in Perspecta 48: Amnesia (Yale School of Architecture, 2015).

T.J. Demos, “The Unfinished Revolution: Oreet Ashery’s Party for Freedom,” Oreet Ashery (London: Artangel, 2013). [link] (Translated into Swedish, Finnish, and Danish). Reprinted in Moving Image (Documents of Contemporary Art series), ed Omar Kholeif (London: Whitechapel, 2015.)

T.J. Demos, “On Disappearance and Precarity: Ahlam Shibli’s Photoworks,” in Ahlam Shibli (Barcelona: MACBA, 2013).

T.J. Demos, “Gas, Glass, and Polar Bears: Tue Greenfort and GASAG,” Tue Greenfort: GASAG Art Prize, 2012 (Berlin: Berlinische Galerie, 2012).

T.J. Demos, “On Sigmar Polke’s Der Berenkampf (The Bear Fight), 1974,” Everything Was Moving: Photography from the 60s and 70s (London: Barbican Gallery, 2012).

T.J. Demos, “Omer Fast: 5000 Feet is the Best,” in Omer Fast, ed. Christopher Bedford (Columbus: Wexner Center for the Arts, 2012).

T.J. Demos, “War Games: A Tale in Three Parts,” in Omer Fast: 5000 Feet is the Best (Berlin: Sternberg, 2012), 77-88.

T.J. Demos, “Sites of Collective Counter-Memory,” Animate Projects Online (2012). [link]

T.J. Demos, “‘A Form of Total Disobedience’: The Art of Rossella Biscotti,” in Rossella Biscotti (Rome: MAXXI – Museo Nazionale delle Arti del XXI Secolo, 2012), 11-15.

T.J. Demos, “There’s No Such Thing as a Happy Ending: The Photography of Pieter Hugo,” Pieter Hugo (Munich: Prestel, 2012).

T.J. Demos, “Mobility in Contemporary Art,” Migrations (London: Tate Britain, 2012).

T.J. Demos, “A Colonial Hauntology: Vincent Meessen’s Vita Nova,” (Aalst: Netwerk, 2011), 1-6.

T.J. Demos, “A Life of Dreams: The Videos of Yang Ah Ham,” in Yang Ah Ham (Korean Museum of Contemporary Art, 2011), 46-51.

T.J. Demos, “Matter and Memory: The Sculpture of Adrian Löhmuller,” Adrian Löhmuller: The Uncertainty Principle (Berlin: Sommer & Kohl, 2011), 2-10.

T.J. Demos, “Zarina Bhimji’s Cinema of Affect,” in Zarina Bhimji (London: Whitechapel, 2011), 11-29.

T.J. Demos, “Sven Augustijnen’s Spectropoetics,” in Sven Augustijnen: Spectres (Brussels: Wiels, 2011).

T.J. Demos, “Photography’s (Post)Humanist Interventions: Or, Can Photography Make the World More Liveable?” 4th Fotofestival: Mannheim Ludwigshafen Heidelberg (Mannheim, Ludwigshafen, and Heidelberg, 2011), 191-198.

T.J. Demos, “Designs for a New Economy: Nils Norman's Public Workplace Playground Sculpture for Graz, 2009,” Utopia and Monument: On the Validity of Art Between Privatisation and the Public Sphere, ed. Sabine Breitwieser (Graz, Austria: Steirischer Herbst, 2011).

T.J. Demos, “Kutluğ Ataman: The Art of Storytelling,” in Kutluğ Ataman: The Enemy Inside Me, ed. Birnur Temel (Istanbul: Istanbul Museum of Modern Art, 2010), 30-37.

T.J. Demos, “Encountering the Unheard,” Florian Hecker: Event, Stream, Object (Frankfurt: MMK Museum für Moderne Kunst, 2010).

T.J. Demos, “Life Full of Holes: Contemporary Art and Bare Life,” 21st Century: The First Decade, ed. Miranda Wallace (Brisbane, Australia: The Gallery of Modern Art [GoMA], 2010), 254-263.

T.J. Demos, “Auguste Orts: Sensing Politics,” in Auguste Orts: Correspondence (MuHKA: Museum van Hedendaagse Kunst Antwerpen, 2010), 86-95.

T.J. Demos, “Vanishing Mediator,” in Francis Alÿs, ed. Mark Godfrey (London: Tate, 2010), 178-180.

T.J. Demos, “Another World, and Another…: Notes on Uneven Geographies,” Uneven Geographies: Art and Globalisation (Nottingham: Nottingham Contemporary, 2010), 11-19.

T.J. Demos, “Storytelling in/as Contemporary Art,” in The Storyteller, ed. Claire Gilman and Margaret Sundell (Zurich and New York: Independent Curators International and JRP Ringier, 2010), 83-107.

T.J. Demos, “‘Sabotaging the Future’: The Essay-Films of the Otolith Group,” in The Otolith Group (London: Gasworks and the Showroom, 2009), 57-65.

T.J. Demos, “The Politics of Sustainability: Art and Ecology,” in Radical Nature: Art and Architecture for a Changing Planet, 1969–2009, ed. Francesco Manacorda and Ariella Yedgar (London: Barbican Art Gallery, 2009), 17-30. Reprinted in Theory in Contemporary Art since 1985, ed., Zoya Kocur and Simon Leung (London: Wiley-Blackwell, 2012), 466-485.

T.J. Demos, “Giardini: A Fairytale,” in Steve McQueen, British Pavilion, Venice Biennale, 2009. Reprinted as “Steve McQueen’s Giardini: A Fairytale,” in Nka 27 (Fall, 2010), 6-13.

T.J. Demos, “The Ends of Exile: Toward a Coming Universality,” Altermodern: Tate Triennial 2009, ed., Nicolas Bourriaud (London: Tate Britain, 2009), 74-89.

T.J. Demos, “Image Wars,” Zones of Conflict, ed. T.J. Demos (New York: Pratt Manhattan Gallery, 2008), 3-11.

T.J. Demos, “Poetic Justice: On the Art of Evidence,” The Question of Evidence, ed. Diana Baldon and Daniela Zyman (Vienna: Thyssen-Bornemisza Foundation, 2008), 49-53.

T.J. Demos, “Emily Jacir: Poetry’s Beyond,” Hugo Boss Prize 2008 (New York: Guggenheim Museum, 2008).

T.J. Demos, “Europe of the Camps,” Manifesta 7: Companion: The European Biennial of Contemporary Art, 19 July - 2 November 2008, Trentino, South Tyrol, Italy, ed. Adam Budak and Nina Möntmann, et al. (Milano: Silvana, 2008), 385-91.

T.J. Demos, “Beyond the Limits...of Photography,” in Mitra Tabrizian, (London: Tate Britain, 2008).

T.J. Demos, “Means without End: Camp Campaign,” Camp Campaign: Ayreen Anastas and Rene Gabri, Art in General, New York, Exh. Catalogue (New York: Art in General, 2007).

T.J. Demos, “(In)voluntary Acting: The Art of Candice Breitz,” in Candice Breitz, Mother + Father (Monaco: Prince Pierre of Monaco Foundation, 2007).

T.J. Demos, “Mircea Cantor: The Title is the Last Thing,” Mircea Cantor (Philadelphia: Philadelphia Museum of Art, 2006), 1-10.

T.J. Demos, “Food, Shelter, Clothing, Fuel: The Diagrams of Chad McCail,” in Cram Session, exh. cat., ed. Chris Gilbert (Baltimore: Baltimore Museum of Art, 2004), 2-7.

T.J. Demos, “Body and Home: Maria Elena Alvarez,” co-written with Terri Weissman, in Contemporary Photography: Maria Elena Alvarez and Claudia Jaguaribe, Latincollector Gallery, New York, August, 2001. (Spanish translation and reprint in El Universal, Caracas, Venezuela, August, 2001.)


T.J. Demos, “On Terror and Beauty: John Akomfrah’s Vertigo Sea,” Atlántica # 56 (2016). [link]

T.J. Demos, “1000 Words: on John Akomfrah’s Unfinished Conversation,” Artforum (October 2013).

T.J. Demos, “Spectro-Aesthetics #4: Idle No More,” Camera Austria 124 (2013), 71-72.

T.J. Demos, “Spectro-Aesthetics #3: The Persistence of Hauntology,” Camera Austria (September 2013).

T.J. Demos, “Mark Fisher and Jason Barton: On Vanishing Land,” Artforum (September 2013).

T.J. Demos, “Spectro-Aesthetics #2: The World Without Us,” Camera Austria (May 2013).

T.J. Demos, “Spectro-Aesthetics #1: On (In)Sensible Politics,” Camera Austria (March 2013).

T.J. Demos and Renzo Martens, “A Conversation on The Institute for Human Activities,” Camera Austria 120 (2012), 45-52.

T.J. Demos, “The Post-Natural Condition: Art after Nature,” Artforum (April 2012), 191-97.

T.J. Demos, “Openings: Goldin + Senneby,” Artforum (March 2011).

T.J. Demos, “The Discovery of Slowness: The Films of Manon de Boer,” Artforum (November, 2010), 222-227.

T.J. Demos, “Being-Political,” Deutsche Guggenheim Magazine 12 (Summer 2010), 8-13. Reprinted as “Being-Political,” in Memory, ed. Ian Farr (Whitechapel: Documents of Contemporary Art, 2012).

T.J. Demos, “Barbarity or Socialism? On the 11th International Istanbul Biennial” Texte zur Kunst, no. 7 (December 2009). [link] Reprinted in Contemporary Practices Journal, vol. 6 (2010).

T.J. Demos, "Monsters of the Future: On the Otolith Group's Preparations 1-5 (2006), Take on Art (Delhi), vol. 1, no. 1, (March 2010), 66-69.

T.J. Demos, “Traveling Images: Hito Steyerl,” Artforum (Summer 2008), 408-413, 473. (German translation and reprint in Hito Steyerl (Berlin: Neue Berliner Kunstverein, 2009), 30-40.) [pdf]

T.J. Demos, “On the Ground: London,” Artforum (December 2007).

T.J. Demos, “The Tate Effect,” Art Press (August-Summer 2007), 24-33.

T.J. Demos, “Gerard Byrne,” Artforum (Summer 2007), 478-480.

T.J. Demos, “A Matter of Time,” Tate etc. 9 (Spring 2007), 96-103. (German translation and reprint, “Ein Frage des Zeit, by Du Magazine (Switzerland), February 2008.)

T.J. Demos, “Out of Beirut,” Artforum (October 2006), 234-38.

T.J. Demos, “Openings: The Otolith Group,” Artforum (September 2006), 360-62.

T.J. Demos, “The Aesthetics of Mourning: The Work of Christian Boltanski, Ross Bleckner, and Felix Gonzalez-Torres,” Flash Art (October 1995). (French translation and reprint in Omnibus (Paris) no. 17 (July 1996), 65-67.)


T.J. Demos, “Playful Protesters Use Art to Draw Attention to Inadequacy of Paris Climate Talks,” Truthout, 13 December 2015. [link]

T.J. Demos, “1. Welcome to the Anthropocene!,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, Switzerland (May 5, 2015). [link]

T.J. Demos, “II. Geo-Engineering the Anthropocene,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, Switzerland (May 13, 2015). [link]

T.J. Demos, “III. Against the Anthropocene,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, Switzerland (May 25, 2015). [link]

T.J. Demos, “IV. Capitalocene Violence,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, Switzerland (June 5, 2015)/ [link]

T.J. Demos, “V. Anthropocene, Capitalocene, Gynocene: The Many Names of Resistance,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, Switzerland (June 12, 2015). [link]