Allen, J., “letting go: the fall in contemporary art”, in C Magazine, no. 58 (May–August 1998), 14–6.

Allmer, P., “Dial M for Magritte”, in Johan Grimonprez: Looking for Alfreded.
S. Bode (Ostfildern-Ruit: Hatje Cantz, 2007), 207–23.

Andrew, “Dial H-I-S-T-O-R-Y: Zapped!” (online article), Lucid Screening (31 December 2006). Accessed 6 January 2011:

Arriola, M., How to learn to love the bomb and stop worrying about it (exhibition catalogue), (Mexico: FITAC, 2003), 37–58. Asp, E.,
Airborne/Luftburen(exhibition catalogue), (Timrå: Midlanda Konsthall,
2002), 20–3.

Asselberghs, H., “Video van Johan Grimonprez over Nieuw-Guinea bekroond” (interview), in De Standaard (November 1993), 13.
., “Don DeLillo’s Verdriet van Amerika”, in De Financieel-Economische Tijd (28 March 1998)
., “OZMOPOLITAN AIRWAYS, Everywhere and Nowhere”, in The Fascinating Faces of Flanders, 58/98, Two hours wide or two hours long,
B. Vanderlinden (Lisbon: Centro Cultural de Belém / Antwerp: Museum of Fine Arts, 1998), 218–29. Translated from
Dutch: Fascinerende Facetten van Vlaanderen, 58/98, Twee uur breed of twee uur lang, B. Vanderlinden (Tielt: Lannoo, 1998), 218–29.
., “Toto, I have a feeling we’re not in Texas anymore…we must be over the rainbow!”, in Johan Grimonprez: …We must be over the rainbow!J. Grimonprez & H. Asselberghs (Santiago de Compostela: Centro Gallego de Arte Contemporanea, 1998). Also published in, New Observations, no. 122 (Summer 1999), 30–3.

Bailey, C., “Document on New Guinea life blends art and anthropology”, in Now Magazine (24 November 1993).

Bakker, N., “De kus als moordwapen: Johan Grimonprez over Double Take” (interview), in Filmkrant (January 2010), 10.

Bal-Blanc, P. & Marguerin, M., “Prends garde! A jouer au fantôme, on le devient” (interview), in Blocnotes, no. 15 (Summer 1998), 84–9. Republished in Spanish and Gallician in La revista del CGAC, Centro Galego de Arte Contemporànea (September–December 2000), 38–43. Republished in English in Saving the Image: Art After Film, eds. T. Leighton & P. Büchler (Glasgow: Centre for Contemporary Arts, 2003), 119–28; Appropriation: Documents of Contemporary Art, ed. D. Evans (London: Whitechapel Gallery, 2009), 67–8.

Balkenhol, B. & Georgsdorf, H., x mal documenta X – Über Kunst und Künstler der Gegenwart: Eind NachLesebuch zur 10. documenta (Kassel: Universität Gesamthochschule, 1998).

Baragiola, F. (ed.), Un certain état du monde: A selection of works from the François Pinault Foundation (exhibition catalogue), (Milan: Skira Editore, 2009), 54.

Beauvais, Y. & Bouhours, J.-M., Monter / Sampler: L’échantillonnage Généralisé (exhibition catalogue), (Paris: Centre Georges Pompidou, 2000).

Béghin, C., “Double Take”, in Cahiers du Cinema, no. 659 (September 2010), 40.

Bex, F. (ed.), Kunst in België na 1975 (Antwerp: Mercatorfonds, 2001), 92–4, 161, 334, 342, 362, 363, 365, 372, 396, 398.

Bauwelinck, B., “Lichamen doen het goed op video”, in Gazet van Antwerpen (25 January 1995).

Becker, J., “Where do we land? Airports”, in Springerin (June–August 1998), 67.

Bernard, C., “Supermarket History, an interview with Johan Grimonprez”, in Parkett, no. 53 (1998), 6–18.
. & Grimonprez, J., “It’s a poor sort of memory that only works backwards: Johan Grimonprez en dialogue avec Catherine Bernard” in L’image-document, entre réalité et fiction, ed. J.-P. Criqui (Paris: Le Bal / Marseilles: Images en Manœuvres Éditions, 2010), 212–23.

Bianchi, P., Labyrinth:Freiheit (exhibition catalogue), (Bolzano: Athesia Verlagsanstalt, 2009), 284–5.

Bilak, P. & Wurtzberg, Z., Gallery 227 (exhibition catalogue), (Maastricht: Jan Van Eyck Academy, 1999).

Biemann, U., Stuff it: The video essay in the digital age (Zurich: Edition Voldemeer / Vienna: Springer Verlag, 2003), 136–7.

Biesenbach, K. (ed.), Zur Vorstellung des Terrors: RAF-Ausstellung (exhibition catalogue), (Göttingen: Steidl Verlag / Berlin: KW Institute for Contemporary Art, 2005).

Bode, S., “Not to Fade Away”, in Contemporary21, no. 71 (2005), 15–7.
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Boers, W., Art–Pop–City (exhibition catalogue), (Frankfurt am Main: Revolver / Berlin: Büro Friedrich, 2001), 196.

Bracke, E., “The Sound of Music en ironische snapshots van Brussel”, in De Morgen (6 May 1994).

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Busche, A., “Ein bisschen Paranoia”, in TAZ (13 February 2009), 27.

Campens, A., Zoo Logical Garden (exhibition catalogue), (Ghent: vzw beeldend, 2006) 82–6.
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Campion, C., “Terror on TV: dial H-I-S-T-O-R-Y”, in Dazed and Confused, no. 6 (October 2003), 215.

Carels, E., “Een huiskamer vol vreemde beelden, het videoprogramma van het TIME-festival”, in De Morgen
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., “Rendez-vous met de (kunst) geschiedenis”, in De Morgen (19 June 1997), 14.

Cassagnau, P., Un pays supplémentaire: La création contemporaine dans l’architecture des médias (Paris: Beaux-Arts Éditions, 2010), 24–41.
., “Une vidéothèque de Herman Asselberghs et Johan Grimonprez” (interview), in Omnibus (October 1997).

Cesteleyn, A., et. al., Van Wim Delvoye tot Luc Tuymans (Tielt: Lannoo, 2007),

Colard, J.M., “art force one”, in Les Inrockuptibles, no. 120 (October 1997), 73.
., “Zapping du siècle”, in Les Inrockuptibles, no. 154 (June 1998), 66.
. & Grimonprez, J. “Johan Grimonprez: Prends garde! A jouer au fantôme, on le devient”, in Qu’est-ce que l’art video aujourd’hui?ed. S. Moisdon (Paris: Beaux-Arts Editions, 2008), 116–17.

Colebrook, M., “Dial T for Terror: Don DeLillo’s Mao II and Johan Grimonprez’s dial H-I-S-T-O-R-Y”, in Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo, eds. P. Schneck, & P. Schweighauser (New York / London: The Continuum
International Publishing Group, 2010), 130–41.

Connarty, J. & Lanyon, J. (eds.), Ghosting: The Role of the Archive Within Contemporary Artists’ Film and Video (Bristol: Picture This, 2006), 98–101.

Cork, R., “All tracks lead to nightmare”, in The Times Arts (24 June 1997).
., “Memorial for unknown millions – Two artists on show in London share a fixation with death but handle it differently”, in The Times (17 February 1998).

Curiger, B. “Some Artworks Revisited after Sept 11, 2001”, in Parkett, no. 63 (December 2001), 201.

Curnow, W. & Mignot, D., Under Capricorn – The World Over (exhibition catalogue), (Amsterdam: Stedelijk Museum Amsterdam / Wellington: Wellington Art Gallery, 1996), 15–23.

Dantec, M.G. & Grimonprez, J., “Conversation: Johan Grimonprez et Maurice G. Dantec”, in Les Inrockuptibles, no. 296 (June 2001), 17–8.

Dany, H.-C., “Fast Forward”, in Springerin (June–August 1998), 67.

Darke, C., “Television terrorism”, in The Guardian (8 May 1998).
., “From The Millennial Image- Mill”, in Entropy, vol. 1, no. 6 (Summer 1998).
., “Hitchcock is not himself today…: Johan Grimonprez in conversation with Chris Darke”, in Johan Grimonprez: Looking for Alfred, ed. S. Bode (Ostfildern-Ruit: Hatje Cantz, 2007), 77–99.

David, C. & Chevrier, J.-F., Politics–Poetics: documenta X (exhibition cata- logue), (Ostfildern-Ruit: Hatje Cantz, 1997).

Day, K.G., “The Perverse Double”, in Longwood Arts Journal (1992–3) (New York, Longwood Arts Gallery, 1992).

De Ruyter, T., “As the Veneer of Democracy Starts to Fade, à propos de terrorisme et fiction dans Dial H-I-S- T-O-R-Y de Johan Grimonprez”, in Tausend Augenno. 30 (2005), 34–8.

Devoldere, L., The Low Countries: Arts and Society in Flanders and the Netherlands (Rekkem: Ons Erfdeel, 2007).

Diederichsen, D., “Falsche Gegner, falsche Freunde”, in Spex (November 1997).
., “Zwillinge und Doubles”, in TAZ (14 February 2009), 30.

Dittmer, M. (ed.), 2. Berlin Biennale: Formate der luge / Formats of Deception (exhibition catalogue), (Cologne: Oktagon, 2001).

Dittgen, A., “Hitchcock ist immer dabei: “Double Take” beim Forum expand- ed”, in Film-Dienst (16 February 2009), 46.

Dofing, R., “Cybersonique”, in d’Land Kultur (15 December 2000), 23.

Dominguez, R., “Dial H-I-S-T-O-R-Y by Johan Grimonprez” (online review), thing-net (September 1997). Accessed 6 January 2011: / ~ tenacity

Doroshenko, P., “A Belgian Road-Map: From an Institutional Perspective”, in Arco, no. 34 (Winter 2004), 23–6.

Douin, J.-L., “Cinéma, littérature … Hitchcock présente bien”, in Le Monde (22 December 2010).

Downie, J., “Damage, Devotion, and the Discriminating eye”, in Illusions, no. 27 (Winter 1998), 20–3.

Ebeling, K., “Orte zum Bleiben: Das Berliner ‘Büro Friedrichstrasse’ zeigt eine ‘videolibrary’ von Johan Grimonprez”, in Der Tagesspiegel (16 April 1998).

Eiblmayr, S. (ed.), Zones of Disturbance (Graz: Steirischer Herbst, 1997).

Elsaesser, T., “Casting Around: Hitchcock’s Absence”, in Johan Grimonprez: Looking for Alfred, ed. S. Bode (Ostfildern-Ruit: Hatje Cantz, 2007), 137–61.

Faurschou, L., et al., “Johan Grimonprez: How Reality is Invented”, in Kunstmagasinet (December 1997– January 1998), 18.

Friese, P., et al., The Morning After: Videoarbeiten der Sammlung Goetz (exhibition catalogue), (Bremen: Weserburg Museum für moderne kunst, 2008), 15, 34, 68–73, 123–4.

Frohne, U., Video cult / ures: multimediale Installationen der 90er Jahre (exhibition catalogue), (Karlsruhe: Museum für Neue Kunst Karlsruhe, 1999), 184–5.

Fujimori, M., “New York”, in BT, no. 12 (December 1997).
Gielen, D., “Archiver le Terrorisme”, in DITS, vol. 3, no. 5 (Autumn–Spring 2005), 64–77.

Gielen, D. & Busine, L., Atlas de l’art contemporain à l’usage de tous (Hornu: Musée des Arts Contemporains du Grand-Hornu, 2007).

Glasmeier, M., Archive in Motion: 50 Jahre / Years Documenta, 1955–2005 (Göttingen: Steidl Verlag, 2005), 126–7.

Goldsworthy, R., CONSUMING // TERROR: Images of the Baader-Meinhof (Saarbrücken: VDM Verlag, 2010).

Graham, R., “‘Dial H-I-S-T-O-R-Y’: Where terrorism meets the media”, in The Boston Globe (26 February 1998).

Green, S., “Johan Grimonprez’s ‘dial H-I-S-T-O-R-Y’”, in International Documentary (September – October 2004), 84.

Grimonprez, J., “Sorry, we already have an anthropologist”, in Art Papers, vol. 16 (January–February 1992).
., “Where is your helicopter?”, in Felix, vol. 1, no. 3 (1993), 140–3.
., “America’s Favorite Movie, Interviews on The Sound of Music”, in Andere Sinema (May–June 1994), 53–8.
. & Asselberghs, H., Beware! In Playing the Phantom, You Become One (videolibrary manual), (Geneva: Semaine Internationale de Vidéo Saint-Gervais, 1995).
. & Asselberghs, H., “Videotheek: Prends Garde! A Jouer au Fantôme, On Le Devient”, in Kunst Nu Nu, no. 2 (March 1995).
. & Asselberghs, H., Vorsicht! Wer Phantom Spielt wird selbst eins / Prends Garde! A jouer au fantôme, on le devient
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. & Asselberghs, H., Johan Grimonprez: …We must be over the rainbow! (monograph), (Santiago de Compostela: Centro Galego Arte Contemporanea, 1998).
., “Johan Grimonprez”, in La Generazione delle Immagini #5: Landscape in Motion, ed. R. Pinto (Milan: Accademia di Brera / Triennale di Milano, 1998),
., “Barry White in non-gravity space”, in Sogni/Dreams (exhibition catalogue), eds. F. Bonami & H.U. Obrist (Rome: Fondazione Sandretto Re Rebaudengo per l’Arte, 1999), 56.
., Inflight Magazine (Ostfildern-Ruit: Hatje Cantz, 2000).
, “Cream and Sink Emergencies: Zapping Time”, in 47. International Short Film Festival Oberhausen: Festival Catalogue (Oberhausen: International Short Film Festival, 2001), 85–90.
., “Independence Day Realtime” in “When words don’t fail, ArtForum contributors read 9-11-01”, in Artforum International (November 2001), 46.
., “Cyberjack-O-Rama”, in Mutations, ed. H.U. Obrist (Barcelona / New York: Actar, 2001).
. & Žižek, S. “A holiday from history and other real stories, a selection of works by Johan Grimonprez”, in JANUS, no. 9 (Autumn 2001), 48–56.
., Dial H-I-S-T-O-R-Y (monography), (Ostfildern-Ruit: Hatje Cantz, 2003). With texts by Hans Ulrich Olbrist, Vrääth Öhner, Slavoj Žižek, extracts from Don DeLillo’s ‘Mao II’ and ‘White Noise’ (DVD included)
., Factor 1997 (mono- graph), (Liverpool: FACT, 2003).
., “Look-alikes”, in 101 excuses, How art legitimises itself, ed. M. Saiz (Manchester: decreatedBOOK, 2009), 117.
., “Johan Grimonprez”, in Documentary now! Contemporary strategies in photography, film and the visual arts, ed. F.

Gierstberg (Rotterdam: NAi Publishers, 2005), 20, 172–6. Translated in Dutch: reflect#04: Documentaire nu! Hedendaagse strategieën in fotografie, film en beeldende kunst, ed. M. Lugon (Rotterdam: NAi Uitgevers, 2010), 20, 181–5.

Gugnon, A. & Porret, P., “Art Contemporain et Psychanalyse”, in Beaux-Arts Magazine, no. 216 (May 2002), 72–81.

Hahn, C., “Les derniers romantiques”, in Crash (June–July 1998).

Hansen, J., “Cyberjacking: Une histoire des angoisses de l’Humanité. Un entretien avec Johan Grimonprez”, in d’Land Kultur, no. 50 (15 December 2000), 31.

Haussler, H. & Bastian, A., Aus Künstlersicht / According to the artists (interview), (Bielefeld: Kerber Verlag, 2009), 75–7.

Holm, M.J. & Kold, A. (eds.), Sip My Ocean: Video from the Louisiana Collection (exhibition catalogue), (Humlebæk: Louisiana Museum of Modern Art, 2007), 62–9.

Holthof, M., “Spook-videotheek in Beursschouwburg!”, in Tijd-Cultuur (3 December 1997).

Huybrechts, L., Cross-over: Kunst, media en technologie in Vlaanderen (Tielt: Uitgeverij Lannoo, 2008), 172–3.

Jackson, C., “E-mail interview with Johan Grimonprez”, in Great 57 (London: The Photographer’s Gallery, 2004).
., “Looking for Alfred: an interview with Johan Grimonprez”, in Detox – By Any New Media (February 2005), 6–8.
., “Meeting Johan Grimonprez” (interview), in Crash (Autumn 2005), 120–5.

Jacobs, S., “Mr. Grimonprez I presume?”, in De Witte Raaf (May–June 1994), 15.
., “‘Get Killed and Maybe They Will Notice You’: Over Dial H-I-S-T-O-R-Y van Johan Grimonprez”, in De Witte Raaf, no. 70 (November– December 1997), 11.

Jansen, G., “Wat terroristen winnen, verliezen de romanschrijvers: Don DeLillo’s White Noise”, in Metropolis M, no. 1 (February–March 2005).

Joch, P. & Lagler, A., Wings of Art – Motiv Flugzeug (exhibition catalogue), (Darmstadt: Justus van Liebig Verlag, 2003), 29–31.

Jones, R., “dial H-I-S-T-O-R-Y”, in Frieze, no. 38 (January–February 1998).

Kafetsi, A., Synopsis III, Testimonies between Fiction and Reality (exhibition catalogue), (Athens: National Museum of Contemporary Art, 2004).

Kealy, S. (ed.), Signals in the Dark: Art in the Shadow of War (exhibition catalogue), (Mississauga: Blackwood Gallery / Toronto: Justina M. Barnicke Gallery, 2008), 57–9, 115, 119.

Knight, C., “Power, Politics and Planes”, in Art Review (4 May 2002).

Kozar, J., Discontinuances in time, part 1. Terrorism (exhibition catalogue), (Gradec: Galerija Likovnia Umetnosti, 2002), 24–5.

Laenen, K., Kunst in opdracht 1999–2005: Kunstopdrachten begeleid door de kunst cel van de Vlaamse Bouwmeester (Brussels: Ministerie van de Vlaamse Gemeenschap, 2006), 127–30, 280-1.

Lambrecht, L., “Vier voorbeelden”, in Brussel, kruispunt van culturen (exhibition catalogue), ed. R. Hoozee (Brussels: Palais des Beaux-Arts, 2000), 318–20.
., “Droom en werkelijkheid: Tussen de lijnen van de artistieke productie van Johan Grimonprez”, in A+ (April–May 2001), 54–7.

Lane, V.F., Proof: the act of seeing with one’s own eyes (exhibition catalogue), (Melbourne: The Australian Centre for the Moving Image, 2004).

Laureyns, J., “In één beeld geschiedenis schrijven: de kunst van het terror- isme”, in Ons Erfdeel, vol. 49, no. 1 (February 2006), 18–26.

Lavoie, V., Now. Images of the Present Time (Montreal: Mois de la Photo à Montréal, 2003), 134–6.

Lequeux, E., “Face à face avec l’histoire”, in Beaux-Arts Magazine (2010), 88–9.

Liénart, M., Résidents 2003–2007 (Paris: Éditions du Panama, 2008), 140–3.

Lu, A., “Mind Terrorist”, in The San Francisco Bay Guardian (16 May 1998).

Lucas, H., “Looking for Alfred”, in Deng, no. 22 (March 2005), 76–8.

Lütticken, S., “Johan Grimonprez”, in Artforum International (Summer 2005), 337–8.
., “Suspense and… surprise”, in New Left Review, no. 40 (July–August 2006), 95–109.

McFadden, S., “Looking for Alfred, Palais des Beaux-Arts Brussels”, in The Bulletin, no. 11 (17 March 2005), 27.   
., “Skyjacking and subversion”, in The Bulletin (5 October 2000), 26.

MacNab, G., ‘Umedia has Double Take, enlists Rachel”, in Screen (7 February 2009).

Maimon, V., “Once the Terrorist had a name: a conversation with Johan Grimonprez, while his movie ‘dial H-I-S-T-O-R-Y’ is shown at the Herzliya Museum of Art”, in Studio (April 1998).

Martínez, R., © Europe exists (exhibition catalogue), (Thessaloniki: Macedonian Museum of Contemporary Art, 2003), 90–5.

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Masson, A. & Vanden Abele, S., Belgian Cinema from Flanders: interviews with a new generation of filmmakers (Brussels, FI Publishers, 2009). Translated from French: L’autre cinema belge: Le renou- veau flamand: entretiens avec une nouv- elle generation de cinéastes (Brussels: Éditions Flandrimage, 2009), 56–61.

Matt, G. & Miessgang, T., 1989. Ende der Geschichte oder Beginn der zukunft?: Anmerkungen zum Epochenbruch (exhibition catalogue), (Nuremberg: Verlag für Moderne Kunst / Vienna: Kunsthalle Wien, 2009), 118–19.

Mayo, N.E., et al., Tour-isms, The Defeat of Dissent: Critical Itineraries (exhibition catalogue), (Barcelona: Fundació Antoni Tàpies, 2004).

McCarthy, T., “Negative Reel”, in Johan Grimonprez: Looking for Alfred, ed. S. Bode (Ostfildern-Ruit: Hatje Cantz, 2007), 63–71.

Meecham, P., & Sheldon, J., Modern Art: A Critical Introduction (London: Routledge, 2000), 211, 212.

Meulders, C., “Kunst versus Terreur”, in Etcetera, vol. 15, no. 61 (October 1997),

Milroy, S., “Boom: Sarah Milroy reports from Catherine David’s Documenta X in Kassel, Germany”, in Canadian Art (Autumn 1997), 65–6.

Moisdon, S., “États des Lieux: Vidéo, Cartographies”, in Blocnotes, no. 7 (Autumn 1995).

Moisdon-Trembley, S. & Barbichon, J.-Y., “Artistes vidéo (Nouvelles génération): Entretien avec Stéphanie Moisdon- Trembley et
Jean-Yves Barbichon”, in Nov’Art (February 1997).

Moisdon-Trembley, S., “la belle équipe”, in Art Press, no. 227 (September 1997),

Montagnon, F., “La réalité comme page de publicité: Interview avec Johan Grimonprez”, in Hardcore, vers un nouvel activisme  (exhibition catalogue), ed. J. Sans (Paris: Palais de Tokyo / Éditions Cercles d’Art, 2003), 112–17.

Moulène, C., “Accidents”, in Les Inrockuptibles (16–22 May 2006).

Movin, L., “Dødens historie” (interview), in Informatíon, vol. 53, no. 258 (5 November 1997).

Müller, V.J., “Kampf um öffentlichkeit”, in Eine munition unter anderen (exhibition catalogue), ed. N. Schafhausen (Frankfurt am Main: Frankfurter Kunstverein, 2000).

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., “When worlds collide”, in Sunday Times (14 June 1998).
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., “Skyjack Sunday Over Europe”, in New York Daily News (11 September 2002).
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., “Hitch Hike- Hide-and-seek Hitchcock at the Photographer’s Gallery”, in Attitude (December 2004).
., “From Terrorism to Trademarks”, in Flanders Image, no. 2 (Summer 2005), 24–7.
., “The Factory: Terry Gilliam, Johan Grimonprez, Roger Tallon, Brooklyn, Nelson, Souraya, The Parisians” (interview), in Crash (Autumn 2005), 101–5.

Nairne, A., TRAUMA (exhibition catalogue), (London: Hayward Gallery Publishing, 2001), 35–9.

Nielsen, H. & Johnsen, B., MachineRAUM: a biennale for video art and digital culture (exhibition catalogue), (Vejle: Vejle Musem of Art, 2007), 26–7.

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Noriko, M., “dial H-I-S-T-O-R-Y”, in Bijutsu Techo (May 1999).

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Öhner, V., “Vom Sehen, Fliegen und Träumen / On Seeing, Flying and Dreaming”, in Camera Austria, no. 66 (1999), 29–30.

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Ozawa, K., Your memorabilia (exhibition catalogue), (Tokyo: NICAF Executive Office, 2003).

Pagé, S., et al., Voilà le monde dans la tête (exhibition catalogue), (Paris: Éditions Paris Musées, 2000), 136–62.

Parfait, F., Vidéo: Un Art Contemporain (Paris: Éditions du Regard, 2001), 174, 333–6.

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