Tishan Hsu

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Tishan Hsu, (Left) It’s Not the Bullet but the Hole 2, 1991. (Front) Virtual Flow, 1990-2018. (Right) Fingerpainting, 1994. Installation view at “Liquid Circuit”, Hammer Museum; Los Angeles, 2020. Photo: Jeff McLane.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Fingerpainting, 1994. Installation view at “Liquid Circuit”, Hammer Museum; Los Angeles, 2020. Photo: Jeff McLane.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Virtual Flow, 1990-2018.  Photo Kyle Knodell.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, (Left) Closed Circuit II, 1986. (Second to left) Vertical Ooze, 1987. Ooze, 1987.  (Right) Reflexive Ooze, 1987. Installation view at “Liquid Circuit”, SculptureCenter; New York, 2021. Photo Kyle Knodell.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Vertical Ooze, 1987. Photo: Jeff McLane.

Courtesy the Artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Cellular-Automata, 1989.  Private collection.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Fingerprint, 1989. 

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Interface Wall 3.0-Gwangju, 2021. Installation view at The 13th Gwangju Biennale.

Courtesy the artist; Gwangju Biennale 2021, Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, (Above) Outer Banks of Memory, 1984. (Below) Heading Through, 1984. Installation view at “Liquid Circuit”, Hammer Museum; Los Angeles, 2020. Photo: Jeff McLane.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Outer Banks of Memory, 1984.
Photo: Jeff McLane.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Cellular-Automata, 1989. Installation view at “Tishan Hsu”, Pat Hearn Gallery; New York, 1989. Private collection.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Installation view at “Glow Like That”, K11 Art Foundation, 2019.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, QMH 6.2.1, 2021.

Courtesy the Artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Boating Scene GREEN 2, 2019.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Installation view at “Into Form: Selections from the Rose Collection, 1957 – 2018”, Rose Art Museum, 2019.

Courtesy the artist; Rose Art Museum, Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Installation view at “Tishan Hsu: Liquid Circuit”, Hammer Museum; Los Angeles, 2020. Photo: Jeff McLane.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, Manic Panic, 1987.

Courtesy the Artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Installation view at “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 2019.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Tishan Hsu, signal.noise/membrane, 2020.

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York. © Tishan Hsu / Artists Rights Society (ARS), New York.

Born in Boston, Massachusetts, Hsu’s early years were in Zurich, Switzerland, and Ohio, Wisconsin, Virginia and New York, U.S. Hsu had his first one-person show as a teenager in Roanoke, Virginia, where his paintings were exhibited in museums throughout the region.   He received his B.S.A.D. in 1973 and M.Arch. in 1975 from Massachusetts Institute of Technology. While at MIT, he also studied film and photography at the Carpenter Center, Harvard University. Hsu has resided in New York since 1979. Hsu first showed in New York at the Pat Hearn Gallery.  Since 1985, Hsu has shown extensively in the US, Europe, Mexico and Asia, with works in many public and private collections. From 1988-90, Hsu lived and worked in Cologne, Germany and from 2014-16 in Shanghai, China.  

Much of the artist’s work has attempted to convey the changing cognitive and physical effects of an embodied technology. Hsu’s interest in technology has not been in the use of a particular apparatus but the perception of a technological affect. His work has included drawings, paintings, interactive digital media projections, and sculpture.

Selected public and private collections include Metropolitan Museum, New York; Centre Pompidou, Paris; Museum fur Moderne Kunst (MMK), Frankfurt am Main; High Museum, Atlanta; Terra Museum, Mexico City; Los Angeles Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, North Miami; The Rubell Family Collection, Miami; Weisman Museum, Minneapolis; and The Whitney Museum of American Art, New York. Hsu has served as a Member of the Board of White Columns and a Governor for the Skowhegan School of Painting and Sculpture. He was a Professor of Sculpture at Sarah Lawrence College and a visiting professor at Pratt Institute and Harvard University. 

Tishan Hsu: Liquid Circuit, his first survey exhibition covering the period 1982 to 2002, was curated by Sohrab Mohebbi, and held at SculptureCenter, New York, following its first iteration at the Hammer Museum, Los Angeles, in 2020. His work was included in the 13th Gwangju Biennale, “Minds Rising, Spirits Tuning,” in 2021. Hsu is co-represented by Empty Gallery, Hong Kong, and Miguel Abreu Gallery, New York.

Education

Massachusetts Institute of Technology, Cambridge, Massachusetts, B.S.A.D., M.Arch.

Public Collections

The Whitney Museum of American Art
Rubell Family Collection
Museum fur Moderne Kunst, Frankfurt am Main
Metropolitan Museum of Art, New York
Centre George Pompidou, Paris
High Museum, Atlanta
Terra Museum, Mexico City
Los Angeles Museum of Contemporary Art, Los Angeles
Museum of Contemporary Art, North Miami, Florida
Weisman Museum, Minneapolis, Minnesota

Residency

1988 - 1990
Cologne, Germany
2014 - 2016
Shanghai, China

Teaching

1994 - 2018
Professor of Visual Arts, Sarah Lawrence College, Bronxville, NY
2005 - 2006
Visiting Professor of Visual and Environmental Studies Harvard University, Cambridge, MA
1993 - 1996
Visiting As sistant Professor, Patt Institute, Brooklyn, NY
1997
Visiting Artist: Tyler School of Art, Temple University
1996
Visiting Artist: Stanford University, Dept. of Art
1992
Visiting Artist: Cranbrook Academy of Art - Painting Dept.
1989
Visiting Artist: Yale University School of Art - Sculpture Dept
1987
Guest Lecturer: Columbia College, Columbia University
Guest Lecturer: Carnegie Mellon University Art Dept.

Selected Solo Exhibitions

Upcoming
Miguel Abreu Gallery, New York
2020-2021
Tishan Hsu: Liquid Circuit, SculptureCenter, New York
2020
Tishan Hsu: Liquid Circuit, Hammer Museum, Los Angeles
2019
delete, Empty Gallery, Hong Kong
2002
The Annex, New York
1991
Galerie Rolf Ricke, Cologne, Germany
1990
Lino Silverstein Gallery, Barcelona, Spain
1989
Pat Hearn Gallery, New York
1988
M.I.T. List Visual Arts Center, Cambridge, Massachusetts
1987
Carnegie Mellon University Art Gallery, Pittsburgh
Leo Castelli Gallery, New York
Pat Hearn Gallery, New York
Hillman Holland Gallery, Atlanta
1986
Pat Hearn Gallery, New York
1985
Pat Hearn Gallery, New York
1984
White Columns, New York

Selected Group Exhibitions

2021
TECHNO, Museion, Bolzano, Italy
The Poet-Engineers, Miguel Abreu Gallery, New York
Zeros and Ones, KW Institute for Contemporary Art, Berlin
ALIEN NATION, von ammon co, Washington DC
The 13th Gwangju Biennale - ‘Minds Rising, Spirits Tuning’, South Korea
Hello America, Karma International, Zurich
2020-2021
The Body Electric, Museum of Art and Design, Miami
100 Drawings From Now, The Drawing Center, New York
SAMMLUNG, Tower MMK (The Museum für Moderne Kunst), Germany
2020
"...Hallo Köln!", Galerie Anke Schmidt, Germany
"The Blazing World", Sotheby’s S|2, London
2019
"Phantom Plane, Cyberpunk in the Year of the Future", Tai Kwun, Hong Kong
"Searching the Sky for Rain", Sculpture Center, NY
"The Rose Collection, 1957-2018: Into Form", Rose Art Museum, Waltham
"Cutting the Stone", Miguel Abreu Gallery, New York
"Glow Like That" K11 Art Foundation, Hong Kong
2018
“Brand New: Art and Commodity in the 1980s”, The Hirshhorn Museum, Washington
"Guarded Future II", Downs & Ross, New York
“The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983- 2004)”, Hessel Museum of Art, CCS Bard, New York
2017
"The Silent Baroque Revisited", Hubertushoehe art + architecture, Berlin
2012
“Desperately Seeking Susan”, Kathleen Cullen Gallery, New York
2005
“Extension – Mind to Body to Technology", San Giacomo degli italiani, Naples, Italy (with Cybercast from New York)
2003
Below the Canel: After 9/11, Asian American Arts Centre, New York
2002
“Einfach Kunst. Sammlung Rolf Ricke”, Neues Museum in Nürnberg, Germany
2001
“Selections from the Permanent Collection”, Museum of Contemporary Art, North Miami, Florida
“Pat Hearn Gallery – Part One (1983-1987)"
1998
“Digital Hybrids”, McDonough Museum of Art, Youngstown, Ohio
1997
“Techno.Seduction”, The Cooper Union, New York
1996
“Natural Spectacles”, David Winter Bell Gallery, Providence, Rhode Island
1993
“Art in the Age of Information”, Pittsburgh Cultural Trust & 808 Penn Modern, Wood Street Galleries, Pittsburgh, Pennsylvania
1992
“Regard Multiple - Acquisitions de la Societe des Amis du Musee national d’art moderne”, Centre George Pompidou, Paris
“A New American Flag”, Max Protecht Gallery, New York
1991
“42nd Biennial Exhibition of Contemporary American Painting”, The Corcoran Gallery of Art, Washingon, D.C.
1990
“A La Bibliothek”, Salzburger Kunstveriein, Salzburg, Austria; Stadt. Museum, Mulheim a.d. Ruhr, West Germany
“Vertigo”, Galerie Thaddeus Ropac, Paris
“Mind Over Matter”, Whitney Museum of American Art, New York
“Culture in Pieces - Other Social Objects”, Beaver Art Gallery, Beaver College, Glenside, Pennsylvania
“The Technological Muse”, Katonah Art Museum, Katonah, New York
”Hybrid Neutral: Modes of Abstraction and the Social”, 1988-1990 traveling exhibiton organized and circulated by Independent Curators Inc., New York
“The Shadow of Presence”, Galerie Charles Cartwright, Paris
“Status of Sculpture”, 1990-1991, ELAC Art Contemporain, Lyon, France; Institute of Contemporary Art, London;Kunstmuseum de Hasselt, Hasselt, Belgium; Stiftung Starke, Gemeinnutzige Kunststiftung, Berlin, Germany
“Spellbound”, Marc Richards Gallery, Los Angeles
1989
“Baldessari, Rauschenburg, Rosenquist, Hsu, Quentel”, Ernst Busche Gallery, Cologne, Germany
“Einleuchten - Will, Vorstel & Simul”, Deichtorhallern, Hamburg, West Germany
“Painting Beyond the Death of Painting”, Kuznetsky Most Exhibition Hall, Moscow
“The Silent Baroque”, Galerie Thaddaeus Ropac, Salzburg
“Nonrepresentation (The Show of the Essay)”, Annie Plumb Gallery, New York
1988
“The Binational - American Art of the late 80’s”, Institute of Contemporary Art & The Museum of Fine Arts, Boston, Massachusetts; Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen & Kunstverein fur die Rheinlande and Westfalen Dusseldorf, West Germany
“Art a the End of the Social”, Rooseum, Malmo, Sweden
“A New Generation of the 1980’s: American Painters and Sculptors”, The Metropolitan Museum of Art, New York
“Complexity & Contradiction”, Scott Hanson Gallery, New York
“The Inside and the Outside”, Rhona Hoffman Gallery, Chicago
“Drawings”, Laurie Rubin Gallery, New York
“New York Art Now” (Parat II), Saatchi Collection, London, England
1987
“Leo Castelli y Sus Artistas”, Centro Cultural Arte Contemporaneo, A.C., Mexico City, Mexico
“Primary Structures”, Rhona Hoffman Gallery, Chicago
“Sculptures”, Galerie Charles Cartwright, Paris, France
“NY New Art”, Mayor Rowan Gallery, London, England
“Locations”, Galerie Thaddeus Ropac, Salzburg and Galerie im Taxispalais, Innsbruck, Austria
“The Ironic Sublime”, Galerie Albrecht, Munich, West Germany
“The Antique Future”, Massimo Audiello Gallery, New York
“Armleder, Artschwager, Hsu”, Pat Hearn Gallery, New York
1986
“Modern Sleep”, American Fine Arts Gallery, New York
“As Sculpture”, Daniel Newburg Gallery, New York
1985
“Brave New World - A New Generation”, Charlottenburg Exhibition Hall, Copenhagen, Denmark
“More Than Meets the Eye”, Fabian Carlson Gallery, London, England
“Emily, Anna & Tishan: The First Generation”, Asian Arts Institute, New York
1984
“Invitational”, Matthews Hamilton Gallery, Philadelphia
“Brilliant Color”, Baskerville + Watson Gallery, New York
“Update”, White Columns, New York
1983
“Berkshire Art Museum, Pittsfield, Massachusetts
“Terminal Show”, Brooklyn, New York
1981
“Arabia Felix”, Art Galaxy, New York

Bibliography

2019
Benhamou-Huet, Judith. “Art Basel Hong Kong: le futur de l’art est en Asie.” Les Echos, March 28, 2019
Harris, Gareth. “Overlooked, but not forgotten: Tishan Hsu presents first solo gallery show in over 20 years.” Art Newspaper, March 25, 2019
Loos, Ted. “The World Catches Up with Tishan Hsu.” New York Times, March 27, 2019
Ng, Brady. “Tishan Hsu: Delete.” ArtAsiaPacific, no. 113 (May/June 2019): 129
Ugelvig, Jeppe. “Tishan Hsu.” ArtReview Asia 71, no. 3 (April 2019): 76–83
2018
Goyanes, Robert. “Once Deemed Too Weird for the 1980s Art World, Tishan Hsu Is Back.” Artsy, January 30, 2018
Kennicott, Philip. “The 1980s New York art world was cynical and crass. Should we be honoring it?” Washington Post, February 14, 2018
Ugelvig, Jeppe. “Gallery-as-Form: ‘The Conditions of Being Art’ at the Hessel Museum of Art.” Afterall, October 4, 2018
2017
Moran, Laura. “Focus on the Collection: Tishan Hsu’s Liquid Circuit.” Weisman Art Museum website, Spring 2017
2015
Schwabsky, Barry. “Sascha Braunig: Foxy Production.” Artforum International 53, no. 10 (Summer 2015): 356
2003
Rubinstein, Raphael. “Whose 1980s?” Art in America 91, no. 12 (December 2003): 35–39
1997
Cotter, Holland. “Art in Review: Techno Seduction.” New York Times, February 7, 1997
Hsu, Tishan. “Tishan Hsu.” Art Journal 56, no. 1, “Aesthetics and the Body Politic” (Spring 1997): SS17
1993
Miller, Donald. “Artists master technologies at city galleries.” Pittsburgh Post-Gazette, March 13, 1993
1991
Bruyen, Eric de. “Mind Over Matter,” Forum International (June 1991): 80–81
Cotter, Holland. “Deconstructed Painting: Some Younger Artists in the 1980s.” Art Journal 50, no. 1 (Spring 1991): 79–82
D’Amato, Brian. “Mind Over Matter.” Flash Art 24, no. 156 (January/February 1991): 134
Dubrow, Norman. “The Neo Tendencies of the Late 1980s.” Drawing (March/April 1991): 121–25
Hayt-Atkins, Elizabeth. “Envisioning the Yesterday of Tomorrow and the Tomorrow of Today.” Contemporanea, no. 24 (January 1991): 76
Puvogel, Renate. “Status of Sculpture.” Kunstforum International, no. 113 (May/June 1991): 335–38
Renton, Andrew. “Status of Sculpture.” Flash Art 24, no. 156 (January/February 1991): 137–38
Richard, Paul. “Abstract and Personal: At the Corcoran Biennial, A Passionate Bow to the Past.” Washington Post, September 6, 1991
Schultz, Heinz. “À la Bibliothek.” Kunstforum International, no. 111 (January/February 1991): 336–37
1990
Brenson, Michael. “Review/Art: In the Arena of the Mind, at the Whitney.” New York Times, October 19, 1990
Cooke, Lynne. “Mind Over Matter. New York, Whitney Museum.” Burlington Magazine 132, no. 1053 (December 1990): 899
Jennings, Rose. “The Status of Sculpture.” City Limits, September 27, 1990, 72
Larson, Kay. “Every Object Tells a Story.” New York Magazine, October 29, 1990, 64–65
Smith, Roberta. “Review/Art: The Group Show as Crystal Ball.” New York Times, July 6, 1990
Soulillou, Jacques. “The Shadow of Presence.” Art Press, 146 (April 1990): 83
Taylor, John Russell. “Shapes and Assemblies.” The Times (London), October 5, 1990
1989
Atkins, Robert. “Tishan Hsu.” 7 Days, May 3, 1989, 64
Avgikos, Jan. “The Binational, ICA Boston.” Artscribe International 76 (Summer 1989): 83–84
Harrison, Katharine. “Tishan Hsu, Pat Hearn.” Flash Art, no. 147 (Summer 1989): 149–50
Heartney, Eleanor. “Homeward Unbound.” Sculpture (September/October 1989): 20–23
Kuspit, Donald. “Tishan Hsu.” Artforum International 27, no. 10 (Summer 1989): 136–37
Leigh, Christian. “Art on the Verge of a Nervous Breakdown.” Contemporanea, January 19, 1989, 99–103
Levin, Kim. “Umbilical Cords.” Village Voice, April 25, 1989, 91
Smith, Roberta. “Tishan Hsu, Pat Hearn Gallery.” New York Times, April 21, 1989
Zaya, Octavio. “Social Security: Interview with Tishan Hsu.” Balcón 4 (Fall 1989): 108–21
Zinsser, John. “Tishan Hsu.” Journal of Contemporary Art 2, no. 1 (Spring/Summer 1989): 23–32
1988
Silver, Joanne. “Hsu’s works link human and machines.” Boston Herald, May 27, 1988
Bonetti, David. “High Quality Tech.” Boston Phoenix, May 20, 1988
Collins, Tricia, and Richard Milazzo. “Tropical Codes III.” Kunstforum 92 (December/January 1987–88): 126–29
Joselit, David. “Investigating the Ordinary: Young Artists Who Take Domestic Existence as Their Central Metaphor.” Art in America 76, no. 5 (May 1988): 148–55
Ottmann, Klaus. “Tishan Hsu: The Suburban Dream of Modernism.” Flash Art, no 139 (March/April 1988): 106–7
Plagens, Peter. “The Emperor’s New Cherokee Limited 4x4.” Art in America 76, no. 6 (June 1988): 23–24
Temin, Christine. “Hsu Tackles Some of the Big Issues.” Boston Globe, May 19, 1988
1987
Cotter, Holland. “Tishan Hsu at Castelli and Pat Hearn.” Art in America 75, no. 9 (September 1987): 173
Hart, Claudia. “Tishan Hsu.” Artscribe International 63 (May 1987): 52–56
Jinkner-Lloyd, Amy. “Ti Shan Hsu.” Art Papers 11, no. 3 (May/June 1987): 48–49
Kuspit, Donald. “Tishan Hsu.” Artforum International 26, no. 1 (September 1987): 122
Liebmann, Lisa. “M.B.A. Abstractionism.” Flash Art, no. 132 (February/March 1987): 86–89
McCoy, Pat. “‘The Antique Future,’ Massimo Audiello.” Artscribe International 64 (Summer 1987): 77–78
Smith, Roberta. “Where to See the Newest of the New American Art.” New York Times, May 1, 1987
Talley, Dan R. “Hsu Couples Disparate Elements in ‘Unnamable’ Works,” Creative Loafing (Atlanta, GA), February 28, 1987
Wei, Lilly. “Talking Abstract: Part II.” Art in America 75, no. 12 (December 1987): 112–29, 171
Woodruff, Mark. “‘The Antique Future’: Articulating the Void.” New Art Examiner 14, no. 10 (June 1987): 36–37
1986
Indiana, Gary. “Ti Shan Hsu: A Chat.” Village Voice, June 24, 1986, 75
Kuspit, Donald. “Ti Shan Hsu at Pat Hearn.” Artscribe International 59 (September/October 1986): 76
McGill, Douglas. “Art People.” New York Times, October 17, 1986
Schwabsky, Barry. “Ti Shan Hsu.” Flash Art, no. 130 (October/November 1986): 74–75
Zimmer, William. “A Rarefied Atmosphere in the Feisty East Village.” New York Times, November 7, 1986
1985
Bohm-Duchen, Monica. “Nine Painters from New York.” Flash Art, no. 124 (October/November 1985): 56
Cecil, Sarah. “Ti Shan Hsu.” Art News 84, no. 5 (May 1985): 124–25
Edelman, Robert. “Ti Shan Hsu at Pat Hearn.” Art in America 79, no. 7 (July 1985): 131–32
Mueller, Cookie. “Review.” Details Magazine, April 1985, 71–72
1984
Warren, Ron. “Brilliant Color.” Arts Magazine 58, no. 8 (April 1984): 38–39

Exhibition Catalogues and Books

1997
Heartney, Eleanor. “Art in the Nineties: A Mixed Prognosis.” In Critical Condition: American Culture at the Crossroads. Cambridge: Cambridge University Press
Rindler, Robert, Deborah Willis, Holly Block, Deborah Bright, David Deitcher, and Berta M. Sichel. Techno.Seduction: An Exhibition of Multimedia Installation Work by Forty Artists. New York: Cooper Union for the Advancement of Science & Art
1996
Balken, Debra Bricker. Natural Spectacles. Providence, RI: David Winton Bell Gallery, Brown University
1992
Pouillon, Nadine, and Anne Bonnin. Regard Multiple–Acquisitions de la Société des Amis du Musée National d’Art Moderne. Paris: Centre Georges Pompidou
1991
42nd Biennial Exhibition of Contemporary American Painting. Washington, DC: Corcoran Gallery of Art
1990
Armstrong, Richard. Mind Over Matter: Concept and Object. New York: Whitney Museum of American Art
Brunon, Bernard. Status of Sculpture. Lyon, France: Espace lyonnais d’art contemporain
Fairbrother, Trevor, and Paula Marincola. Culture in Pieces: Other Social Objects. Glenside, PA: Beaver College Art Gallery
Fellin-Yeh, Susan. The Technological Muse. Katonah, NY: Katonah Museum of Art
Galerie Charles Cartwright. The Shadow of Presence: Marina Abramovic, Tishan Hsu, Franz Ehrard Walther, Franz West. Amsterdam: Libra Blu
Leigh, Christian. The Silent Baroque. Salzburg, Austria: Galerie Thaddaeus Ropac
1988
Collins, Tricia, and Richard Milazzo. Art at the End of the Social: Rooseum. Malmö, Sweden: Rooseum Center for Contemporary Art
Collins, Tricia, Richard Milazzo, and Gary Indiana. Hybrid Neutral: Modes of Abstraction and the Social. New York: Independent Curators Incorporated
Kuspit, Donald. “Tishan Hsu.” In Locations, 27–31. Innsbruck, Austria: Tiroler Landesgalerie
Leigh, Christian. “Backward and Forward.” In Complexity and Contradiction. New York: Scott Hanson Gallery
Ross, David A., Jürgen Harten, Trevor J. Fairbrother, David Joselit, and Elisabeth Sussman. The Binational: American Art of the Late 80s, German Art of the Late 80s. Cologne, Germany: DuMont
Tishan Hsu: Paintings; MIT List Visual Arts Center, May–June 26, 1988. Essay by Dana Friis-Hansen. Cambridge, MA: MIT List Visual Arts Center
1987
Cameron, Dan. NY Art Now: The Saatchi Collection. Milan: Giancarlo Politi Editore
Collins, Tricia, and Richard Milazzo. The Ironic Sublime. Munich: Galerie Albrecht
Fairbrother, Trevor. Tishan Hsu. New York: Leo Castelli Gallery and Pat Hearn Gallery
King, Elaine A., and Tishan Hsu. Tishan Hsu: Drawings, Paintings, and Sculpture. Pittsburgh: Carnegie Mellon University Art Gallery
1986
Ti Shan Hsu: New Geometries, Conscious Objects and OTHER Matter. New York: Pat Hearn Gallery
1985
Lee, Robert, and John Yau. Emily, Anna & Ti-Shan: The First Generation. New York: Asian Arts Institute
TH_Bibliography_ 2021Apr
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