Peer-Reviewed Essays and Book Chapters
“SLO CURATING: Restitution, Access, Archives and Care,” Journal for Curatorial Studies issue on Online Exhibitions, December 2022.
Top: Queen Elizabeth at her coronation, the Koh-i-Noor diamond adorns her crown, 1953. Below: Screenshot of The British Museum website, of an Object known as a Moai (Ancestor Figure), with the title given as ‘Hoa Hakananaiʻa ('lost, hidden or stolen friend'),’ accessed 3 April 2023. https://www.britishmuseum.org/collection/object/E_Oc1869-1005-1
“Returning to Dialectics of Isolation: The Non-Aligned Movement, Imperial Feminism, and a Third Way,” Asian-American Pasts and Futures special issue, Panorama Journal of the Association of Historians of American Art, (Spring 2021).
Ana Mendieta, Kazuko Miyamoto and Zarina, curators, Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, exh. cat. (New York: A.I.R. Gallery, 1980). Courtesy of A.I.R Gallery
“A Spectral Sumud: Kamal Aljafari’s Port of Memory,” with Mezna Qato, Being Urban: Community, Conflict and Belonging in the Middle East, ed. Simon Goldhill (London: Routledge, 2020).
Exhibition Catalogues
“Preface to an Exhibition,” Exhibition catalogue, Soft and Wet, EFA Project Space, New York, November 16, 2019.
A Room of One's Own: Zarina, Catalogue Essay, Zarina: Weaving Darkness and Silence, Gallery Espace, Delhi, February—March 2018.
Zarina, Untitled, 2017. Collage on paper.
Welcome To What We Took From Is The State, Exhibition catalogue, South Asian Women's Creative Collective, March 2016.
230 MB / Exhibition Without Objects, Exhibition catalogue, Khoj International Artists' Association, 10 February 2013.
Foreclosed. Between Crisis and Possibility, Exhibition catalogue, The Whitney Museum of American Art, 28 February 2011.
Reviews
Bani Abidi’s “The Man Who Talked Until He Disappeared,” Exhibition Review, Art Agenda, May 2022.
Constantina Zavitsanos, Exhibition Review, Critics' Picks, Art Forum, September 2019.
Constantina Zavitsanos, L&D Motel, 2019, organized by Alex Fleming and Andrew Kachel, installation view at Participant Inc, New York. Photo: Mark Waldhauser.
Guadalupe Rosales, Exhibition Review, Critics' Picks, Art Forum, October 2018.
Stretched Terrains, Exhibition Review, Critics' Picks, Art Forum, June 2017.
Delhicentric: Zarina's Paper Like Skin, Review of Zarina: Paper Like Skin, Jadaliyya, 10 June 2013.
Cinematic Occupation: Kamal Al Jafari's Port of Memory, Film review, Jadaliyya, 9 August 2012.
Essays
Forever Changes: Sadia Shirazi on Arooj Aftab, Music, Art Forum, April 2021.
Against Art History, Unraveling the Present, Sharjah Art Foundation, Sharjah, March 2021 (Forthcoming)
“There is a bounty in what is lost,” with Julie Tolentino, Movement Research Performance Journal, ed. Alan Ruiz, Spring 2020.
The Cubicle and the Color-Line, (take-away) in Jessica Vaughn: In Polite English, One Disagrees By First Agreeing, Dallas Contemporary, September 2019.
the cuts. cheyanne turions and Sadia Shirazi
Vera List Center, Indigenous New York, Critically Speaking, March 2017.
Lahore: Architecture of In/Security, The Funambulist Pamphlet 01: Militarized Cities (September 2015), 14-19.
On Exhibition Without Objects — Flatness, File Size, and Hard Drives, Independent Curators International (iCi) Research Journal, 30 September 2013.
Exhibition Without Objects, Diagram of route of travel, 2022.
SUBJECT: Exhibition Without Objects, SARAI Reader 09: Projections, ed. Raqs Media Collective and Shveta Sarda (April 2013), 231-239.
City, Space, Power: Lahore's Architecture of In/Security, The Funambulist, 17 October 2012.
Construction and Destruction in Cinematic Spaces, Foreclosed. Between Crisis and Possibility, The Whitney Museum of American Art, 28 February 2011.
Formalisms, Editor, thresholds 33, MIT Journal, Spring 2008.
Cairo's Al Azhar Park, Bidoun Magazine #3: Hair, Winter 2005.
Interviews
Constantina Zavitsanos Looks Beyond the Colour Spectrum, Interview, Frieze, September 2024.
Constantina Zavitsanos, Wishing Well (Korpí) [detail], 2023/24, open water (Korpí natural mineral spring water, distilled water and sourced mineral specimens), stereo sound and infrasonics, sine wave generator, speakers, transducers, acrylic, wood, LEDs, 424.2 × 210.8 × 48.3 cm. Courtesy: Artists Space, New York, and the artist; photograph: Carter Seddon.
Image description: In the dark, a modular structure set in the floor hosts open water that shows several distinct ripple patterns in motion on its surface.
Feminism for Me Was About Equal Pay for Equal Work—Not About Burning Bras: Interview with Zarina by Sadia Shirazi, Interview, MoMA post: Notes on Modern and Contemporary Art Across the Globe, March 8, 2018.
Zarina at Atelier 17, Paris, circa 1960s. Photograph by Krishna Reddy.
Postcommodity with Sadia Shirazi, Interview, Issue 134 "Land," C Magazine, June 2017.
Europe, Europe, Europe: Chant Avedissian with Sadia Shirazi, Interview, Jadaliyya, 22 June 2015.
Chant Avedissian, Sitt El Kol (Umm Kalthoum), 1994.