SCHOLARLY ESSAYS
Amich, Candice, “Playing Dead in Cuba, 1997-2000,” and “Transborder Simulations: Coco Fusco, Ricardo Dominguez and the EZLN Alternative,” in Precarious Forms: Performing Utopia in the Neoliberal Americas, (Evanston: Northwestern U. Press, 2020), pp. 85-116).
Dennis, Kelly, “Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy,” n. paradoxa, vol. 23, 2009, pp. 79-86.
Fisher, Jean, “Witness for the Prosecution: The Writings of Coco Fusco,” The Bodies That Were Not Ours, (London, Routledge, 2001).
Fischer-Lichte, Ericka, “Returning the Gaze: Between Cultural Performance and Performance Art,” The Show and the Gaze of Theater: A European Perspective, (Iowa City, University of Iowa Press, 1997).
Marrero, Teresa, “Scripting Sexual Tourism: Fusco and Bustamante’s STUFF, Prostitution and Cuba’s Special Period,” Theater Journal, Vol. 55, Number 2, May 2003, pp. 235-249.
Mendieta, Eduardo. “The Coloniality of Embodiment: Coco Fusco’s postcolonial genealogies and semiotic agonistics,” Unmaking Race, (Re)making Soul: The Transformative Aesthetics of Postcolonial Women Artists, Angela Cotton and Christa Davis Acompora, eds., (Albany, SUNY Press, forthcoming).
Muñoz, José Esteban, “Performing the State of Exception: Coco Fusco’s Operation Atropos and A Room of One’s Own,” (forthcoming in The Drama Review).
Murray, Derek Conrad, “Coco Fusco and Steve McQueen, Obscene Jouissance: Aesthetics and the Visual Poetics of Labour Exploitation,” Parachute no. 122, April.May/June 2006, pp. 33-51.
Prieto-Stambaugh, Antonio, “La puesta en escena del Otro: Teatro, turismo y antropofagia en la obra de Coco Fusco y Nao Bustamante”en Alfonso de Toro, ed., El teatro latinoamericano en la condición postmoderna y postcolonial: 1970-1997. Teoría y Práctica. Editorial K.D. Vervuert Verlag (Frankfurt am Main).
Timeto, Federica, “A Situated Feminist Reading of Turista Fronterizo,” forthcoming in Italian in Cultura della differenza. Femminismo, visualita e studi poscoloniali, ed. Federica Timeto, (Turin: Utet Universita).
Vercoe, Caroline. “Agency and Ambivalence: A Reading of Works by Coco Fusco,” The Bodies that Were Not Ours and Other Writings, (London, Routledge and InIVA, 2001).
SELECTED BOOK REVIEWS
Wolf, Sara, “Coco Fusco’s A Field Guide for Female Interrogators,” e-misférica 5:2, Race and its Others, December, 2008, www.hemisphericinstitute.org/eng/publications/emisferica/5.2/en52_wolf.html
Browning, Gavin, “Coco Fusco’s Striking Fake Field Guide,” The Village Voice, May 20, 2008
Meyer, Richard, “Richard Meyer on Race and Plutocracy,” Bookforum, December/January 2006.
Jefferson, Margo, “On Writers and Writing; Photo Dynamics,” The New York Times, Feb. 15, 2004.
Edshun, Kodwo, “The Bodies That Were Not Ours,” (Review), Nka: Journal
of Contemporary African Art, Fall/Winter 2002, pp. 112-113.
Thompson, Christian Bumbarra, “The Bodies That Were Not Ours,” book review, Fine Art Forum on line journal, vol. 16, issue 09, September, 2002.
Walsh, Maria, "Coco Fusco, The Bodies That Were Not Ours and Other
Writings,"Art Monthly, February, 2002, p. 53.
Rivera-Servera, Ramon, "Corpus Delecti: Performance Art of the Americas," Theatre
Journal, 53. 1, 2001. pp. 172-173.
Sethi Meera, “Corpus Delecti: Performance Art of the Americas,” Fuse
Magazine, Vol. 23, Number 3, February, 2001
Wolford, Lisa, "Corpus Delecti: Performance Art of the Americas," Modern Drama, vol. 43, no. 4, winter 2000, pp. 643-646.
Klein, Jennie, “Waiting for Performance,” in PAJ: A Journal of Performance and Art, PAJ 66, September, 2000, pp.78-87.
Wolf, Sarah. "English is Broken Here." World Art, Jan. 1996, 89.
Del Castillo, Anne. “E Pluribus Unum” (review of English in Broken Here),
The Boston Book Review, Oct. 1995, 10.
Pabst, Naomi, "Visual Politics" The Bay Guardian, Sept. 1995.
"English Is Broken Here." High Performance, Spring/Summer 1995, 90-1.
"Summer Reading." Chicago Artist's News, July/August 1995.
Fernandez, Maria Elena. "Brown Like Who?: Coco Fusco Extracts Latino
Identity from Colonial History" LA Weekly, 16 June 1995, p. 41.
Torres, Maria de los Angeles, "Hyphen Nation" The Nation, 19 June 1995.
"English is Broken Here," Booklist, May 15, 1995.
"English is Broken Here," Library Journal, May 15, 1995.
"English is Broken Here" Publisher's Weekly, April 3, 1995.
"English is Broken Here" Kirkus Reviews, March 15, 1995.
SELECTED REVIEWS OF CURATORIAL WORK
Pincus, Robert, “Racial Profiling: ‘Skin Deep’ Shows How Photography has Reflected and Affected how America Views Itself,” The San Diego Union-Tribune, October 16, 2005, p. F1.
Talvi, Silja J.A., “Only Skin Deep: How American Photography Creates and Reinforces Concepts of Race and National Identity,” In These Times, June 25, 2004.
Usborne, David, “America in Black and White: A Powerful Exhibition of Images at New York’s International Center for Photography Asks What it means to be Black in America,” The Independent, February 7, 2004.
Aletti, Vince, “Examining Photography’s Link to Stereotypes and Identity,” The Village Voice, January 5, 2004.
Pollack, Barbara, “What Lies Beneath,” Time Out, Issue 431, January 1-6, 2004.
Cotter, Holland, “Cameras as Accomplices, Helping Race Divide America Against Itself,” The New York Times, December 19, 2003.
SELECTED REVIEWS OF VIDEO, PERFORMANCE AND OTHER ARTWORKS
Neil, Jonathan T.D., “Coco Fusco: Buried Pig with Moros,” Artreview, June, 2008.
Princenthal, Nancy, “Coco Fusco at The Project,” Art in America, June/July, 2008.
Valdez, Sarah, “Coco Fusco at MC,” Art in America, November, 2006.
Balaschack, Chris, “Coco Fusco, MC, Los Angeles, USA,” Frieze 101, October, 2006.
Cotter, Holland, “Coco Fusco’s Operation Atropos: Fantasy, Interrogation, Real Tension, The New York Times, May 30, 2006.
Murray, Derek C., “Coco Fusco at The Project,” Art in America, November, 2004.
Smith, Roberta, “Context and Conceptualism,” The New York Times, Friday, February 22, 2002.
Tisi, Rodrigo, Hybrids of Contemplation, Interaction and Performance: A Display of Abuse and Power on the Internet, Art Nexus, No. 44, Vol. 2, 2002.
Salgado, Gabriela, “Latino Performance Delivered to your Room: Whose watching Whom?,” Mute Beta:Culture and Politics After the Net, December 9, 2001.
Kay, Olivia Lory, “ Stuff: A Performance by Coco Fusco and Nao Bustamante,” The Physics Room, August, 1998.
Davis, Vaginal, “Coco Fusco and Nao Bustamante in Stuff at Highways,” LA Weekly, December 27-January 2, 1997.
Weatherston, Rosemary, “Stuff by Nao Bustamante and Coco Fusco,” Theatre Journal, Vol 49, No. 4, December 1997.
Hernandez, Eloy, “Coco Fusco, YYZ Artists Outlet,” New Art Examiner, September, 1997.
Todd, Rebecca and Hilary Thompson, “Coco Fusco, YYZ, Toronto, April 2-26,” Parachute No. 88, October/November/December, 1997.
Hoechsmann, Michael, “The Corporate Future of the Couple from Guatinaui,” Border/Lines, Issue No. 34/35, 1995, p. 71.
Hezekiah, Gabrielle, “Ethnic Talent for Export: Mexcarcane International,” Fuse Magazine, Vol. 18, Number 3, Spring, 1995, pp. 37-38.
James, Caryn, “Video as Art,” The New York Times, October 8, 1993.
Rugoff, Ralph, “Inauthentic Café: Dissecting the ‘white bear,’” LA Weekly, October 8-14, 1993, p.47.
Green, Charles, “Sydney Biennale,” Artforum, April, 1993.
Carr, C., “Is It Real or Is It…?,” LA Weekly, July 3-July 9, 1992, p. 37.
Green, Judith, “Crossing Art’s Cultural Borders,” San Jose Mercury News, Wednesday, October 17, 1990, p. 5F.
SELECTED ARTICLES
Lieberman, Rhonda, “Gender Bender,” Artforum.com Diary, January 30, 2007.
Carr, C. “Get Real,” Modern Painters, September, 2006, pp. 46-48.
Ferreira, Adriana, “Performer quer ‘limpiar’ consulado dos EUA,” Folha de S. Paolo (Brazil), September 9, 2005.
Selman, Teka, “Born Identity,” One World Magazine, June/July, 2003.
Nuño, Ana, “How Not to Sing an Anthem: Coco Fusco’s Els Segadors,” Unpacking Europe:Towards a Critical Reading, ed. Salah Hassan and Iftikhar Dadi (Rotterdam: Museum Boijmans Van Beuningen and NAI Publishers, 2001).
Morriña, Felix and Enrique Monge, “Coco Fusco: El performance, entre la ingenuidad y el arte,” Milenio Diario (Mexico), May 25, 2000.
Byrd, Cathy, “Honoring Vows,” Creative Loafing, January 29, 2000.
Kline, Christina, “Identifying the Artist,” Atlanta Press, Vol. 6 no. 47, Hanuary 28-February 3, 2000.
Nuño, Ana, “Coco Fusco derrumba fronteras. Parecer o pertenecer, he allí el dilema.” Papel Literario (Spain), October 31, 1999.
Harju, Hannu, “Coco Fusco ja Nao Bustamante hauskuuttavat ennakkoluuloilla: Stuff on seksin ja ruoan juhlaa,” Helsingin Sanomat, (Finland), November 13, 1998.
Borggren, Ingrid, “Latinska damer: Coco och Nao driver med sterotyper,” DN. på stan, (Denmark), April 25, 1997.
McKenna, Kristine, “An Artist in Uncaged,” Los Angeles Times, September 14, 1993.