Skip to content

About

Mary Kelly—renowned feminist and conceptual artist—is known for project-based work that deals with questions of sexuality, identity, and historical memory in the form of large-scale narrative installations. She examines how the collective experiences of trauma and violence shape and are shaped by memory and language. Kelly has played an outsized role in art history, profoundly impacting contemporary art and cultural politics. Combining the imperatives of conceptual art with feminist politics, her working strategies address the relationships between the personal and the political.

In 1968, at the peak of the student movements in Europe, she moved to London, England, to study at St. Martinʼs School of Art. There, she began her long-term critique of conceptualism, informed by the feminist theory of the early womenʼs movement in which she was actively involved throughout the 1970s. During this time, she worked on Nightcleaners (1970-75); Women & Work, a document on the division of labor in industry; and her iconic work on the mother/child relationship, Post-Partum Document (1973-79). Comprising 135 objects in six sections, Post-Partum Document is now considered one of the most important works of conceptual art to have been produced in the twentieth century. Other significant works include Interim (1984-89), Gloria Patri (1992), Mea Culpa (1999), Love Songs (2005-07), the Circa Trilogy (2004-16), and Addendum (2000-present).

Interim marked a progressive step in Kelly’s conceptual, feminist practice. A project in four parts (Corpus, Pecunia, Potestas, and Historia), the exhibition explored the space between the social construction of women and how they experience themselves in relationship to ideas about femininity found in fashion, medicine, fantasy/fiction, the family, and media. In 2022 at Vielmetter Los Angeles, Kelly exhibited all thirty panels of Corpus (1984-85), the first time the complete installation was exhibited since 1990’s New Museum exhibition. Interim Part I: Corpus features five groups of three pairs of panels that mimic the scale of advertising images in bus kiosks. Each pair contains one panel, a photo laminate depicting an evocative item from Kelly’s wardrobe (a leather bucket bag, leather jacket, silk dress, lace up boots, and a lacy nightie) and a second panel of silkscreened block text of confessional-style prose conveying women’s mid-life experiences. Each successive text becomes more absurd, resisting a literal psychological reading. Seen from the perspective of 2022, Corpus is vital not just as a metonym for the heady and human debates of second-wave feminism in the 1980s downtown New York art scene, but also because the questions at its core could not be more timely: How do we know who we are? How is our subjectivity—what we believe ourselves to be—constituted in and by the social order? And who is doing the constituting?

Also known for her conceptually laden use of materials, Kelly has more recently experimented with compressed dryer lint to create image and text-based works. The first of these, The Ballad of Kastriot Rexhepi (2001), combined Kelly’s ongoing interest in the acquisition and role of language in identity with a consideration of its impact on assumptions about national or ethnic differences. Rendered in lint, this story of a child’s oscillating national identity through language and shifting borders is translated into a material that conjures domestic labor, care-taking work, and transforms it into a medium of high cultural significance.

Circa Trilogy, Kelly’s 2016 exhibition at Vielmetter Los Angeles, included a trio of three large works in compressed lint: Circa 1968 (2004), Circa 1940 (2015), and Circa 2011 (2016). In each work, Kelly appropriated and reinterpreted an iconic archival image through the lens of generational memory. The images that Kelly selected are synecdochical; while they represent certain moments of The Blitz, the student uprisings of 68, and the Arab Spring, they encapsulate the wider historical narratives of these major events both in their ubiquity and the way their specific aesthetics communicate the image environment of the time. Kelly’s concept of history as a lived relation to the past is concerned with materializing effect as much as fact, and her working process is intensely durational. Individual units of compressed lint are cast in the filter screen of a domestic dryer over several months and hundreds of washing cycles; then assembled as large panels of low relief.

Premiering at the 2024 Whitney Biennial, Kelly’s Lacunae (2023, and part of the larger project titled Addendum) is the first part of a new project about the experience of late life. In a series of collages, Lacunae combines a decade of Kelly’s personal and work calendars from 2012 through 2021 with drawings in ash on vellum. Her age juxtaposed with those of the deceased suggests an imaginary countdown, replayed as the gaps accumulate and the activity of real time fades. The work evokes the incremental sense of loss that shapes the subjectivity of late life, but is often unacknowledged, or naturalized as the “normal course of things,” and remains outside of representation, unlike the experiences of loss during the Aids epidemic or the Covid pandemic, which have found forms of expression in a broader cultural context.

Mary Kelly was born in 1941 in Fort Dodge, Iowa, and lives and works in Los Angeles. Her studies include St Martin’s School of Art, London, a Postgraduate Certificate in Painting (1968-70); Pius XII Institute, Florence, Italy, MA in Studio Art and Art History (1963-65); and a BA in Art, with minor in Music from College of Saint Teresa, Winona, Minnesota (1963).

Kelly’s work has been the subject of major exhibitions at ICA, London (1976 and 1993); Museum of Modern Art, Oxford (1977); Kettle’s Yard, Cambridge (1986); New Museum of Contemporary Art, NY (1990); Vancouver Art Gallery (1991); Generali Foundation, Vienna (1998); Santa Monica Museum of Art (2001); Center for Contemporary Art, Ujazdowski Castle, Warsaw (2008); Moderna Museet, Stockholm (2010); Whitworth, Manchester (2011). Kelly was represented in the 1991 and 2004 Whitney Biennials, Whitney Museum, NY; Documenta 12, Kassel, 2007 and 2008 Biennale of Sydney. In 2015, she was awarded the John Simon Guggenheim Memorial Foundation Fellowship.

Solo exhibitions include Mary Kelly: To Witness the Future  at the Art Gallery of Guelph, Ontario, having travelled from Georgetown University’s De La Cruz Art Gallery (2022); Vielmetter, Los Angeles, CA (2022); Weatherspoon Art Museum, Greensboro, NC (2019), MoMA PS1, NY (2019-20); Whitney Museum of American Art, NY (2018-19); Kettle’s Yard, Cambridge (2018); Tate St Ives, Cornwall (2018); Pallant House Gallery, Chichester (2018); Fitzwilliam Museum, Cambridge (2018) and Tate Britain, London (2013-14). In 2019 Kelly produced a site-specific installation Peace is the Only Shelter, for Desert X Biennale, Coachella Valley.

Kelly’s work is included in numerous public collections, including Tate, London; The Museum of Modern Art, NY; Centre Pompidou, Paris; Whitney Museum of American Art, NY; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; MOCA, Los Angeles; Arts Council England; Museum of Contemporary Art, Chicago; The New Museum of Contemporary Art, NY; the Victoria and Albert Museum, London and many others. In 2017, Kelly’s archive was acquired by the Getty Research Institute. In February 2020, The Museum of Modern Art, NY, announced its acquisition of Kelly’s Post-Partum Document: Documentation IV, Transitional Objects, Diary and Diagram (prototype), 1976/2015.

Selected Works

This image depicts an artwork by Mary Kelly titled "Lacunae." This artwork was created in 2023 and measures 10 framed panels each: 24 ¹⁄₂" x 39" x 2" [HxWxD] (62.23 x 99.06 x 5.08 cm)Overall dimensions: 24 ¹⁄₂" x 33' 7 ¹⁄₂" x 2" [HxWxD] (62.23 x 1024.89 x 5.08 cm). Its medium is Ragboard, vellum, ash, ink.
Mary Kelly
“Lacunae,” 2023
Mary Kelly “Interim, Part I: Corpus,” 1984-1985
Mary Kelly
“Interim, Part I: Corpus,” 1984-1985
Mary Kelly “World on Fire Timeline,” 2020
Mary Kelly
“World on Fire Timeline,” 2020
Mary Kelly “Peace is the only shelter,” 2019
Mary Kelly
“Peace is the only shelter,” 2019
Mary Kelly “We don’t want to set the world on fire,” 2019
Mary Kelly
“We don’t want to set the world on fire,” 2019
Mary Kelly "How to Build an Outdoor Bomb Shelter," 2016
Mary Kelly
"How to Build an Outdoor Bomb Shelter," 2016
This image depicts an artwork by Mary Kelly titled "Mimus: Act II (Meyers)." This artwork was created in 2012 and measures 83 ¹⁄₂" x 61" x 2" [HxWxD] (212.09 x 154.94 x 5.08 cm) framed. Its medium is Compressed Lint.
Mary Kelly
“Mimus: Act II (Meyers),” 2012
This image depicts an artwork by Mary Kelly titled "Habitus: Type II." This artwork was created in 2010 - 2012 and measures 30" x 48" x 78" [HxWxD] (76.2 x 121.92 x 198.12 cm). Its medium is Laser cut acrylic, wire mesh, wood.
Mary Kelly
“Habitus: Type II,” 2010 - 2012
This image depicts an artwork by Mary Kelly titled "Habitus: Type 1." This artwork was created in 2010 - 2012 and measures 48" x 96" x 96" [HxWxD] (121.92 x 243.84 x 243.84 cm). Its medium is Laser cut acrylic, mirror, and wood.
Mary Kelly
“Habitus: Type 1,” 2010 - 2012
This image depicts an artwork by Mary Kelly titled "Gloria Patri." This artwork was created in 1992 and measures 31 Units Total. Installation Dimensions variable: 5 Shields: 29" x 24" x 2 ¹⁄₂" [HxWxD] (73.66 x 60.96 x 6.35 cm) each, 6 Trophies: 24" x 8" x 2" [HxWxD] (60.96 x 20.32 x 5.08 cm) each, 20 Discs: 17" x 2 ¹⁄₄" [Diameter x Depth] (43.18 x 5.71 cm) each. Its medium is Etched and polished aluminum.
Mary Kelly
“Gloria Patri,” 1992
This image depicts an artwork by Mary Kelly titled "The Ballad of Kastriot Rexhepi." This artwork was created in 2001 and measures 49 Framed Panels: 12" x 48" x 2" [HxWxD] (30.48 x 121.92 x 5.08 cm) each; Overall Length: 206'. Its medium is Compressed Lint.
Mary Kelly
“The Ballad of Kastriot Rexhepi,” 2001, Installation shot
This image depicts an artwork by Mary Kelly titled "Pecunia Minor." This artwork was created in 1989 and measures 4 Units: 16" x 6 ¹⁄₂" x 11 ¹⁄₂" [HxWxD] (40.64 x 16.51 x 29.21 cm). Its medium is Silkscreen on Galvanized Steel with Oxidized Zinc Effect.
Mary Kelly
“Pecunia Minor,” 1989
This image depicts an artwork by Mary Kelly titled "Pecunia Minor." This artwork was created in 1989 and measures 4 Units: 16" x 6 ¹⁄₂" x 11 ¹⁄₂" [HxWxD] (40.64 x 16.51 x 29.21 cm). Its medium is Silkscreen on Galvanized Steel with Oxidized Zinc Effect.
Mary Kelly
“Pecunia Minor,” 1989
This image depicts an artwork by Mary Kelly titled "Interim, Part IV: Potestas." This artwork was created in 1989 and measures 14 Units: 8' 4" x 9' 6" x 2" [HxWxD] (254 x 289.56 x 5.08 cm) overall. Its medium is Etching, brass, and mild steel.
Mary Kelly
“Interim, Part IV: Potestas,” 1989
This image depicts an artwork by Mary Kelly titled "Post-Partum Document: Introduction." This artwork was created in 1973 and measures 4 Units: 7 ⁷⁄₈" x 10 ¹⁄₃₂" [HxW] (20 x 25.5 cm). Its medium is Perspex unit, white card, wool vests, pencil, ink.
Mary Kelly
<i>Post-Partum Document: Introduction</i>, 1973
Mary Kelly, "Post-Partum Document: Introduction," Detail, 1973, Perspex unit, white card, wool vests, pencil, ink, 4 units: 20 cm H x 25.5 cm W, Copyright Generali Foundation, Photo: Werner Kaligofsky
Mary Kelly
"Post-Partum Document: Introduction," Detail, 1973
This image depicts an artwork by Mary Kelly titled "Post-Partum Document: Documentation V, Classified Specimens, Proportional Diagrams, Statistical Tables, Research and Index." This artwork was created in 1977 and measures 36 Units: 5 ¹⁄₈" x 7 ³⁄₃₂" [HxW] (13 x 18.01 cm). Its medium is Perspex units, white card, wood, paper, ink, mixed media.
Mary Kelly
“Post-Partum Document: Documentation V, Classified Specimens, Proportional Diagrams, Statistical Tables, Research and Index,” (Detail) 1977
This image depicts an artwork by Mary Kelly titled "Antepartum." This artwork was created in 1973 and measures TRT 00:01:30. Its medium is Black and white 8mm film loop transferred to DVD.
Mary Kelly
“Antepartum,” 1973

Exhibitions

Born 1941
Lives and works in Los Angeles, California
1968-1970
St Martin's School of Art, London, Postgraduate Certificate in Painting
1963-1965
Pius XII Institute, Florence, Italy, MA, Studio Art and Art History
1959-1963
College of Saint Teresa, Winona, Minnesota, BA, Art Major, Music Minor

Selected Solo and Two Person Exhibitions

2022
"Mary Kelly: To Witness the Future," Curated by Alby Miner, Maria & Alberto De La Cruz Art Gallery, Washington D.C.
"Mary Kelly: Interim Pt I: Corpus," Vielmetter Los Angeles, Los Angeles, CA
2018
"Mary Kelly: Face-to-Face," Pippy Houldsworth Gallery, London, UK (Link)
"Nucleus: Mary Kelly's 'Extase' and the birth of a women's art collection," New Hall Art Collection, Cambridge, UK (Link)
2017
"The Practical Past," Mitchell-Innes & Nash, New York, NY (Link)
2016
"Nightcleaners, Berwick Street Collective (Marc Karlin, Mary Kelly, James Scott and Humphry Trevelyan)," Millennium Court Arts Centre, Portadown
"Mary Kelly: Early Work, 1973-76," Pippy Houldsworth Gallery, London
"CIRCA TRILOGY," Susanne Vielmetter Los Angeles Projects, Culver City, CA
“Women and Work: A Document On the Division of Labor in Industry, 1975,” Switch House Gallery, Tate Modern, London, UK
2014
"On the Passage of a Few People through a Rather Brief Period of Time," Pippy Houldsworth Gallery, London, UK
2012
"Mary Kelly," Rosamund Felsen, Los Angeles, CA
"Mary Kelly," Postmasters Gallery, New York, NY
2011
"Mary Kelly: Projects, 1973-2010," The Whitworth Art Gallery, Manchester, curated by Maria Balshaw, Dominique Heyse-Moore, The Whitworth Art Gallery, Manchester, UK
2010
"Mary Kelly: Four Works in Dialogue," Moderna Museet, Stockholm, Sweden, curated by Cecilia Widenheim
2008
"Mary Kelly: Words are Things," Center for Contemporary Art, Ujazdowski Castle, Warsaw, Poland, curated by Milada Slizinska
2007
"Circa 1968," The University Art Gallery, University of California, Irvine, CA, curated by Juli Carson
2006
"The Ballad of Kastriot Rekhepi," ESPACIO AV, Consejeria de Educacin y cultura, Regin de Murcia, curated by Isabel Tejeda
"Love Songs," Rosamund Felsen Gallery, Santa Monica, CA
2005
"Love Songs," Postmasters Gallery, New York, NY
2004
Museo Universitario de Ciencias y Artes, Mexico City Installation, live performance and interactive archive, curated by Trisha Ziff
2003
“The Ballad of Kastriot Rexhepi,” including live performance and interactive archive, curated by Trish Ziff, Museo Universitario de Ciencias y Arte, Mexico City
2002
The Arthur A Houghton Gallery, The Cooper Union, New York, NY
Rosamund Felsen Gallery, Santa Monica, CA
2001
"The Ballad of Kastriot Rexhepi," musical score for the exhibition by Michael Nyman; live performance by Sarah Leonard and The Nyman Quartet, Santa Monica Museum of Art, Santa Monica, CA
"Mary Kelly: Mea Culpa," Robert Sandelson, London, UK
2000
"Social Process / Collaborative Action: Mary Kelly 1970-75," Norwich Gallery and Leeds City Art Gallery, UK
1999
Postmasters Gallery, New York, NY
1998
"Post-Partum Document, The Complete Work 1973-79," curated by Sabine Breitweiser, The Generali Foundation, Vienna, Austria
The Edmonton Art Gallery, Edmonton, Alberta, Canada
1997
"Social Process/Collaborative Action: Mary Kelly 1970-75," curated by Judith Mastai, Charles H. Scott Gallery, Vancouver, and Agnes Etherington Art Center, Queen's University, Kingston, Ontario, Canada
Galerie Paula Bottcher, Berlin, Germany
Postmasters Gallery, New York, NY
Knoll Gallery, Budapest, Hungary
1996
Konstmuseet, Mälmo, Sweden
Knoll Gallery, Vienna, Austria
Postmasters Gallery, New York, NY
1994
"Mary Kelly: 1973-89," curated by Gertrud Sandquist, Galleri F 15, Alby, Norway; traveled to Uppsala Konstmuseum, Uppsala, Sweden; Helsinki City Art Museum, Helsinki, Finland
Gloria Patri, Ezra and Cecile Zilkha Gallery, Wesleyan University and Herbert F Johnson Museum of Art, Cornell University, Ithaca, NY; traveled to Institute of Contemporary Art, London, UK; Contemporary Art Gallery, Vancouver, Canada; Milwaukee Art Museum, University of Wisconsin; and Konstmuseet, Malm, Sweden
1993
Institute of Contemporary Art, London, UK
Contemporary Art Gallery, Vancouver, Canada
Milwaukee Art Museum, University of Wisconsin, WI
Postmasters Gallery, New York, NY
1992
Gloria Patri, Ezra and Cecile Zilkha Gallery, Wesleyan University (catalog), traveled to Herbert F Johnson Museum of Art, Cornell University; Mackenzie Art Gallery, Regina
1991
Knoll Gallery, Budapest, Hungary
Knoll Gallery, Vienna, Austria
The Powerplant, Toronto, Canada
1990
"Interim, The Complete Work 1984-89," New Museum of Contemporary Art, New York, NY; traveled to Vancouver Art Gallery and The Powerplant, Toronto, Canada
1989
Postmasters Gallery, New York, NY
CEPA, Buffalo, NY
Todd Madigan Gallery, California State University, CA
1988
LACE, Los Angeles
1985
“Interim, Part I: Corpus,” The Fruitmarket Gallery, Edinburgh, Scotland; traveled to Kettle’s Yard Gallery, University of Cambridge, and Riverside Studios, London, UK
1982
"Mary Kelly and Ray Barrie," George Paton Gallery, Melbourne and University Art Museum, Brisbane, Australia
1981
Anna Leonowens Gallery, Halifax, Nova Scotia, Canada
1979
University Gallery, Leeds, UK
New 57 Gallery, Edinburgh
1977
"Post-Partum Document, I-V," Museum of Modern Art, Oxford, UK, curated by Mark Francis
1976
"Post-Partum Document, I-III," Institute of Contemporary Art, London, UK, curated by Barry Barker
1975
"Women and Work: A Document on the Division of Labor in Industry," South London Art Gallery, UK
1970
"An Earthwork Performed," with Steven Rothenberg, New Arts Laboratory, London, UK

Selected Group Exhibitions

2024
"Vital Signs: Artists and the Body," MoMA, New York, NY
"The Whitney Biennal 2024: Even Better Than the Real Thing," Whitney Museum of American Art, New York, NY
"On the Passage of a Few People Through a Rather Brief Period of Time," Contemporary Arts Center (CAC) Gallery, UC Irvine
2023
"Women in Revolt!: Art, Activism and the Women’s Movement in the UK 1970-1990," Tate Modern, London, UK
"Inheritance: Selections from the Whitney's Collection, 1971-2022," Whitney Museum of American Art, New York, NY
2023-2025
"La Répétition (Méthode)," Musée National d'Art Moderne, Centre Pompidou-Metz, France
2023
"Together in Time: Selections from the Hammer Contemporary Collection," Hammer Museum, Los Angeles, CA
"Desert X at Christie’s," Christie's Los Angeles, Beverly Hills, CA
2022-2023
"To Begin Again: Artists and Childhood," Institute of Contemporary Art, Boston, MA
2022
"The Double: Identity and Difference in Art Since 1900," National Gallery of Art Washington, D.C., Washington, D.C.
"The Condition of Being Addressable," "Institute of Contemporary Art, Los Angeles , CA
"Picturing Motherhood Now," The Cleveland Museum of Art, Cleveland, OH
2021
"Lines of Thought: Kenturah Davis, Mary Kelly, Agnes Martin," Pippy Houldsworth Gallery, London
"Mother!" Louisana Museum of Art, Humlebæk, Denmark
2020
"20 Years," Vielmetter Los Angeles, Los Angeles, CA
2019-2020
"Theater of Operations The Gulf Wars 1991–2011," MoMA PS1, New York, NY
2019
"Mary Kelly: Peace is the Only Shelter in Desert X," Artistic Director, Neville Wakefield, Co-curators, Amanda Hunt and Matthew Schum, Coachella Valley
2018
"Nucleus: Mary Kelly’s Extase and the Birth of the Women’s Art Collection," Murray Edwards College, University of Cambridge
"West By MidWest," MCA Chicago, Chicago, IL
2018-2019
"Power & Imagination," National Gallery of Australia, Parkes Place, Australia
2018
"Virginia Woolf: An Exhibition Inspired by her Writings," Tate St. Ives, UK (Link)
"Actions…the image of the world can be different," Kettles Yard, Cambridge, UK (Link)
2017
"ISelf Collection: The End of Love," Whitechapel Gallery, London, UK (Link)
“An Incomplete History of Protest,” Whitney Museum of American Art, New York, NY (Link)
“Wherever the Wind Carries,” Malmö Art Academy and Lunds konsthall, Lund, Sweden
2016
“Human Interest: Portraits from the Whitney’s Collection,” Whitney Museum, New York, NY
“Of Other Spaces: Where does gesture become event?” Cooper Gallery, Duncan of Jordanstone College of Art & Design, Dundee, Scotland
“Conceptual Art in Britain 1964-1979,” Tate Britain, London, UK
“A Lesson in Sculpture with John Latham,” Henry Moore Institute, Leeds, UK
2015
"A Voice Remains," Pippy Houldsworth Gallery, London, UK
"The Slick and The Sticky," Various Small Fires, Los Angeles, CA
“The Great Mother: Women, Maternity, and Power in Art and Visual Cutlure, 1900 – 2015,” curated by Massimiliano Gioni, Palazzo Reale, Milan, Italy
2014
"Take It or Leave It: Institution, Image Ideology," curated by Anne Ellegood and Johanna Burton, Hammer Museum, Los Angeles, CA
2013
"Against Method," curated by Gertrud Sandqvist, Generali Foundation, Vienna, Austria
"All you need is Love," Mori Art Museum, Tokyo, Japan
"Women and Work, Mary Kelly, Margaret Harrison, Kay Hunt, BP Spotlight," Tate Britain, London, UK
2012
"Ends of The Earth: Land Art to 1974," co-curated by Philipp Kaiser and Miwon Kwon, Museum of Contemporary Art, The Geffen Contemporary, Los Angeles, CA; Haus der Kunst, Munich, Germany
"This Will Have Been: Art, Love and Politics in the 1980s," curated by Helen Molesworth, Museum of Contemporary Art, Chicago, IL; Walker Art Center, Minneapolis; Institute of Contemporary Art, Boston, MA
"Breaking In Two: Pacific Standard Time," curated by Bruria Finkel, Arena 1, Los Angeles, CA
"Art as Idea, Language and Process in Art," curated by Cecilia Widenheim, Moderna Museet, Stockholm, Sweden
"Tracing the Century: Drawing from the Tate Collection," Liverpool Tate, London, UK
"Left, Right, Center," Gund Gallery, Kenyon College, Gambier, OH
"Traffic: Conceptual Art in Canada 1965-1980," Vancouver Art Gallery, Vancouver, Canada
"The Hidden Mother," Berthe Morrisot Hotel Particlier, Paris, France
"Sweethearts: Artist Couples," curated by Kathy Battista, Pippy Houldsworth Gallery, London, UK
"Family Matters: The Family in British Art," Tate Britain, London, UK; Laing Art Gallery, Newcastle; Millennium Gallery, Museum Sheffield; Norwich Castle Museum and Art Gallery, UK
"About Menocchio we know many things," Betonsalon, Paris, France
2011
"The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1992," co-curated by Nancy Princenthal and Helaine Posner, Nuerberger Museum of Art, New York, NY; traveled to Nasher Museum, North Carolina; traveled to Contemporary Arts Museum, Houston, TX
"The Experimental Impulse: Pacific Standard Time," co-organized by Thomas Lawson and Aram Moshayedi, Redcat: Roy and Edna Disney Hall/Cal Arts Theater, Los Angeles, CA
"Colorific," Postmasters Gallery, New York, NY
"Holding the Grey Card," The New Hall Art Collection Biennale, Murray Edwards College, Cambridge, MA
"Incognito," Santa Monica Museum of Art, Los Angeles, CA
2010
"The Artists Museum," Museum of Contemporary Art, Los Angeles, CA
"Incognito," Santa Monica Museum of Art, Los Angeles, CA
"Panorama: Los Angeles at ARCOmadrid 2010," co-curated by Kris Kuramitsu and Christopher Miles,
Rosamund Felsen Gallery, Los Angeles, CA
"Is Only the Mind Allowed to Wander?," Vancouver Art Gallery, Canada
"Torrent of Words: Contemporary Art and Language," John Michael Kohler Arts Center, Sheybogen, WI
"IASPIS," Open House, Stockholm, Sweden
2009
"British Subjects: Identity and Self Fashioning, 1967-2009," curated by Louise Yelin, Nueberger Museum of Art, New York, NY
"The Moving Image, Scan to Screen, Pixel to Projection," Orange County Museum of Art, Newport Beach, CA
"Love in the Age of Postponed Democracy," The Critical Crisis, curated by Lilian Fellman, Kunsthalle Luzerne, Switzerland
"Mary Kelly, Christian Capurro, Klaus Mosettig," Simon Preston Gallery, New York, NY
2008
"Sydney Biennale: Revolutions Forms That Turn," curated by Carolyn Christov-Bakargiev, Museum of Contemporary Art, Sydney, Australia
2008 California Biennial, curated by Lauri Firstenberg, Orange County Museum of Art, Newport Beach, CA; installation, Queens Nails Annex, San Francisco, CA
"Not Quite How I Remember It," The Power Plant Contemporary Art Gallery, Toronto, Canada
"Mother Cuts: experiments in film and video," The Visual Arts Gallery, Jersey City, NJ
"Coup de Grace," Simon Preston Gallery, New York, NY
"Reconsidering the Documentary and Contemporary Art," CCS Bard Hessel Museum of Art, New York, NY
2007
Documenta 12, Kassel, curated by Roger Buergel and Ruth Noack; installations, Neue Gallerie and Aue Pavillion; happening, Bergpark Wilhelmshhe
"WACK! Art and the Feminist Revolution," curated by Cornelia Butler, Museum of Contemporary Art, Los Angeles, CA; National Museum of Women in the Arts, Washington DC; PS1 Contemporary Arts Center, New York, NY; Vancouver Art Gallery, Vancouver, Canada
"Past Over," Steve Turner Contemporary, Los Angeles, CA
"A Batallia Dos Xeneros," curated by Juan Vicente Aliaga, Centro Galego de Arte Contemporanea,Santiago de Compostela, Spain
"Kiss Kiss Bang Bang," Arte Eta Feminismoaren 45 Urte, 45 Anos de Arte y Feminismo / 45 Years of Art and Feminism, curated by Xabier Arakistain, Bilbao Museum of Fine Arts, Spain
"Read Me! Text in Art," curated by Malik Gaines, Armory Center for the Arts, Pasadena, CA
"Nina in Position," curated by Jeffery Uslip; Artists Space, New York, NY
2006
"Full House: Video of the Whitneys Collection at 75," Whitney Museum of American Art, New York, NY
"Civil Restitutions," curated by Jeffrey Uslip and Simon Preston, Thomas Dane Gallery, London, UK
"Academy," Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium
"State of Emergency," election night screening, Alias, New York, NY
"Concept Has Never Meant Horse," Generali Foundation, Vienna, Austria
"The Look of the Law," curated by Simon Leung, University Art Gallery, University of California Irvine, CA
"Technologized Bodies/ Embodied Technologies, Art Interactive," College Art Association, Cambridge, MA
"Sixty Years of Sculpture in the Arts Council Collection," Longsdale Gallery, Yorkshire Sculpture Park, London, UK
"Sixteen Tons," curated by Michael Darling, New Wight Gallery, Broad Art Center, University of California Los Angeles, CA
"How To Improve the World: British Art 1946-2006," Hayward Gallery, London, UK
"Making History: Art and Documentary in Britain 1929 to Now," (Berwick Street Film Collective),curator, Tanya Barson, Liverpool Tate, London, UK
2005
"Occupying Space: Generali Foundation Collection," Haus der Kunst, Munich; Museum Borjmans van Beuningen, Nederlands Fotomuseum and Witte de with, Rotterdam
Selected Works From The Collection, Colorado University Art Museum, Boulder, CO
"Work/Labor," curated by Silvia Eiblmayr, Galerie in Taxipalais, Tirol, Austria; traveled to Centroa Andaluz de Arte Contemporanea, Sevilla, Spain
"At the Mercy of Others," The Art Gallery of The Graduate Center, City University of New York, NY
"Family," The Photographers Gallery, London, UK
"Mixed-up Childhood," Auckland City Art Gallery, Toi o Tamaki, New Zealand
2004
2004 Whitney Biennial, curated by Debra Singer, Shamim Momin, Chrissie Iles, Whitney Museum of American Art, New York, NY
"100 Artists See God," curated by John Baldessari and Meg Cranston, Naples Museum of Art, Naples, FL; traveled to The Jewish Museum, San Francisco, CA; Laguna Art Museum, CA; Institute of Contemporary Art, London, UK (2005); Contemporary Art Center of Virginia, VA (2005)
"A Perfect Day for Bananafish," Postmasters Gallery, New York, NY
"Maternal Metaphors," The Rochester Contemporary, Rochester, NY
"Dass die Krper sprechen, auch das wissen wir seit," Generali Foundation, Vienna, Austria
"The Shadow of Production," Vancouver Art Gallery, Vancouver, Canada
2003
"Social Strategies: Redefining Social Realism," curated by Pamela Auchingeloss and Klaus Ottmann, University Art Museum, University of California, Santa Barbara, CA; University Galleries, Illinois State University, Normal, IL; DePauw University Art Gallery, Greencastle, IN
"Identitt schreiben Autobiographie in der Kunst," curated by Hemma Schmutz, Galerie Fűr Zeitgenossische, Leipzig, Germany
"Works from the Permanent Collection," Whitney Museum of American Art, New York, NY
"Crimes and Misdemeanors: Politics in US Art of the 1980s," Contemporary Arts Center, Cincinnati, OH
"Intimates," Angles Gallery, Los Angeles, CA
2002
"Gloria: Another Look at Feminist Art of the 1970s," White Columns, New York; traveled to The Galleries, Moore College of Art and Design, Philadelphia, PA; Museum of Art, Rhode Island School of Design, RI
"Self Evident: The Artist as the Subject," Tate Britain, London, UK
"On General Release: Artists and Film in Britain, 1968-1972," curated by Lynda Morris and David Curtis, Norwich Gallery, Norwich School of Art and Design, Norwich, UK; John Hansard Gallery, The University, Highfield Southampton; George Rodger Gallery, KIAD, Maidstone; Institute of Visual Culture, Cambridge, MA
"Fetish: Art and the Word," UCLA Fowler Museum, Los Angeles, CA
2001
"Works From the Collection," Generali Foundation, Vienna, Austria
"Visual Worlds," Richard L Nelson Gallery, University of California, Davis, CA
"The Presence of Absence," Ezra and Cecile Zilka Gallery, Wesleyan University, Middletown, CT
"Camera Women," curated by Carol Armstrong, Princeton University Art Museum, Princeton, NJ
"Recent Acquisitions: Photograph Works," Vancouver Art Gallery, Vancouver, Canada
2000
"Die verletzte Diva," curated by Silvia Eiblmayr, Galerie im Taxispalais, Innsbruck, Kunstverein,Munich, Siemens Kulturprogramm, Stdtische Galerie, Munich, Staatliche Kunsthalle, Baden-Baden
"Tempus Fugit," curated by Jan Schall, Nelson-Atkins Museum of Art, Kansas City, MO
"Around 1984," curated by Carolyn Christov-Bakargiev, MoMA PS1, New York, NY
"Carnival in the Eye of the Storm," Phillip Feldman Gallery, Pacific Northwest College of Art, Portland, OR
"Dairy," Cornerhouse, Manchester, Firstsite and The Minories Art Gallery, Colchester, UK
"Les Semiophores," curated by Philippe Mouillon, Faade of the Town Hall, Lyon, France
"Nude / Body / Action," curated by Iwona Blazwick, The Tate Modern, London, UK
"Snapshot," The Contemporary Museum, Baltimore, MD
"Minimal Politics: Hans Haacke, Mary Kelly, Robert Morris, Adrian Piper, Yvonne Rainer," Cleveland Center for Contemporary Art, Cleveland, OH
Live in Your Head: Concept and Experiment in Britain 1965-75, Whitechapel Gallery, London; traveled to Museu Do Chiado, Lisbon
Artworkers, Newlyn Art Gallery, Penzance, and Oriel Mostyn Gallery, Llandudno, Wales, UK
1999
The American Century: Arts & Culture 1900-2000 Part II, 1950-2000, Whitney Museum of American Art, New York, NY
Einbliche in Die Sammlung, Generali Foundation, Vienna, Austria
Pencils of Nature: A Dialogue, Leslie Tonkonow Artworks + Projects, New York
Global Conceptualism: Points of Origin 1950s - 1980s, Queens Museum of Art, New York, NY; traveled to The Walker Art Center, Minneapolis, MN; traveled to MIT Visual Arts Center, Boston, MA (2000)
La Mmoire, curated by Carolyn Christov-Bakargiev, Hans Ulrich Obrist, Laurence Boss, Academie de France, Rome, Italy
Xmas Xhibition, curated by Andrea Frank, Kent Gallery, New York, NY
Sotheby's 8th Biennial Exhibition and Auction, Museum of Contemporary Art, Los Angeles, CA
1998
Addressing the Century: 100 Years of Art and Fashion, curated by Peter Wollen, Hayward Gallery, London, UK
Works from the Permanent Collection, curated by John Pultz, The Spencer Museum, Kansas University, Lawrence, KS
Works from the Permanent Collection, curated by Elizabeth Sussman and Eugene Tsai, Whitney Museum of American Art, New York, NY
1950 Gallery, Independent Curators Incorporated Biennial, New York, NY
Sculpture Urbaine, Grenoble, Pacaembu Stadium Facade Project, Sao Paolo, Brazil
The Older Body, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA
Heaven - Private View, PS1 Contemporary Art Center, Long Island City, NY
1997
Critical Images, Leslie Tonkonow Artworks + Projects, New York, NY
Minimal Politics: Hans Haacke, Mary Kelly, Robert Morris, Adrian Piper, Yvonne Rainer, curated by Maurice Berger, Fine Arts Gallery, University of Maryland, College Park, MD
A Gift for India, Safdar Hashmi Memorial Trust, New Delhi, India
Ten Years of Collecting: 1987 1997, MacKenzie Art Gallery, Manitoba, Canada
1996
Making Pictures: Women and Photography, Part II, Nicole Klagsbrun Gallery, New York, NY
Baby Exhibition, Part I, 1708 Gallery, Virginia Beach Center for the Arts, FL; traveled to Hand Workshop Art Center, Richmond, VA
NowHere, Louisiana Museum of Modern Art, Humlebk, Denmark
Body as Membrane, Kunsthallen Brandts Klaedefabrik, Odense, Denmark
Documents, Louisiana Museum of Modern Art, Humlebk, Denmark
Sexual Politics, Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA
Laughter Ten Years After, Fine Arts Gallery, University of Maryland, Baltimore County, MD; traveled to Institute of Contemporary Art, Philadelphia
1995
Temporarily Possessed, The New Museum of Contemporary Art, New York
The Division of Labour: Women and Work, Museum of Contemporary of Art, Los Angeles, CA; traveled to The Bronx Museum, New York, NY
Social Strategies in the 1970's, The Tate Gallery, London, UK
Desiring Authors, Enveloping Myths, Bernard Toale Gallery, Boston, MA
Works by Artists in the New Museum Semi-Permanent Collection, Salon of Rebecca Cooper, New York, NY
Anti-Slogans, Cairn Gallery, Nailsworth, Gloucestershire, UK
Laughter Ten Years After, The Zilkha Gallery, Wesleyan University, Middleton, CT; traveled to Houghton House Gallery, Hobart and William Smith Colleges, Geneva
Auf den Leib Geschrieben, Kunsthalle, Vienna, Austria
Ciphers of Identity, Art Museum, University of Southern Florida, Tampa, FL
The Masculine Masquerade, MIT List Visual Arts Center, Cambridge, MA
1994
Written/Spoken/Drawn in Lacanian Ink, Thread Waxing Space, New York, NY
Nine Months, Howard Yezerski Gallery, Boston, MA
Ciphers of Identity, Ronald Feldman Fine Arts, New York, NY
Mistaken Identities, Western Gallery, Western Washington University, Bellingham, WA
Voicing Today's Visions, Mary Delahoyd Gallery, New York, NY
One Hundred Hearts Benefit, The Contemporary, New York, NY
1993
Camera Politic, curated by Carlo Frua and Joyce Nereaux, The Pittsburgh Center for the Arts, Pittsburgh, PA; traveled to La Sala Mendoza, Caracas, Venezuela; The Contemporary Arts Center, Cincinnati, OH; Mendel Art Gallery, Saskatoon, Saskatchewan
Empty Dress, Independent Curators Incorporated, New York, Neuberger Museum, Purchase, NY; traveled to Virginia Beach Center for the Arts; University Gallery, University of North Texas; Mackenzie Art Gallery, Ontario, Canada; The Gallery/Stratford, Ontario, Canada; Selby Gallery, Ringling School of Art & Design
I am the Enunciator, Threadwaxing Space, New York, NY
Songs of Retribution, Richard Anderson Gallery, New York, NY
Abjection in American Art, Whitney Museum of American Art, New York, NY
Summer Exhibition, Royal Academy, London, UK
Contacts/Proofs, Jersey City Museum

Ciphers of Identity, Fine Arts Gallery, University of Maryland, Baltimore County, MD
Benefit Exhibition, New Museum of Contemporary Art, New York, NY Benefit Exhibition, Blast Magazine, New York, NY
Benefit Exhibition, Contemporary Art Gallery, Vancouver, Canada
1992
Mis/taken Identities, University Art Museum, Santa Barbar, CA; traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburgh Bremen im Forum Langenstrasse, Bremen, Germany; Louisiana Museum of Modern Art, Humblebaek, Denmark
The Spatial Drive, Blast, Contributor, New Museum of Contemporary Art, New York, NY
Cross Section, The World Financial Center, New York, NY
So Order So Nicht Sein, Forum Stadtpark, Graz, Austria
Effected Desire, Carnegie Museum of Art , Pittsburgh, PA
Womens Art at New Hall, New Hall, University of Cambridge, Cambridge, UK
1991
Works from the Permanent Collection, Vancouver Art Gallery, Vancouver, Canada
1991 Biennial, Whitney Museum of American Art, New York, NY
The Realm of the Coin, Hofstra University, Hempstead, NY
Gender and Representation, Zoller Gallery, Pennsylvania University, PA
Shocks to the System, The South Bank Centre, London, UK; traveled to Northern Centre for Contemporary Art, Switzerland; Towner Art Gallery, Eastbourne; Royal Albert Memorial Museum, Exeter; Ikon Gallery, Birmingham; City Museum Plymouth; Maclaurin Art Gallery, Ayre
1990
Inquiries-Language in Art, Art Gallery of Ontario, Toronto, Canada; traveled to McMaster University Art Gallery, Hamilton, Thunder Bay Art Gallery, Thunder Bay; Laurentian University Museum and Arts Center, Sudbury; Rodman Hall Arts Center, St Catherines
The Decade Show, Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, NY
Word as Image-American Art 1960-1990, Milwaukee Art Museum, Milwaukee, WI; traveled to Oklahoma City Art Museum; Contemporary Arts Museum, Houston, TX
In Her Image, Barbara Toll Fine Art, New York
, NY
1989
Fashioning Feminine Identities, University Gallery, Essex

1988
Modes of Address, Whitney Museum of American Art Downtown, New York, NY
Mixed Meaning, Grossman Gallery, School of the Museum of Fine Art, Boston, MA
1987
Conceptual Clothing, Ikon Gallery, Birmingham, AL; traveled to Harris Museum & Art Gallery, Preston; Peterborough City Museum and Art Gallery; Aberdeen Art Gallery; Spacex Gallery Exeter; Camden Arts Center, London, Institute of Contemporary Art, London, State of the Art, Tour: The Laing Art Gallery, Newcastle
The British Edge, Institute of Contemporary Art, Boston, MA
Propositions: Work from the Permanent Collection, Art Gallery of Ontario, Toronto, Canada
Aspects of Voyeurism, Whitney Museum of American Art at Phillip Morris, New York, NY

Postmasters Gallery, New York, NY
State of the Art,(exhibition, book, and television series), Institute of Contemporary Art, London, UK
1986
The Fairy Tale: Politics, Desire and Everyday Life, Artist's Space, New York, NY
Identity/Desire: Representing the Body, Collins Gallery, University of Strathclyde, Glasgow; traveled to Crawford Center for the Arts, St Andrews; McLaurin Art Gallery
Electro-media, Public Access Project, Toronto, Canada
1984
Difference, curated by Katherine Linker, The New Museum of Contemporary Art, New York, NY; traveled to The Renaissance Society; University of Chicago, Massachusetts Institute of Technology, Boston, MA; Institute of Contemporary Art, London, MA
The Critical Eye/I, Yale Center for British Art, New Haven (Mary Kelly, the complete Post-Partum Document), Victor Burgin, Richard Long, Bruce McLean, David Tremlet
The British Art Show, City of Birmingham Museum and Art Gallery Tour: Ikon Gallery, Birmingham; Royal Scottish Academy, Edinburgh; Mappin Art Gallery, Sheffield; Southhampton Art Gallery
1983
The Revolutionary Power of Woman's Laughter, Protetch-McNeil, New York; traveled to Art Culture Resource Center, Toronto, Canada; Washington College Art Gallery, Maryland
1982
The 4th Biennale of Sydney, Gallery of New South Wales, Sydney
Sense and Sensibility, Midland Group Gallery, Nottingham
1981
Typisch Frau, Bonner Kunstverein and Gallery Magers, Bonn, Germany
9th Kracow Meetings, Biuro Wystaw Artystycznych, Kracow

Touring Exhibition, Greater London Arts Association
1980
Issue, curated by Lucy Lippard, Institute of Contemporary Art, London
1979
Un Certain Art Anglais, ARCII, Museum d'Art Moderne de la Ville de Paris
Europa '79, Heztler, Muller & Schurr, Stuttgart, Germany
Feministische Kunst Internationaal, Haags Gemeentemuseum, The Hague, Netherlands; traveled to de Oosterpoort, Groningen; Nooedbrabants Museum, Den Bosch; de Vleeshal, Middleburgh; Le Vest, Alkmar; de Beyerd, Buda; Nijmeegs Museum, Nijmegen
Both Sides Now, Artmesia Gallery, Chicago, IL
Verbiage, Kettles Yard, University of Cambridge
“Art, Politics, and Ideology,” Dartington College of Art, Devon, UK
1978
Art for Society, Whitechapel Art Gallery, London and Ulster Museum, Belfast
The Hayward Annual, The Hayward Gallery, London, UK
1977
Radical Attitudes to the Gallery, Art Net, London, UK
1975
“Women and Work: A Document on the Division of Labour in Industry,” South London Art Gallery, London, UK
Sexuality and Socialization, Northern Arts Gallery, Newcastle, UK
Independent Filmmakers Festival, Arnolfini Gallery, Bristol, UK
1974
Women's Workshop/Artists Union, Arts Meeting Place, London, UK
1970
Group Exhibition, St Martin's School of Art Gallery, London, UK

Bibliography

2024
Meyer, James. "Top Ten," Artforum, December (Link)
Nys Dambrot, Shana. "Living Between Worlds," UCLA Newsroom, April 2 (Link)
2023
Cooper, Ashton. "Mary Kelly," Artforum, January (Link)
2022
Babette, Emily. "GALLERY ROUNDS: Mary Kelly Vielmetter," Artillery, October 5 (Link)
Dambrot, Shana Nys. "The Work Of Art: Arts Calendar September 1-7," LAWEEKLY, August 31 (Link)
Nauman, Nicholas. "At ICA Los Angeles, Being Comes With Conditions," Ocula, July 14 (Link)
2021
Meszoros, Mark."Cleveland Museum of Art’s new exhibition ‘Picturing Motherhood Now’ focuses on role through wide, contemporary lens," News Hearld, October 20 (Link)
2019
"The Best Guide to Desert X 2019," KCET, March 6 (Link)
Cascone, Sarah. "The Desert X Biennial Opens in the Coachella Valley With Art Scattered Across 55 Miles," Artnet, February 8 (Link)
Sussman, Anna Louie. "The Challenges Female Artists Face Mid-Career," Artsy, January 11 (Link)
2018
Rea, Naomi and Kate Brown. "Who Shops at Frieze London? We Buttonholed Rose McGowan, Bob Rennie, and Other Power Players at the Fair," Artnet News (web), October 5 (Link)
"Revisiting the Fiercely Productive Practices of Marginalized Women Artists," Frieze (web), October 1 (Link)
Sussman, Anna Louie. "The Art Market Is Finally Catching up with Strong Female Artists It Ignored," Artsy, October 5 (Link)
"Must See: Pippy Houldsworth Gallery Face-to-Face," ArtForum, Fall (Link)
Fowler, Susanne, " ‘Social Work’ Provides Visibility for Women Artists at Frieze London," New York Times (web), October 1 (Link)
Buck, Louisa. "Social work: eight dissenting female artists feature in Frieze London's new section," The Art Newspaper (web), October 4 (Link)
Bromwich, Kathryn, "Mary Kelly: ‘All borders are anathema to art’" Guardian (web), September 15 (Link)
Kelly, Mary. "Women in the Arts: Mary Kelly," Frieze (web), October 2 (Link)
Black, Holly. "Five Pioneering Female Artists Who Changed the Landscape of the Art World," Another Magazine, October 8 (Link)
2017
Greenberger, Alex. " Getty Research Institute Acquires Mary Kelly Archive," ArtNews, December 13 (Link)
Finkel, Jori. "Art Lurks in an Unlikely Place for Mary Kelly: the Dryer," New York Times, October 21 (Link)
2016
Petty, Felix. "mary kelly, the feminist who revolutionised conceptual art," i-D, April 18 (Link)
Cotter, Holland. "Frieze New York, a Visual Circus Under the Big Top," New York Times, May 5 (Link)
Gottschalk, Molly. "A Donkey and Damien Hirst Dominated Frieze New York’s Fast-Paced Opening Day," Artsy, May 5 (Link)
Buck, Louisa. "Frieze New York 2016 highlights," The Telegraph, May 5 (Link)
Dolfi Agostini, Sara. "A Frieze New York l'arte contemporanea rivela la sua forza," Arteconomy24, May 11 (Link)
Kelly, Mary. "Mary Kelly," Artforum, Summer
Farago, Jason. "Frieze New York review – art world displays its best face and a fine ass," The Guardian, May 5 (Link)
2015
Fowler, William. "10,000 revolutions: meet Mary Kelly, the mother of all feminist artists," The Guardian, (Link)
2014
Castle, Jack. Review of Mary Kelly: On the passage of a Few People through a Rather Brief Period of Time, Pippy Houldsworth Gallery," Aesthetica, September 21 (Link)
Nagesh, Ashitha. "Mary Kelly at Pippy Houldsworth," Artforum, September
"The Feminist Critique: Mary Kelly’s Project-Based Works at Art Basel," Artsy, June 12 (Link)
Bryan-Wilson, Julia. "Women and Work," Artforum, May (Link)
2012
Winant, Carmen. "Mary Kelly, Postmasters Gallery" Frieze, June/July/August
Richard, Frances. "Mary Kelly, Postmasters Gallery," Artforum, May (Link)
Wyma, Chloe. "23 Questions for Conceptual Artist Mary Kelly," Blouin Art Info, March 5 (Link)
2011
Noble, Kathy. "Mary Kelly," Frieze, June 1 (Link)
O’Neill-Butler, Lauren. "Interview: Mary Kelly," Artforum, February 18 (Link)
2007
White, Ian. "The Body Politic," Frieze, May (Link)
Knight, Christopher. "An abundance of insights: It's difficult to take in MOCA's sprawling `WACK!' exhibition on one visit, but here are three reasons to return," Los Angeles Times, April 29 (Link)
1999
Cotter, Holland. "ART IN REVIEW; Mary Kelly -- 'Mea Culpa,'" New York Times, April 9
1994
Ayerza, Josefina. "Gloria Patri: Mary Kelly interviewed by Josefina Ayerza," Flash Art, May 2

Group Exhibition Catalogues and Books

2024
Carson, Juli. "Mary Kelly's Concentric Pedagogy: Selected Writings," Bloomsbury, London
2023
de Chassey, Éric. "La Répétition Éditions du Centre Pompidou-Metz," Centre Pompidou-Metz, Metz, France. Pg 50-51
2022
Deutsche, Rosalyn. "Not Forgetting," University of Chicago Press, Chicago IL
2021
Liebert, E., Fellah, N. R., Griswold, W., Liebert, E., Keith, N. J., Wexler, L., Lax, T. J., and Griswold, W. (2021). Picturing Motherhood Now. Pg 14-15, 23, 47,111, 123. Cleveland Museum of Art.
2018
Lamm, Kammy. "Addressing the other woman: Textual correspondences in feminist art and writing," Manchester University Press
2017
Nacking, Åsa, Emil Nilsson, and Gertrud Sandqvist, “Whither the Winds,” Lunds konsthall, Lund, Sweden
Smith, Sidonie and Julia Watson, "Life Writing in the Long Run: A Smith and Watson Autobiography Studies Reader," Michigan Publishing, Ann Arbor, MI
2016
Nixon, Mignon, “October Files: Mary Kelly,” MIT Press, Cambridge, MA (Link)
2012
Widenheim, Cecilia and Ruth Noack, “Dialogue – On the Politics of Voice,” Iaspis, Stockholm
McCloskey, Paula, “Studies in the Maternal,” Birkbeck University, London
Smith, Terry, “Contemporary Art: World Currents,” Laurence King Publishing and Pearson Prentice Hall, New Jersey
Mesch, Claudia, “Art and Politics: A Small History of Art for Social Change after 1945,” I.B. Tauris, London
Yuen-Yi, Lo, “Drawing the Writing,” Kubrick, Hong Kong
1992
“The Spatial Drive, BLAST,” Pocket Dictionary, New Museum, New York
“Gloria Patri,” (catalog), Ezra and Cecile Zilkha Gallery, Wesleyan University
"AM LIT,” Neue Literatur aus den USA, Edition Druckhaus III, Berlin, Germany
"Vag Document I,” Vancouver Art Gallery, June 1989
"Now Time No 2,” Art Press, DAP Publications
"Follow Me" (white t-shirt with black ink, L, XL), Artists Space, New York
Harrison, Charles and Paul Wood, “Art in Theory: An Anthology of Sources on Art Theory in the 20th Century,” Blackwell, Oxford and Cambridge, MA
1991
"Interim Part I Supplication," Social Text No 28 (cover)
“The Female Body,” an anthology of MQR (Michigan Quarterly Review) publications, The University of Michigan Press
Donald, James "Psychoanalysis and Cultural Theory,” St Martin's Press, New York, NY
Turyn, Anne, "Pecunia Olet," City Lights Books, San Francisco
1990
"Interim,’ The New Museum of Contemporary Art, New York, NY
"instabili,” La Galerie Powerhouse, Centre d'information Artexte, Montreal, Canada
1989
Forman, Frieda, "Taking Our Time,” Pergamon Press, Oxford, UK
“Between Signifiers: A Report by the Participants on The Critical Practice of Art,” a summer intensive held at the Simon Fraser University Centre for the Arts
Mulvey, Laura, “Visual and Other Pleasures,” University of Indiana Press, Bloomington, IN
Pollock, Griselda, “Vision and Difference: Femininity, Feminism, and the Histories of Art,” Routledge, London, UK
1987
Parker & Pollock, "Framing Feminism,” Pandora Press, London, UK
Nairne, Sandy, “State of the Art: Ideas and Images in the 1980’s,” Chatto and Windus, London, UK
1986
“Interim,” Fruit Market Gallery, Edinburgh; Riverside Studios, London; Kettles Yard, Cambridge University
Foster, Hal, “Endgame: Reference and Simulation in Recent Painting and Sculpture,” Institute of Contemporary Art, Boston
1985
“Menace,” Talking Back to the Media, Amsterdam, The Netherlands
Appignanesi, Lisa, "Woman-Desire-Image," ICA Documents, Institute of Contemporary Art, London, UK
1984
"The Critical Eye/I,” Yale Center for British Art, New Haven, CT
Wallis, Brian, "Art After Modernism,” New Museum of Contemporary Art, New York, DR Godine, Boston
Foster, Hal, “The Anti-Aesthetic,” Bay Press, Seattle, WA
Lippard, Lucy, “Get the Message,” E.P. Dutton, New York
1983
“Post-Partum Document,” Routledge & Kegan Paul, London
1982
Sense and Sensibility, Midland Group Gallery, Nottingham, UK
1981
Parker, Rozsika and Griselda Pollock, “Old Mistress: Women, Art, and Ideology,” Routledge and Kegan Paul, London
1980
"Post-Partum Document,” Museum of Modern Art, Oxford
“Art and Politics,” Winchester School of Art Press 
1977
Brighton and Morris, "Towards Another Picture,” Midland Group, Nottingham
1976
“Post-Partum Document,” Institute of Contemporary Art, London

Awards, Grants and Fellowships

2024
Creative Capital Award
2018
Honorary Doctorate, Fine Arts, University of the Arts Helsinki, Finland
2017
Honorary Doctorate, Faculty of Fine and Performing Arts, Lund University, Sweden
2015
John Simon Guggenheim Memorial Foundation Fellowship
2012
Anonymous Was a Woman Award
The Distinguished Artists’ Interviews, College Art Association
2004
Honorary Doctor of Arts, University of Wolverhampton, England
2001
Council on Research Award, University of California, Los Angeles
1998
Council on Research Award, University of California, Los Angeles
1987
National Endowment for the Arts Visual Arts Fellowship
1985
New Hall, Cambridge University, Artist-in-Residence Award
1980
Greater London Arts Association Visual Arts Award
1979
Hans Jorgen Muller Award, Europa 79, Stuttgart
1978
Lina Garnade Memorial Foundation Award
1977
Arts Council of Great Britain Visual Arts Award
1973
Greater London Arts Association Fellowship

Public Collections

Arts Council of Great Britain
Art Gallery of Ontario, Canada
Australian National Gallery
Burger Collection, Zurich, Switerland
Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland
Centre Pompidou Foundation, Paris, France
Cleveland Museum of Art, Cleveland, OH
Colorado University Art Museum, Boulder, CO
Generali Foundation, Vienna, Austria
Hammer Museum, UCLA, Los Angeles, CA
Helsinki City Art Museum
, Finland
Hessel Museum of Art, Bard College, NY
Kunsthaus Zurich, Switzerland
Mackenzie Art Gallery, Regina, Canada
Moderna Musset, Stockholm, Sweden
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, Los Angeles, CA
Museum of Modern Art, New York City, NY
Museum of New Zealand Te Papa Tongarewa
Museum Sztuki, Łódź, Poland
National Gallery of Art, Washington D.C.
New Hall, Cambridge University, Cambridge, UK
New Museum of Contemporary Art, New York, NY
Norton Family Foundation, Santa Monica, CA
Orange County Museum of Art, Newport Beach, CA
Progressive Corporation
Rachofsky House, Dallas, TX
Spencer Museum of Art, Lawrence, KS
Tate Britain, London, UK
Tate Modern, London, UK
Vancouver Art Gallery, British Columbia, Canada
Victoria and Albert Museum, London, UK
Weil, Gotshal and Manges Collection

Whitney Museum of American Art, New York, NY
The Whitworth Art Gallery, Manchester, UK
Zabludowicz Collection, London, UK