Inscription: Signed (lower left, in charcoal): Judith Bernstein
the artist, New York (1973–2023; sold through Kasmin Gallery, New York to MMA)
New York. A.I.R. Gallery. "Judith Bernstein," October 20–November 7, 1973, no catalogue.
Paris. Galerie Gerald Piltzer. "5 Américains à Paris," 1975, no catalogue.
New York. MoMA PS1. "Overview: An Exhibition in Two Parts by the A.I.R. Gallery," March 5–April 9, 1978.
New York. Mitchell Algus Gallery. "Judith Bernstein: Signature and Phallic Drawings, 1966–2008," January 10–February 9, 2008, no catalogue.
Los Angeles. The Box. "Judith Bernstein," May 19–June 13, 2009, no catalogue.
Zurich. Hauser & Wirth. "The Historical Box," November 19, 2011–January 21, 2012, no catalogue.
London. Hauser & Wirth. "The Historical Box," May 23–July 28, 2012, no catalogue.
New York. New Museum. "Judith Bernstein: HARD," October 10, 2012–January 20, 2013.
Jeremy Gilbert-Rolfe. "Judith Bernstein: Philadelphia Civic Center." Artforum 12 (Summer 1974), pp. 66–67, ill.
Cindy Nemser. "Focusing on Focus." Feminist Art Journal 3 (Spring 1974), p. 22, ill.
Grace Glueck. "In Philadelphia, Sisterly Love." New York Times (May 26, 1974), p. D17.
Steve Twomey. "'Objectionable' Work Banned From Civic Center." Philadelphia Inquirer, , (March 22, 1974), p. C1.
Jonathan Takiff. "Is It Art, Or Is It Pornography?" Philadelphia Daily News (March 22, 1974), p. 18, ill.
Nessa Forman. "Good-bye to the Femme Fatale." Artnews 73 (Summer 1974), p. 66.
A.I.R. Gallery: Overview 1972–1977, An Exhibition in Two Parts. Exh. cat., A.I.R. Gallery. New York, 1978, ill. n.p.
Heresies: A Feminist Publication on Arts & Politics 6 (January 1989), ill. p. 48.
Gail Levin. "Censorship, Politics and Sexual Imagery in the Work of Jewish-American Feminist Artists." Nashim: A Journal of Jewish Women's Studies & Gender Issues (Fall 2007), pp. 77–78, ill.
Richard Meyer inWACK! Art and the Feminist Revolution 1965–1980. Ed. Lisa Gabrielle Mark. Exh. cat., Museum of Contemporary Art. Los Angeles, 2007, pp. 367–68, ill.
Robert Berlind. "Sticking It." Art in America 96 (June/July 2008), pp. 185, 215, ill. p. 184 (color, installation view Exh. New York 2008).
Nick Stillman. "Judith Bernstein: Mitchell Algus Gallery." Artforum 46 (April 2008).
Walter Robinson. "Weekend Update." artnet.com/magazine. January 15, 2008, ill. (color, installation view Exh. New York 2008).
Holland Cotter. "Judith Bernstein." New York Times (February 1, 2008), p. E35.
Rachel Middleman. "A New Eros: Sexuality in Women's Art Before the Feminist Art Movement." PhD diss., University of Southern California, 2010, pp. 277–79, figs. 5.10, 5.11 (installation view and overall).
Sherman Sam. "Picks: 'The Historical Box'." artforum.com. July 3, 2012, ill. (color, installation view, Exh London 2012).
Ken Johnson. "Once Banished, Never Silenced." New York Times (December 21, 2012), p. C30.
Adrian Searle. "Review: The Historical Box." theguardian.com (May 24, 2012), ill. (color).
Margot Norton with Judith Bernstein. Judith Bernstein: HARD. Exh. cat., New Museum. New York, 2012, unpaginated, ill. (color, reproduction of petition against the censorship of this object from the exhibition "Focus: Women's Work—American Art, 1974" at the Philadelphia Civic Center.
Thomas Micchelli inJudith Bernstein Rising. Exh. cat., Kunsthall Stavanger, Norway. Stavanger, 2016, pp. 26–27, 29–30, ill. and ill. pp. 70–71 (color), 93 (color, installation view).
Heather Jones. Judith Bernstein: Dicks of Death. Zürich, , unpaginated, figs. 90, B, N, O, P, XXII (color, overall, installation views) and ill. n.p. (color, front and back cover).
Johanna Fateman inJudith Bernstein Rising. Exh. cat., Kunsthall Stavanger, Norway. Stavanger, 2016, pp. 19–20.
Thomas Micchelli inJudith Bernstein: Cabinet of Horrors. Exh. cat., Drawing Center. New York, 2017, pp. 19, 89, fig. 5 (color).
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.