Books and exhibition catalogues that discuss or reference the life and work of Terry Fugate-Wilcox.
Second Biennial Michigan Artist-Craftsmen Exhibit (Grand Rapids, MI: Grand Rapids Art Museum, 1966).
Ray Pierotti, Sound (New York: Museum of Contemporary Crafts of the American Crafts Council, 1969).
Paul J. Smith, Contemplation Environments (New York: Museum of Contemporary Crafts of the American Crafts Council, 1970).
Testimony of Frances G. Knight, Hearing before the Subcommittee to Investigate the Administration of the Internal Security Act and Other Internal Security Laws of the Committee on the Judiciary, United States Senate, 92nd Congress, 2d. sess., September 15, 1972 (Washington, DC: Government Printing Office, 1972).
An Exhibition (New York: 64 Grand Street, 1973).
Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (New York: Praeger, 1973).
Diana B. Chicura and Thelma K. Stevens, Super Sculpture: Using Science, Technology, and Natural Phenomena in Sculpture (New York: Van Nostrand Reinhold, 1974).
Richard L. Warrum, ed., Painting and Sculpture Today 1974 (Indianapolis: Indianapolis Museum of Art, 1974).
Terry Fugate-Wilcox, Prospectus, 200 Shares: Crack in the World Company (New York: Louis K. Meisel Gallery, 1975).
Gregory Battcock, Why Art: Casual Notes on the Aesthetics of the Immediate Past (New York: Dutton, 1977).
Sculpture Potsdam ’77: An Exhibition of Contemporary Sculpture (Potsdam, NY, The Gallery, 1977).
Hilary D. Bassett, ed., Painting and Sculpture Today 1978 (Indianapolis: Indianapolis Museum of Art, 1978).
Jacki Apple with Mary Delahoyd, Alternatives in Retrospect: An Historical Overview 1969–1975 (New York: New Museum of Contemporary Art, 1981).
Robyn Brentano and Mark Savitt, eds., 112 Workshop / 112 Greene Street: History, Artists, and Artworks (New York: New York University Press, 1981).
Tracy Atkinson, David Bermant, et al., The David Bermant Collection: Color, Light, Motion (Hartford, CT: Wadsworth Atheneum, 1984).
Time Will Tell (Princeton, NJ: Squibb Gallery, 1985).
Margot Gayle and Michele Cohen, The Art Commission and the Municipal Art Society Guide to Manhattan’s Outdoor Sculpture (New York: Prentice Hall, 1988).
J. T. Fraser, Dana Friis-Hansen, and Katy Kline, Clockwork: Timepieces by Artists, Architects, and Industrial Designers (Cambridge, MA: MIT List Visual Arts Center, 1989).
Tricia Collins and Richard Milazzo, eds., An Anthology of Statements Celebrating the Twentieth Anniversary of White Columns (New York: White Columns, 1991).
Michael Lloyd and Michael Desmond, European and American Paintings and Sculptures 1870–1970 in the Australian National Gallery (Canberra: Australian National Gallery, 1992).
Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (Berkeley: University of California Press, 1997).
Susan Abbott, Fine Art Publicity: The Complete Guide for Galleries and Artists, 2nd ed. (New York: Allworth Press; San Francisco: Art World Press, 2005).
C. David Heymann, American Legacy: The Story of John and Caroline Kennedy (New York: Atria Books, 2007).
Kevin Concannon and John Noga, Agency: Art and Advertising (Youngstown, OH: McDonough Museum of Art, Youngstown State University, 2008).
Jessamyn Fiore, 112 Greene Street: The Early Years (1970–1974) (Santa Fe, NM: Radius Books; New York: David Zwirner, 2012), 180.
Armory Gallery, To Market We Go: Art, Advertising, and the Multiple (Blacksburg: Armory Gallery, Virginia Tech, 2014).
James Meyer with Paige Rozanski and Virginia Dwan, Los Angeles to New York: Dwan Gallery, 1959–1971 (Washington, DC: National Gallery of Art, in association with the University of Chicago Press, 2016).
Christopher Howard, The Jean Freeman Gallery Does Not Exist (Cambridge, MA: MIT Press, 2018).