Mel Chin

Born in Houston, Texas, 1951


Peabody College, Nashville, TN, BA, 1975


Lamar Dodd Professorial Chair of Fine Arts, University of Georgia, Athens, GA (1994-97)
Consulting Professor, Stanford University, Stanford, CA (Winter 1998)
Sculpture Professor, Cooper Union, New York, NY (Fall 1999)
Paula and Edwin Sidman Fellow in The Arts, Institute for the Humanities
University of Michigan, Ann Arbor, MI (Fall 2001-Spring 2002)
Roman J. Witt Visiting Professor in the School of Art and Design
University of Michigan, Ann Arbor, MI (Fall 2002-Spring 2003)
Basler Chair of Excellence, East Tennessee State University, Johnson City, TN (Fall 2004)
McIlroy Family Visiting Professor in the Visual Arts, Univ. of Arkansas, Fayetteville, AR (Winter 2009)
MIT CoLab Mel King Community Fellow (2014-2016)
William Wilson Corcoran Visiting Professor of Community Engagement, Corcoran School of Arts and Design at George Washington University (2016-2017)


Visual Arts Commission, Houston Festival, 1982
Founder’s Day Grant, Uranian Phlanstery: The First NY Gnostic Lyceum, 1988
National Endowment for the Arts Fellowship, 1988
Pollock/ Krasner Foundation Fellowship, 1989
Louis Comfort Tiffany Foundation Grant, 1989
New York State Council for the Arts, Sponsored Projects Award, 1989-1990
Mid Atlantic Art Foundation, Residency: Pittsburgh Center for the Arts, 1990
Art Matters, Inc.: Artist’s Fellowship, 1990
National Endowment for the Arts: Artist’s Projects/New Forms, 1990/91
Englehard Award, 1991
Penny McCall Foundation Award, 1991
Cal Arts Alpert Award in the Visual Arts, 1995
Rockefeller Foundation Grant, 1996
Joan Mitchell Foundation Award, 1997
Creative Capital Grant, 2001
Nancy Graves Foundation Award, 2004
Honorary Doctorate, Rhode Island School of Design, 2006
Art Matters, 2007
Pedro Sienna Award, Best Animation, Nat. Council for Arts and Cultures, Chile, for
9-11/9-11, 2007
Project Row House Artist Award, 2007
Voices Breaking Boundaries, Biennial Valiente Award, 2007
Cross Currents Foundation, 2008
Nathan Cummings Foundation, Award 2008
Transforma Projects/National Performance Network, 2006, 2007, 2008
Honorary Doctorate, Maryland Institute College of Art, 2008
Joan Mitchell Foundation, 2008
Honorary Doctorate, Green Mountain College, 2010
United States Artists, Fellow, 2010
Fritschy Prize, Sittard, Netherlands, 2010
Public Art Network Award, 2012
Alice Award, Interdisciplinary Art, 2012
A Blade of Grass Distinguished Artist Fellow, 2013-2016
Guggenheim Fellowship, 2015


Carnegie Mellon University, School of Art, Advisory Board, Pittsburgh, PA
Fabric Workshop and Museum, Artist Advisory Board, Philadelphia, PA
Public Art Network, Washington, DC
Skowhegan School of Painting and Sculpture, Governor, Skowhegan, ME


Robinson Galleries, Houston, TX, 1976, 1977
“Modus Operandi: 1974-1985,” Diverse Works, Houston, TX, 1985
“The Operation of the Sun Through the Cult of the Hand,” Loughelton Gallery, NYC, 1987*
“Selected Weapons,” Frumkin/Adams Gallery, NYC, 1988
“Directions: Mel Chin,” Hirschhorn Museum and Sculpture Garden, Washington, DC, 1989*
“Viewpoints: Mel Chin,” Walker Art Center, Minneapolis, MN, traveling exhibition, 1990*
“Mel Chin,” Menil Collection, Houston, TX, 1991*
“Degrees of Paradise,” Storefront for Art and Architecture, NYC, 1991*
“Soil and Sky,” The Fabric Workshop and Swarthmore College, Philadelphia, PA, 1992*
“Anxious Objects,” Colorado State Univ., Fort Collins, CO, 1995
“Inescapable Histories,” Exhibits USA, traveling exhibition, 1997-1999*
“Knowmad,” Frederieke Taylor Gallery, NYC, 2001
“Render,” Frederieke Taylor Gallery, NYC, 2003
“Do Not Ask Me,” Station Museum, Houston, TX, 2006*
“Lamentations,” Frederieke Taylor Gallery, NYC, 2007
“Disputed Territories,” Museum Het Domein, Sittard Netherlands, traveling exhibition,
“Mel Chin,” Thomas Rehbein Galerie, Cologne, Germany, 2011
“The Funk and Wag From A to Z,” traveling exhibition, Nave Museum, Victoria, TX, 2011-2012
“High Low and In Between,” Asheville Art Museum, 2012
“It’s Not What You Think,” Galerie Steinek, Vienna, AUS 2012


“A SUBURBAN CELL,” 3511 Main Street, Houston, TX, 1976
“THE EARTH WORKS: SEE-SAW,” Houston Arts Festival, Hermann Park, Houston, TX,    1976
“THE MANILA PALM,” Contemporary Arts Museum, Houston, TX, 1978-present
“WATER WHEEL/KEEPING STILL (The Great Wheel of China),” U of H/Clearlake, TX, 1976
“MYRRHA/P.I.A,” Bryant Park (Public Art Fund), NYC, 1984-85;
___Max Hutchinson Sculpture Fields, Kenoza Lake, NY, 1986-2012
“ECLIPTIC FENCE,’ commissioned work, private collection, Houston, TX, 1986
“FORGETTING TIANANMEN, KENT STATE, TLATELOLCO,” performance and production in
collaboration with the Corcoran School of Art, Washington, DC, 1989
“CONDITIONS FOR MEMORY,” installation: Central Park Arts Commission, NYC,
“GHOST,” site specific installation: Real Art Ways, Hartford, CT, 1990*
Gallery, NYC, 1991
“REVIVAL FIELD: MINNESOTA,PENNSYLVANIA” implemented: June 1991, Harvested:
October 1991, 1992, and 1993
___Site: Pig’s Eye Landfill, St. Paul, MN (a designated Hazardous Waste State Superfund site)
___Site: Palmerton, PA (a designated Hazardous Waste Federal Superfund site)
Spring 1992, Sites: Floriadepark, Zoetermeer / rural Netherlands
“GALLERY,” simultaneous installation: Capp Street Project, San Francisco, CA,
Three Rivers Arts Festival, Pittsburgh, PA, May, 1992*
“STATE OF HEAVEN,” collaborative international project, US, Canada, Turkey,
“HEARTFELT” Storefront for Art and Architecture, Eco Tec International, Corsica, France,
“GOUGE,” Monuments to Murder Victims, New York Times Magazine, April 9, 1995
“LANDMIND,” West Queens High School, Percent for Arts Commission, permanent   installation, NYC, 1995
“SIGNAL,” Broadway/Lafayette Subway Station Design, Metro Transit Authority,
Commission, NYC, permanent installation, 1995
“SCRATCH,” Thread Waxing Space, New York, NY, 1996*
installation, Houston, TX, 1996-1998
“ADDISON ROAD PROJECT,” Commission, national competition, team design with Michael
VanValkenburg Associates, permanent installation, Addison, TX, 1996-1999
“RECOLECCIONES: SAN JOSE LIBRARY PROJECT,” commission, national competition,
permanent installation, San Jose, CA, 1999-2005
“S.O.S. MOMENT,” in association with Art 21, video documentary, 2004
“UNTITLED HISTORY,” City of Corpus Christi, TX, Commission, national competition,
permanent installation, 2005
“911-911,” animated film, U.S./Chile production, 2007
“SAFEHOUSE” installation, St. Rock Community, New Orleans, LA 2008-2010
Philadelphia, 2010-2011
“THE CABINET OF CRAVING,” Asia Society of Houston, Houston, TX 2012
“THE USE AND ABUSE OF HISTORY,” special presentation at 21 St. Projects, New York, NY, 2013
“RECAP,” McColl Center for Visual Art, Charlotte, NC, 2013
“BEST LAID PLANS AND UNAUTHORIZED COLLABORATIONS,” Thomas Rehbein Galerie, Cologne, Germany, 2013
“MORE GREATEST HITS,” Jonathan Ferrara Gallery, New Orleans, LA, 2014


“Houston Area,” Blaffer Gallery, University of Houston, TX, 1977
“Fire,” Contemporary Arts Museum, Houston, TX, 1979
“Prisoners of Conscience,” traveling exhibition organized by Amnesty International,
Studio One, Houston, TX, 1982*
“Showdown/Lowdown: Art of the Southwest,” Alternative Museum, NYC, 1983
“Seen/Unseen,” Diverse Works, Houston, TX, 1983
“Benefit for Amnesty International, USA,” Diverse Works, Houston, TX, 1983*
“The Texas Landscape 1900 -1986,” Museum of Fine Arts, Houston, TX, 1986*
“The Double Bind,” Loughelton Gallery, NYC, 1987
“Notes on the Virtual,” Loughelton Gallery, NYC, 1987
“Spectrum: New Developments in Three Dimensions,” Frumkin/Adams Gallery, NYC, 1988
“Texas Art: Selections from the Menil Collection, the Museum of Fine Arts and the Trustees’
Collections of the Contemporary Arts Museum,” Menil Collection, Houston, TX, 1988*
“Public Art in Chinatown,” Asian American Arts Center, NYC, 1988
“Sculpture: Part II,” Frumkin/Adams Gallery, NYC, 1989
“Tradition and Innovation: A Museum Celebration of Texas Art,” Museum of Fine Arts,
Houston, TX,1990
“This Land: The State of Texas,” Lawndale Art and Performance Center, Houston, TX, 1990
“The Conceptual Impulse,” Security Pacific Gallery, Costa Mesa, CA, 1990 *
“Garbage Out Front: A New Era of Public Design,” The Municipal Art Society, NYC, 1990
“Diverse Representations,” Morris Museum, Morristown, New Jersey, 1990*
“Glass: Material in the Service of Meaning,” Tacoma Art Museum, Tacoma, WA, 1991*
“Salvage Utopia,” A/C Project Room, NYC, 1991
“Beyond Glory: Re-Presenting Terrorism,” Maryland Institute College of Art, Baltimore, MD,
“The Retangled Bank,” E. M. Donahue Gallery, NYC, 1992
“Allocations: Art for a Natural and Artificial Environment,” Floriadepark, Zoetermeer,
Netherlands, 1992
“Putt Modernism,” traveling exhibition, Artists Space, NYC, 1992
“Fragile Ecologies,” traveling exhibition, Smithsonian Museum, originating
The Queens Museum of Art, NYC, 1992*
“From Destruction to Reclamation: Art and the Environment in the Nineties,” Southeastern
Center for Contemporary Art, Winston-Salem, NC, 1993*
“Exposition Differentes Natures,” traveling exhibition, La Defense, Paris, France, 1993*
“Kunst-Kultur-Okologie,” Bea Voigt Gallery, Munich, Germany, 1993
“Markets of Resistance,” White Columns, NYC, 1993*
“New York Artists,” Prague, Czech Republic, February, 1994
“Out of This World,” Contemporary Arts Museum, Houston, TX, 1994
“The Lure of the Local,” University of Colorado at Boulder, 1994
“The Garbage Show,” Real Art Ways, Hartford, CT, 1994
“Public Interventions,” ICA, Boston, MA, 1994
“Landscape As Metaphor,” Denver Art Museum, Denver, CO, traveling exhibition, 1994*
“Equal Rights and Justice,” High Museum, Atlanta, GA, 1994*
“Fifth Biennial of Havana,” National Museum of Fine Arts, Centro Wifredo Lam, Havana,   Cuba: 1994*
“Old Glory: The American Flag in Contemporary Art,” Cleveland Center for Contemporary Art,   OH, 1994*
“Black Male: Representations of Masculinity in Contemporary American Art”
Whitney Museum of American Art, NYC, 1994*
Armand Hammer Collection, Los Angeles, CA
“Murder,” Bergamot Station Art Center, Santa Monica, CA, 1995*
Thread Waxing Space, NYC
Centre Gallery, FL
“Magic Objects,” Munich, Germany, 1995*
“Texas Myths and Realities,” Museum of Fine Arts, Houston, TX, 1995
“Thinking Print,” Museum of Modern Art, NYC, 1996
“Is It Art? Katonah Museum of Art, Katonah, NY, traveling exhibition, 1996*
“Art at the End of the 20th Century,” Whitney Museum, NYC, 1996*
National Gallery and Alexandros Soutzos Museum, Athens, Greece*
Museu d’Art Contemporani de Barcelona, Spain
Kuntsmuseum Bonn, Germany
In the Name of the Place, “Uncommon Sense,” Museum Of Contemporary Art, Los    Angeles, CA, 1997*
Kwangju Biennale, Kwangju, Korea* Grand Arts, Kansas City, MO*
Lawing Gallery, Houston, TX
“In Print: Contemporary Artists at the Vinal Haven Press,” 1996*
Portland Museum of Art, Portland, ME, 1997
Boston College, Boston, MA, 1997
“Embedded Metaphor,” Ringling Museum of Art, 1996*
Western Washington University
Bowdin College Museum of Art
Contemporary Art Center of Virginia
Wesleyan University
“Natural Reality, Artistic Positions Between Nature and Culture,” Ludwig Forum for
International Art, Aachen, Germany, 1999*
“World Views,” Weisman Art Museum, University of Minnesota, Minneapolis, MN, 1999*
“Botanica, Contemporary Art and the World of Plants,” Tweed Museum of Art, University of
Minnesota, Duluth, MN, July 20 -October 12, 1999, traveling exhibition, 1999-  2000*
“Money-Making: The Fine Art of Currency,” The Federal Reserve, Washington, DC, traveling
exhibition, 2000*
“Texas,” Museum of Fine Arts, Houston, TX, 2000*
Lyon Biennial, Lyon, France, 2001*
“Tele(Visions),” Kunsthalle, Vienna, Austria 2001*
“One Planet Under A Groove,” Bronx Museum of the Arts, Bronx, NY, traveling, 2002*
“A New World Trade Center: Design Proposals,” Max Protetch Gallery, NYC,
traveling, 2002
“Selections from the Collection of Wilhelm Schurmann,” Stadehaus Museum, Dusseldorf,
Germany 2002*
“The Culture of Violence,” Amherst College Museum, Amherst, MA, traveling, 2002*
“Ecoventions,” Cincinnati Art Center, OH, 2002
Max Protetch Gallery, NYC, 2002
“Signatures of the Invisible,” PS1, NYC, 2003
“Freedom Salon,” Deitch Projects, NYC, 2004
“Road In Sight,” Duke University, Durham, NC, 2005
“Down the Garden Path: The Artist’s Garden After Modernism,” Queens Museum, NYC, 2005*
Wunderkammer: A Century of Curiosities,” Museum of Modern Art, NYC, 2008
“Close Encounters: Facing The Future,” American University Museum, Washington, DC,
“No Zoning,” Contemporary Art Museum, Houston, TX 2009*
“Forbidden Love: Art in the wake of Television Camp”, Kolnischer Kunstverein, 2010*
“Living As Form,” Creative Time, NYC, 2011*
ARTIFACTUAL realities,” Station Museum of Contemporary Art, Houston, TX, 2012*
“This Side of Paradise,” presented by No Longer Empty at the Andrew Freedman
Home, Bronx, NY, 2012
“No Man May Carry a Fish into a Bar,” Blum and Poe Gallery, Los Angeles, CA, 2012
“How Much do I Owe You?,” No Longer Empty, Long Island City, NY, 2012
“no emotion: Drawings by William Anastasi, Mel Chin and Jochem Hendricks,” Thomas Rehbein Galerie: Bruxelles, Belgium, 2013
“Carbon 14: Climate is Culture Exhibition,” Royal Ontario Museum, Institute for Contemporary Culture, Toronto, Canada, 2014



Art Car Museum, Houston, TX
Birmingham Museum, Birmingham, AL
Bowdoin College, Brunswick, ME
City of Corpus Christi, TX
City of Houston, TX
Columbus Museum of Art, Columbus, OH
El Paso Museum of Art, El Paso, TX
The Federal Reserve, Washington, DC
High Museum of Art, Atlanta, GA
The Menil Collection, Houston, TX
Museum of Fine Art (MFAH), Houston, TX
Museum of Modern Art, New York, NY
New York Public Library, New York, NY
Walker Art Center Minneapolis, MN
Harold Washington Library, Chicago, IL
The Weatherspoon Gallery, University of North Carolina at Greensboro, NC
Whitney Museum of American Art, New York, NY


Adams, Amy. “Let a Thousand Flowers Bloom . . . ” New Scientist, (December 1997):
Adams, Alice. “Gardens, Art Space, Downtown/Neartown.” Houston Chronicle, July
16, 1997: 1.
Adams, Debra. “Faith Congregational: black church’s roots date back to 1819.”    HartfordCurrent, February 3, 1991.
Akhtar, Suzanne. “Houston Artist brings world view to Irving Arts Center.” Star-Telegram,
July 27, 1997.
Alan, John. Urban Mythologies: The Bronx Represented Since the 1960s, exh. cat.   Distributed Art Publishers, 1999.
Art: 21: Art in the Twenty-First Century. Produced by Art:21, Inc., New York:   PBS, 2001.
Barbier, Laurence. Biennale de Lyon Art Contemporarin. Montreal: Musee d’Art   Contemporain, 2001.
Barbiero, Daniel. “Mel Chin.” Sculpture, (May/June 1989): 92.
Borasi, Giovanna and Mirko Zardini, ed. Imperfect Health: The Medicalization of
, exh. cat.  Quebec, Canada: Canadian Centre for Architecture, pg.
178-179, 2012.
Bauer, Ute Meta and Fareed Armaly. “Mel Chin Conversando con Ute Meta Bauer y Fareed
Armaly.” Trans> # 8, (2000): 174-182.
Beardsley, John. “Mel Chin.” in Visions of America: Landscape As Metaphor in the Late   TwentiethCentury, exh. cat. Denver, Colorado:
Denver Art Museum and Columbus Art Museum, 1994.
Bernstein, Emily. “‘Magic’ Plants That Clean Up Soils.” San Francisco Chronicle,
September 20, 1992.
Bijvoet, Marga. “Natural Reality: Art Between Science and Nature.” in Artistic Positions
Nature and Culture. Aachen: Ludwig Forum for   International Art, 1999.
Bjelajac, David. American Art: A Cultural History. New Jersey: Prentice Hall,
Inc., 2005.
Bloodworth, Sandra and William S. Ayres. Along the Way: MTA Arts for Transit.
New York: Monacelli Press, 2006.
Bookhardt, D. Eric. “From Field Testing to Even Exchange: Mel Chin Discusses Operation
Paydirt and Safehouse.” Art Papers, January/February 2009.
Boswell, Peter. Viewpoints: Mel Chin, exh. cat. Minneapolis, MN: Walker Art
Center, 1990.
_____. Sculpture at the Point, exh. cat. Pittsburgh, PA: Carnegie Museum of Art,   1992.
Brand, Peter and Catelijne De Muynck, Jouke Kleerebezem, eds. Allocations: Art For a
Natural and Artificial Environment. Zoetermeer: Floriade   Foundation, 1992.
Carr, C. “The Endangered Artists List.” Village Voice Vol.XXXV, no.34, (August
21,1990): 84.
Cembalest, Robin. “Lettuce in the Landfill.” ARTnews (November, 1991): 43.
Chin, Mel, Lucy R. Lippard and Benito Huerta. Inescapable Histories: Mel Chin,
exh. cat. Exhibit USA, 1996.
______. “Mrs. D and Me.” In Art and Activism: Projects of John and Dominique de
, edited by Josef Helfstein and Laureen Schipsi, 270-271. Houston:   The Menil Collection, 2010.
Chin, Mel. “Das Revival Field Project.” Translated by Klaus Binder in ERDE, Kunst und
der Bundesrepublik Deutschland.  Schriftenreihe   Forum: Band 11, 2002.
_____. “Revival Field.” Environmental Action, (July/August 1991):27.
_____. “Art and the Environment: The Ingredient,” FYI, 8(1) Spring 1992: 1
_____. “Rethinking the New World.” Art Papers 17, no. 3 (May/June 1993): 30-34.
_____. “Night Rap.” Social Text 35 (Summer 1993): back cover.
_____. “I See . . . The Insurgent Mechanics of Infection.” In ECO-TEC Architecture of
the In Between
, edited by Amerigo Marras, 68-70. Princeton:
Princeton Architectural Press,1999.
_____.“Three Houston History Lessons.” Good, edited by Toni Beauchamp, 7-15.   Houston,TX: 2000.
_____. “My Relation to Joseph Beuys is Overrated.” Mapping the Legacy. Edited by
Gene Ray. New York: The John and Mable Ringling Museum of Art, D.A.P., 2001.
_____. “Mrs. D and Me.” In Art and Activisim: Projects of John and Dominique de
, edited by Josef Helfstein and Laureen Schipsi, 270-271. Houston:
The Menil Collection, 2010.
_____. Associations. New Smyrna Beach, FL: Atlantic Center for the Arts, 1993.
_____. “Our Changed World REMEMBERING SEPT. 11 Finding Answers in Art.” Houston
, September 11, 2002.
______. “A drawing–while digressing from meditations on power and art–a resistance to
insignificance.” in Creative Time: The Book, edited by Anne Pasternak
and Lucy Lippard, 118-119. Princeton: Architectural Press, 2007.
_____. “Mel Chin: Operation Paydirt.” Public Art Review 20, no. 2 (Spring/Summer
Cotter, Holland. “Art in Review: Mel Chin.” New York Times, January 17, 1992.
Cudlin, Jeffrey. “Working By Any Means Necessary: A Conversation With Mel Chin.”   Sculpture, 29, no.2 (March 2010): 34-39.
Decter, Joshua. “Prime Time: ‘In the Name of the Place’ of Art and Television.'” In
the Name of
the Place, exh. cat. Kansas City, MO: Grand Arts,1998.
Finkelpearl, Tom, and Valerie Smith, Domenick Ammirati, and Jennifer Liese, ed. Down
the Garden
Path: The Artist’s Garden After Modernism, exh. cat.   Queens,NY:Queens Museum of Art: 2005.
Finkelpearl, Tom. Dialogues in Public Art. Cambridge, MA: The MIT Press, 2000.
Fischer, Jack. “33 Reasons to Visit the MLK Jr. Library.” San Jose Mercury News, 2003.
Friedman, Martin. Visions of America: Landscape As Metaphor in the Late Twentieth   Century.
Denver and Columbus: Denver Art Museum and Columbus Art Museum, 1994.
Gallant, Aprile. “Getting Graphic: Experimentation at the Vinalhaven Press.” In Print   –Contemporary Artists at the Vinalhaven Press. Portland:   Portland Museum of Art, 1997.
Hager, Mary. “New Hopes for Old Plants.” Newsweek Focus (November 23, 1992): 2-3.
Harithas, James and Marica Brennan, Paul Farmer, James Metcalf, Eugenie Tsai and
Mel Chin. Do Not Ask Me, exh. cat. Houston: Station Museum of Contemporary Art,   2011.
Heartney, Eleanor. “Skeptics in Utopia.” Art in America (July 1992): 76-81.
Henry, Gerrit. “Mel Chin: Surveying Heaven and Earth.” Sculpture (Jan/Feb 1991):
Hirsch, Masako. “Cleanup method tackles lead.” Times Picayune, May 2, 2011.
Holden, Constance. “NEA Dumps on Science Art.” Science 250 (December 14, 1990):
Honan, William H. “U.S. Arts Chief Overturns an Approval.” New York Times,
November 27, 1990.
Hunter, Simeon. “ ‘New Orleans the Rescue City’: Mel Chin and the Poetics of Pragmatism.” ArtVoices, 21 (2009): 30-32.
Johnson, Patricia. “Mel Chin’s ‘Landscape’ is One of Those Rare Breathtaking Art Works.”
The Houston Chronicle, March 26, 1982.
_____. “Houston artist hits N.Y. mark.” The Houston Chronicle, January 23, 1985:
_____. “Mel Chin: Poetic, Pragmatic With a Rare Sensitivity.” The Houston   Chronicle, September 22, 1985: 19.
_____. “Artist tackles the universe, assisted by alchemy.” The Houston Chronicle,   November 30, 1987.
_____. “Works More Complex Than Appearance Suggests.” The Houston Chronicle,   September 18, 1988.
_____. “True to Form: Houston-Born Mel Chin Addresses Power & Politics in Three New
Sculptures.” The Houston Chronicle, April 16, 1989.
_____. “Taking The Plunge/ 4 ex-Houston Artists Talk About Risks, Rewards of Moving to the Big Apple.”The Houston Chronicle, April 23, 1989.
_____. “Inquiring Mind: Survey of Work Reveals Mel Chin’s View of the World.” The
Chronicle, April 28, 1991.
_____.“Chin’s art test soil decontaminates.” The Houston Chronicle, August 14,
_____. “Artist Visits Project with BBC in Tow.” The Houston Chronicle, December
7, 1997.
_____. “Art Reflects Politics at Station.” The Houston Chronicle, October 30,
2004: Star 3.
_____. “PBS Show Spotlights Downtown’s Finest.” The Houston Chronicle, April 23,
2006: Zest 5.
_____. “The Aviator in the Poem . . .” The Houston Chronicle, January 29, 2006:
Zest 12.
Katauskas, Ted. “Agitpop.” The New Yorker, (March 24, 1997): 35.
Kim, Ryan. “Raves for a new San Jose Library.” San Francisco Chronicle. August 2,
Kim, Byron. “Mel Chin: Visionary and Activist.” Asian New Yorker, July 1991.
Kozik, KK. “Mel Chin.” Journal of Contemporary Art, 6 no. 2 (Winter 1993): 5-15.
Kuzma, Sally. “Myth-Making and Myth-Breaking: Multiple Meanings in Mel Chin’s Revival
Field.” Art Criticism 10, no. 2 (1995): 82-93.
Leffingwell, Edward. “Mel Chin at Frederike Taylor Gallery.” Art in America
Lipson, Karin. “Nea Doesn’t Dig His Toxic Cleanup.” Newsday, November 27, 1990.
Matilsky, Barbara. “Mel Chin: Revival Field.” In Fragile Ecologies – Contemporary
Artists’ Interpretations and Solutions. New York: Rizzoli, 1992.
Masters, Kim. “Arts Chief Ignores Advice, Vetoes Grant.” The Washington Post,
November 22, 1990.
McCormick, Carlo. “Operation of the Sun Through the Cult of the Hand.” Artforum
(March 1988).
McEvilley, Thomas. “Explicating Exfoliation in the Work of Mel Chin.” Soil &
Philadelphia: The Fabric Workshop, 1993.
McKee, Katherine. “Palmerton turns to science, art to clean soil of metals.” The
Morning Call
, May 20, 1993.
Miles, Malcolm. “Viral Art—Strategies for a New Democracy.” (2001).
Murphy, Jay. “Mel Chin at The Menil Collection.” Art in America (April 1992):
Phillips, Julie. “Athens Artist And Students Place Art On Popular Melrose TV Show.”
AthensBanner-Herald, March 10, 1997.
_____. “Television a Gallery for Athens Artist and University Students.” Athens Daily   News, March 10, 1997.
Phillips, Patricia C. “Subverting Landscape.” Public Art Review 8, no.2, issue 16
(Spring/Summer 1997): 4-8.
Powell, Corey. “Metal Detectors,” The Scientific American. August 1995, Volume
273, No. 2.
Protetch, Max. A New World Trade Center: Design Proposals from Leading Architects
Worldwide. New York: Regan Books, 2002.
Ray, Gene, ed. Joseph Beuys, Mapping the Legacy. New York: The John and Mable
Ringling Museum of Art, D.A.P., 2001.
Reid, Molly. “Art Turns Into Environmental Action on Lead.” The Times-Picayune,
November 1, 2008: 11.
Rifkin, Ned. Directions: Mel Chin. Washington, DC: Hirshhorn Museum and Sculpture
Garden, 1989.
Rosen, Steven, “Landscape as Metaphor Charts Unusual Terrain,” The Denver Post,
May 8, 1994.
Rosser, Phyllis. “Mel Chin’s Invisible Architecture.” Public Art Review,
(Fall/Winter 1994): 30.
Rubin, Mary. “Fundred Dollar Bill Project.” SchoolArts, (August/September 2009):
Saussy, Haun and Mel Chin. The Operation of the Sun Through the Cult of the Hand,
exh. cat.,New York: Loughelton Gallery, 1987.
Schwendenwien, Jude. “Breaking Ground: Art in the Environment.” Sculpture,
(Sept./Oct.1991): 40.
Schweid, Richard. “’Brilliant’ grad’s art grant rejected” The Tennessean,December
7, 1990.
Silberman, Robert. “Maps and Art: The Pleasures and Power of Worldviews.”
World Views: Maps and Art. Minneapolis, MN: Weisman Art Gallery,   1999.
Sirmans, Franklin. “Mel Chin: KNOWMAD.” Time Out, New York (December 2000) illus.
Sollins, Susan, Thelma Golden, et. al. Art of the 21st Century. Harry Abrams,
Inc: New York, 2001.
Su-Ki, Kim. Kwangju Biennale, exh. cat. Kwangju: Kwangju Biennale, 1997.
Tanner, Marcia. “A Conversation with Mel Chin.” Artweek (June 18, 1992): 5.
Unsigned. “Philosophical art”. Houston Chronicle, November 1, 1979.
_____. “The See through woman of Bryant Park.” The New York Times, August 14,
_____. “Sculpture in the Park.” The New York Times, January 17, 1985.
_____. “Sculptor/human rights activist Mel Chin to discuss work.” Stanford
, January 21, 1988.
_____. “Above and Beyond,” The New Yorker, November 6, 1989.
_____.“Frohnmayer Sparks New Flap by Rejecting Grant.” Los Angeles Times,
November 24, 1990.
_____. “NEA rejects grant to Houston artist.” Houston Chronicle, November 27,   1990.
_____. “NEA Chairman Rejects New Grant.” Art in America (January 1991): 35.
_____. “Chin’s ‘Ghost’ still standing” The Hartford Courant, March 29, 1991.
_____. “ Artist Recreates Nation’s Third-Oldest Free Black Church on Original Site in Hartford.” Say you Saw It in the Northend Agents Newspaper, Friday February 1,
_____. “Historic Church.” The New York Times, Sunday February 10, 1991.
_____. “Chin exhibits five years of creativity.” Houston Chronicle, April 28,
_____.“Ribbon Protest.” New York Post, June 11, 1991.
_____.“Menil’s ‘Mel Chin’ draws to a close.” Houston Chronicle, August 23, 1991.
_____.”Review: Mel Chin at the Menil Collection.” Flash Art (Summer 1991): 147.
_____.“Landscape as Metaphor: Visions of America at the End of the Century.” Art in
(August 1995): 33.
_____. “Mel Chin, Frederieke Taylor.” New York Times, December 15, 2000.
_____. “Recolecciones.” Public Art Review 15, no.1 (Fall/Winter 2003).
_____. “New and Notable.” Houston Chronicle, November 10, 2007.
Wallis, B. “Frohnmayer Reverses Himself Again.” Art in America (March 1993): 33.
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(September 2011): 360.
Weintraub, Linda. “Mel Chin: Soil Remediation.” in To Life! Eco Art in Pursuit of a Sustainable Planet. University of California Press, 2012: 135-140.
Wines, Susan, “Where the Twin Towers Stood.” Domus 846 (March, 2002): 13-14.
Zerger, Brent. “Gala Committee In the Name of the Place.” Uncommon Sense. Los
Angeles: MOCA, 1997.