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“Adam McEwan – Fresh Hell / Carte Blanche”, Palais de Tokyo, Paris, France
“The private museum – The passion for contemporary art in the collections in Bergamo”, GAMeC, Bergamo, Italy
“The Rhythm of Istanbul”, Akbank Art Centre, Turkey
“Discrete manifold whatsoever”, Simon Lee Gallery, London, England
“62 Simon Lee Gallery á Paris”, Galerie kreo, Paris, France
“Redux”, Esther Schipper, Berlin, Germany
“Social Criticism 1993–2005, an art historical expose”, Kalmar Art Museum, Kalmar, Sweden
“Angela Bulloch”, Galerie Helga de Alvear, Madrid, Spain
“Angela Bulloch”, Galerie Christina Guerra, Lisboa, Portugal
“Angela Bulloch”, Galerie Eva Presenhuber, Zurich
Gallery Shugo Satami, Tokyo
“The Space that Time Forgot”, Städtische Galerie im Lenbachhaus, Munich
“Repeat Refrain”, Enel Contemporanea/ Museo dell” Ara Pacis, Rome
“Are you coming or going, around?”, Esther Schipper, Berlin
“Angela Bulloch”, The Power Plant, Toronto
“Angela Bulloch”, De Pont Museum of Contemporary Art, Tilburg
“Backdrop”, Bloomberg Space, London
“We Are Medi(eval) - Angela Bulloch and Liam Gillick”, Cubitt Gallery and Studios, London
“Angela Bulloch: Yuko Gothic Grid”, Galerie Micheline Szwajcer, Antwerpen
“Angela Bulloch: To the Power of 4”, Wiener Secession, Vienna
“Angela Bulloch”, Modern Art Oxford, Oxford
“Angela Bulloch”, Le Consortium - centre d’art contemporain, Dijon
“The Missing 13th”, Galería Helga de Alvear, Madrid
“Angela Bulloch”, Engholm Engelhorn Galerie, Vienna
“Antimatter”, Galerie Eva Presenhuber, Zurich
“New Work 8: Angela Bulloch, World Reflections”, Aspen Art Museum, Aspen
“Matrix 206: macromatrix for your pleasure”, BAM/PFA-Exhibitions, Berkeley
“Disco Floor_Bootleg : 4”, Medienturm, Graz
“Angela Bulloch”, The Institute of Visual Culture, Cambridge
“Macro World – One Hour3 and Canned”, Schipper und Krome, Berlin
“Micro_World”, 1301PE Gallery, Los Angeles
“Search and Arrest”, Y8 International Sivananda Yoga Center, Hamburg
Kunsthaus Glarus, Glarus
“Angela Bulloch”, Magnani, London
“Angela Bulloch”, 1301PE, Los Angeles
“From the Eiffel Tower to the Riesenrad”, Kerstin Engholm Galerie, Vienna
“Blow_Up T.V.”, Schipper und Krome, Berlin
“Prototypes”, Hauser & Wirth & Presenhuber, Zurich
“Angela Bulloch, Sylvie Fleury”, Mehdi Chouakri, Berlin
“Seats of Power-Spheres of Influence”, Im Paul-Löbe-Haus, Berlin
“Codes”, Schipper und Krome, Berlin
“Superstructure”, Museum für Gegenwartskunst Zürich, Zurich (catalogue)
“Sounds Off”, Robert Prime Gallery, London
“Vehicles”, Le Consortium, Centre d’ Art Contemporain, Dijon
“Soundbank”, Kunstverein Ludwigsburg, Ludwigsburg
Galerie Walcheturm, Zurich
Robert Prime Gallery, London
“Mudslinger”, Esther Schipper, Cologne
“From the chink to Panorama Island”, PADT, London
Marc Foxx Gallery with 1301 / Brian Butler, Santa Monica
Kunstverein in Hamburg, Hamburg
F.R.A.C. Lanquedoc-Roussillon; Aldebaran, Baillargues
Centre pour Creation Contemporain, Tours (catalogue)
“Rules Series”, Esther Schipper and Friesenwall 116a, Cologne
1301, Santa Monica
“The art of suvivial /baby-doll saloon with Sylvie Fleurie”, Laure Genillard, London
Esther Schipper, Cologne
Galleria Locus Solus, Genua
Le Case d’Arte, Milan
Interim Art, London
APAC Centre d’Art Contemporain, Nevers (catalogue)
Galerie Claire Burrus, Paris
Esther Schipper, Cologne

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“Art curated by Michael Craig-Martin”, Galerie Haas & Fuchs, Berlin
Art Basel 41, “Art Parcours”, Münster Cathedral, Switzerland
“1. Biennale für internationale Lichtkunst”, Breitenbachgelände, Unna, Germany
“The Social Critique: 1993–2005”, Kalmar Art Museum, Sweden
“The Porn Identity” Expeditionen in die Dunkelzone, Kunsthalle Wien
“Pierre Charpin”, Galerie Kreo, Paris, France
“theanyspacewhatever”, Solomon R. Guggenheim Museum, New York
"Clinch / Cross / Cut", Team 404 & John Armleder, New Jerseyy, Basel
"Color Chart: "Angela Bulloch - Jorque Queiroz", Galeria Helga de Alvear, Madrid
"Martian Museum of Terrestrial Art", Barbican, London
"Kunstmaschinen Maschinenkunst", Museum Jean Tinguely, Basel
"Color Chart: Reinventing Color, 1950 to Today", MoMA - The Museum of Modern Art,
New York
“TYPED”, Sadie Coles, London
“Turner Prize: A Retrospective”, Mori Art Museum, Tokyo
"Group Show", Galerie Eva Presenhuber, Zurich 
"Sound of Music, Marres", Centre for Contemporary Culture, Maastricht
“Jubilee”, Eva Presenhuber’s house, Vnà, Unterengadin
"Kunstmaschinen Maschinenkunst", Schirn Kunsthalle, Frankfurt
"Turner Prize: A Retrospective“, Tate Britain, London
"Ensemble", ICA University of Pennsylvania, Philadelphia, USA
"Bodypoliticx", Witte de With, Rotterdam
"Cosmic dreams", Centro Cultural, Andratx, Spain
"Generational issue", CGAC Valle Inclán s/n, Santiago de Compostela, Spain
"Klang im Bild", Stiftung Opelvillen, Russelsheim
"The Suspended Moment", Z 33, Hasselt
"In the darkest hour there may be light", Brandler Galleries, Brentwood, Essex
"In the darkest hour there may be light - Works from Damien Hirst’s murderme collection", Serpentine Gallery, London
"Absolumental", les Abattoirs de Toulouse, Toulouse 
"Bewegung im Quadrat", Museum Ritter, Waldenbuch 
"DEFINING THE CONTEMPORARY", Whitechapel Art Gallery, London
"Human Game. Winners And Loosers", Stazione Leopolda, Florence
"Chauffe Marcel! A propos de 'mona lisa'", FRAC - Languedoc-Roussilon, Montpellier 
"El momento Suspendido. Colección H&F", MARCO Museo de Arte Contemporánea de Vigo, Vigo
"Backdrop", Bloomberg Space, London
“abstract art now 2“, Wilhelm-Hack Museum, Ludwigshafen
“Helga de Alvear – Concepts For A Collection”, Centro Cultural de Belém
“Anstoß Berlin – Kunst macht Welt“, Haus am Waldsee e.V., Berlin
“The Sublime is Now!“, Museum Franz Gertsch, Burgdorf
“WRONG“, Klosterfelde, Berlin
“Tate Triennial 2006”, Tate Britain, London
“Satellite of Love”, Witte de With Rotterdam, Rotterdam / TENT Center for Visual Arts, Rotterdam Galleri MGM, Oslo
“Ambiance – Auf beiden Seiten des Rheins”, K21 Kunstsammlung im Ständehaus, Dusseldorf
“Lichtkunst aus Kunstlicht”, ZKM – Zentrum für Kunst und Medientechnologie, Karlsruhe
“36 x 27 x 10”, Volkspalast, White Cube Berlin at the former ‚Palast der Republik’, Berlin
“Nach Rokytnik - Die Sammlung der EVN”, MUMOK Museum Moderner Kunst, Vienna
 “Le temps suspendu”, Crac Alsace Centre Rhenan d’Art Contemporain, Altkirch
“Bidibidobidiboo”, Fondazione Sandretto Re Rebaudengo, Torino
“Preis der Nationalgalerie für junge Kunst 2005”, Hamburger Bahnhof, Berlin
“Funny Cuts - Cartoons und Comics in der zeitgenössischen Kunst”, Staatsgalerie Stuttgart, Stuttgart, Germany
3rd Biennale Valencia 2005, Valencia
“favorites + ”, Galerie Fortlaan 17, Gent
“Playlist”, Palais de Tokyo, Paris
kunstherbst 04, Berlin
“Performative Architektur”, Galerie für zeitgenössische Kunst/Siemens Arts Program, Leipzig
“Live and let die”, Schiffbau, Zurich
“Specific Objects”, Galerie Mehdi Chouakri, Berlin
“Raison et Sentiments”, Collection FNAC, CRAC Alsace, Altkirch
“100 Artists See God”, ICA Institute for Contemporary Art, London
“100 Artists See God”, ICI touring exhibition ein-leuchten, Museum der Moderne, Salzburg
„SUPPORT 2 - Die Neue Galerie als Sammlung“, Neue Galerie am Landesmuseum Joanneum, Graz, Austria
„One on One – Installation from the collection“, Van Abbemuseum, Eindhoven, Netherlands
50th Biennale Venice
“Chromatic Sensation by HERA”, Gallery Hyundai, Seoul
“Einbildung – Das Wahrnehmen in der Kunst”, Steirischer Herbst 04, Kunsthaus Graz
“Poème/image”, Kunsthaus Schloss Wendlinghausen, Dörentrup, Germany
“Form specific”, Moderna Galerija, Ljubljana, Slovenia
“Utopia Station”, La Biennale di Venezia, Venice
“Brightness”, Museum of Modern Art, Dubrovnik, Croatia
“It´s in our hands”, Migrosmuseum für Gegenwartskunst Zurich
“Favorites”, Galerie Krinzinger, Vienna
ART Basel, Galerie Edition Artelier, Graz, Austria
“EN/OF”, Julia Friedman Gallery, Chicago
“A Perilous Space”, Magnani Gallery, London
“Favorites”, Galerie & Edition Artelier, Graz, Austria
“Remix”, Tate Liverpool, Liverpool
“Once again”, John Hansard Gallery, Southhampton
“Touch: Relational Art from the 1990s to now”, San Francisco Art Institute, San Francisco
“To Whom It May Concern”, CCAC Wattins Institutr for Contemporary Arts, San Francisco
“Favorites”, Galerie & Edition Artelier, Graz
“Inter/re/views”, Kunstpunkt Berlin, Berlin
“Häuser für Leipzig. KünstlerInnen als ArchitektInnen”, Galerie für zeitgenössische Kunst, Leipzig, Germany
“Sweet Nothing - (Liege)Stätten des sommerlichen Nichtstuns”, Kunsthaus Baselland, Muttenz, Switzerland
“Extreme Computer Music”, Concept: Angela Bulloch, Atelierhaus der Akademie der bildenden Künste, Vienna
“Frequenzen, Audiovisuelle Räume”, Schirn Kunsthalle, Frankfurt/Main
“Hell”, Neugerriemschneider, Berlin
“Claude Monet...bis zum digitalen Impressionismus”, Fondation Beyeler, Riehen/Basel
“Ars Lucis et Umbrae – Licht- und Schattenobjekte aus der Sammlung der Neuen Galerie Graz”, Landesmuseum Johanneum, Graz, Austria
“Timewave Zero-The Politics of Ecstasy”, Steirischer Herbst 2001, Grazer Kunstverein, curated by Lionel Bovier and Jean-Michel Wicker
“art>music”, Museum of Contemporary Art, Sydney
“Connivence”, Biennale de Lyon, France
“Arbeit Essen Angst”, Kokerei Zollverein, Essen, Germany
“Der Dritte Sektor”, Kunstverein Wolfsburg, Galerie für Zeitgenössische Kunst Leipzig
“Wechselstrom”, Collection Hauser und Wirth at the Lokremise St. Gallen (catalogue)     
“L´Esprit de famille”, MAMCO, Geneve
“Spiegel, Präsentation 01 No5”, Lothringer 13/Spiegel, Munich
“1301 PE”, Brian Butler, Los Angeles
“Hertz”, Schirn Kunsthalle, Frankfurt/Main
“Version_2000”, Centre pour l´image contemporaine Saint-Gervais, Geneve
“media art 2000 - escape”, media_city Seoul, Seoul Metropolitan Museum, Seoul
“EIN/räumen. Arbeiten im Museum”, Hamburger Kunsthalle, Hamburg
Art Forum Berlin, with Liam Gillick, Ugo Rondione, Thomas Demand, Schipper und Krome, Berlin and Galerie Hauser & Wirth & Presenhuber, Zurich
“The World is not Enough”, with Sylvie Fleury, Galerie Mehdi Choakri, Berlin
“Against Design”, ICA, University of Pennsylvania, Philadelphia
“Sonic Boom – The Art of Sound”, Hayward Gallery, London
“Presumed Innocent”, CAPC, Bordeaux
“Dire Aids”, Arte nell‘ epoca dell‘ Aids, Palazzo della Promotrice delle Belle Arti, Turin
“M(odel)48”, Büro Friedrich, Berlin
“Außendienst”, Kunstobjekte in öffentlichen Räumen Hamburgs, Kulturbehörde and Kunstverein in Hamburg
“Power”, Galerie für Zeitgenössische Kunst, Leipzig
“Common People”, Fondazione, Re Rebaudengo per l‘ Arte, Guarene d‘ Alba
“Video Store II”, by bdv, XN99, Espace des Arts, Chalon-sur-Saone
L‘ Espace Lausannois d‘ Art Contemporain, Lausanne
“Sweety: Female Identity in British Video”, with Sylvie Fleury, The British School in Rome
“Bankside Browser”, St. Christopher’s House, organised by the Tate Gallery of Modern Art,
London
“Etcetera”, Spacex Gallery, Exeter
“To Design For”, Le Spot, Le Havre
“Borderline PILOT – the audience from a distance”, Museum van Bommel van Dam, Venlo, The Netherlands
“At Home with Art”, curated by Guy Mannes Abbot, Robert Prime Gallery, London
“Here to Stay”, Arts Council Collection purchases from the 1990s, The Potteries Museum & Art Gallery, Stoke on Trent
“Tendenzen der 80er und 90er Jahre”, museum für neue kunst, Karlsruhe, Germany
“Strengthening Wind from Changing Directions – International Avant Garde since 1960”, The Paul Maenz Collection, Neues Museum Weimar, Weimar, Germany
“Space”, Schipper und Krome, Berlin
“emotion”, Deichtorhalle, Hamburg
“Typische Handbewegung”, Künstlerwerkstatt, Munich
“John Armleder, Angela Bulloch, Pierre Joseph, Jonathan Monk”, Le Spot, Studio d‘ Art Contemporain, Le Havre
“N.IGS./ WI.UU.OX/ W.OKS.MH/ Y.IM”, FRAC Poitou-Charentes, Z.U.P. Zone à urbaniser en priorité”, Fonds Regional d‘ Art Contemporain, Marseille
“weather everything”, Galerie für Zeitgenössische Kunst, Leipzig
“UK Maximum Diversity”, Galerie Krinzinger in der B. Fabrik, Bregenz
“Patchwork in Progress 3”, MAMCO, Geneva
“Kunst und Parlament”, Deutscher Bundestag, Berlin
“Kunstausstellung, Holderbank”, Holderbank
“Lifestyle”, Kunsthaus Bregenz, Bregenz, Austria
“Art Club Berlin”, Pavillon Mies van der Rohe, Barcelona
“MAI 98”, Kunsthalle Köln, Cologne
“Crossings”, Kunsthalle Wien, Vienna
“Fast Forward” (Trade Marks), Kunstverein in Hamburg, Hamburg
“Fast Forward” (Body Check), Kunstverein in Hamburg, Hamburg
“Entropy at Home”, Suermont Ludwig Museum, Aachen, Germany
“Inglenook“, Feigen Contemporary, New York
“London Calling”, The British School at Rome, Rome
“Art from UK”, Sammlung Goetz, Munich
“Vive la Vie!”, Le Parvis, Centre d`art contemporain, Pau
“Kunst.Arbeit”, Sammlung SüdwestLB, Stuttgart, Germany
“life/live”, Centro Cultural de Belém, Belém, Portugal
“Such is Life”, with Sylvie Fleury, Video Program, curated by Jonathan Watkins, Serpentine Gallery, Bookshop, London
“Rooms with a View: Environments for Video”, Guggenheim Museum SoHo, New York
“Material Culture: The Object in British Art of the 1980s and `90s”, Hayward Gallery, London
“Moment Ginza”, une proposition de Dominique Gonzalez-Foerster, Le Magasin, Grenoble
“Performance Anxiety”, Museum of Contemporary Art, Chicago
“Was Nun?”, Schipper und Krome, Berlin
“Ca-Ca Poo-Poo”, Kölnischer Kunstverein, Cologne
“Kunst in der Leipziger Messe”, Leipzig, Germany
“Flexible”, Museum für Gegenwartskunst, Zurich
“Persona X”, Salzburger Kunstverein, Salzburg, Austria
“Pop Video”, Kölnischer Kunstverein and Viva 2, Cologne
"Un toit pour tout le monde”, Werke aus der Sammlung Frac Languedoc-Roussillon, Künstlerhaus Bethanien, Berlin
“Tanti Video”, with Sylvie Fleury, Arcate Art Fabrica, Turin, Italy
“Private Face – Urban Space”, Gas Works, Athen Rethymnon Centre for Contemporary Arts, Kreta (catalogue)
“Opening Exhibition”, LEA Gallery, London
“History – The Mag Collection”, Ferens Art Gallery, Kingston upon Hull (catalogue)
“Brain Multiples @ Art Metropole”, Toronto
“Dramatically Different”, curated by Eric Troncy und Yves Aupeteallot, Le Magasin, Grenoble
“Medium of Exchange”, CCH, Hamburg
“Connexions Implicites”, L’Ecole Nationale Superieur des Beaux–Arts, Paris”, Angela Bulloch, General Idea, Liam Gillick, Dominique Gonzales-Foerster, Candida Höfer, Jochen Klein, Eva Marisaldi, Philippe Parreno”, Robert Prime Gallery, London
“The Turner Price 1997”, Tate Gallery, London
Group Show at Robert Prime, London
“Traffic”, curated by Nicolas Bourriaud, CAPC Musée d`Art Contemporain,
Bordeaux (catalogue)
“Kiss This”, Focal Point Gallery, Southend-on-the-Sea
“Gedraag je! Behave! Benimm Dich! Tiens-toi bien!”, Stedelijk Museum, Bureau Amsterdam
“Multiple Pleasure”, Tanya Bonakdar Gallery, New York
“Collezionismo o Torino”, Castello di Rivoli, Museo d’Arte Contemporanea, Turin (catalogue)
“Niele Toroni/Angela Bulloch”, Museum der Bildenden Künste, Leipzig
“Der Umbau Raum”, Künstlerhaus Stuttgart, Stuttgart, Germany
“Dinner”, organised by Giorgio Sadotti, Cubitt Gallery, London
“The Cauldron”, The Henry Moore Studio, Halifax (catalogue)
“Other men’s flowers”, Aurel Scheibler Galerie, Cologne
“nach weimar”, Kunstsammlungen zu Weimar, Weimar (catalogue)
“Variations, op.96”, Hotel Saint Simon, Angoulem, France
“Escape Attempts”, curated by GLOBE and Jack Jaeger Christiania, Kopenhagen, Denmark
“are you talking to me?”, curated by Peter Holst Henckel, Gallery Specta, Copenhagen
“Orte des Möglichen”, Hypobank International S.A., Luxemburg / Achenbach Kunst-handel, Düsseldorf (catalogue)
“Files – Art as Position in the Age of Global Technologies”, Bunker, Berlin
  “Itinerant Texts”, commissioned by Bookworks, Camden Arts Centre, London
“Other Men’s Flowers”, Galerie Aurel Scheibler, Cologne
“Life/Live”, Musée d’Art Moderne de la Ville de Paris, Paris (catalogue)
“Full House, junge britische Kunst”, Kunstmuseum Wolfsburg, Wolfsburg, Germany
“Superstore de Luxe”, curated by Sarah Staton, New York
“All in one”, Schipper & Krome, Cologne
Kunst in der neuen Messe Leipzig, curated by C. Schneider, Leipziger Messe, Leipzig
“Corpus Delicti”, curated by Torben Christensen, Kunstforeningen, Kopenhagen (catalogue)
“Das Ende der Avantgarde, Kunst als Dienstleistung”, Kunsthalle der Hypo-Kulturstiftung, Munich (catalogue)
“Toys”, curated by Niolas Bourriaud & Eric Troncy, Galerie Jousse Seguin, Paris
“Wohnzimmer”, Schipper & Krome, Cologne
“Klangskulpturen, Augenmusik”, Ludwig Museum, Koblenz, Germany (catalogue)
“Collection, fin XX e”, FRAC Poitou-Charentes, Angouleme (catalogue)
“le labyrinthe moral”, curated by Liam Gillick and Philippe Parreno, Le Consortium, Dijon
“Am Rande der Malerei”, Kunsthalle Bern, Bern (catalogue)
“Space Odessey”, curated by Helena Papadopoulos, Eleni Koroneou Gallery,
Athens (catalogue)
“How is everything?”, curated by Erwin Wurm and Martin Walde, Wiener Secession, Vienna
“En passant...”, curated by Andreas Spiegel, Akademie der Bildenden Künste,
Vienna (catalogue)
“Never mind the nineties”, Kunst-Werke Berlin, Berlin
“Stoppage”, curated by Liam Gillick, CCC, Tours und Villa Arson, Nice
“Faction Video”, curated by Liam Gillick, Det Kongelige Danske Kunstakademie, Copenhagen
“444 & 222 Too”, steam ironed by Georg Herold, South London Gallery, London
“Sage”, with Sam Taylor Wood, Gillian Wearing, Elisabeth Wright, Galerie Michel Rein, Tours
X: Kunstkanal. „World tea Party”, Mediapark, Cologne
“WM Karaoke”, with Liam Gillick, curated by Georg Herold, Portikus, Frankfurt/Main
“Blup/Bleep”, Westwerk e.V. Hamburg
“Surface de Réparation”, curated by Eric Troncy, Espace Frac, Dijon
“Surface de Réparation II”, curated by Eric Troncy, Espace FRAC, Dijon (catalogue)
“Wall to Wall”, curated by Maureen Paley, Lids City Art Gallery, Leeds (catalogue)
“temporary translation(s) ”, Sammlung Schürmann, Deichtorhallen, Hamburg (catalogue)
Sammlung Schürmann, Ludwig Museum, Aachen, Germany (catalogue)
“Use Your Allusion-recent video art”, Museum of Contemporary Art, Chicago
“Mixbild”, Schipper & Krome, Cologne
“The Antidote”, Centre 181 Gallery, London
“the box presenta: Cloni”, curated by Tommaso Corvi Mora, A&M Bookstore, Milan
“Brian-Butler-1301 (L.A.), presents: Angela Bulloch, Meg Cranston, Sarah Seager, Thaddeus Strode”, Art & Public, Geneva
“Informationsdienst”, Grazer Kunstverein, Graz
“Grand Prix de Monaco”, curated by Axel Huber, Nice and Monaco
“Gradus ad Parnassum, Arbeiten zeitgenössischer Künstlerinnen”, Kunsthaus Welker, Heidelberg, Germany
“The Art of Survival/Baby-Doll Saloon”, Laure Genillard, London
Esther Shipper at the Christopher Grimes Gallery, Santa Monica, California /
Galerie Walcheturm, Zurich
“Summer 93”, Air de Paris, Nizza
“Nulle part et partout”, carte blanche à Ami Barak, Espace Paul Boyé, Sète, France
“My little Toilet”, curated by Jonathan Monk, Glasgow
“London Photo Race”, Friesenwall 120, Cologne
“Christmas Shop”, Air de Paris, Paris
“Unplugged: The Demo video Tape”, curated by Nicolas Bourieaud, Holiday Inn, Cologne
“Dokumentationsraum”, Esther Schipper, Cologne
“Dancing Girls”, with Kate Daw, Store 5, Melbourne, Australia
“An old song and new drink”, with Liam Gillick, Café Beaubourg, Paris
“Il faut construire l’hacienda”, curated by Nicolas Bouriaud, Eric Troncy and Alain Julien-Laferrière, CCC Tours (catalogue)
“Etats Specifiques – 11 Artistes Anglais”, Musée des Beaux Arts André Malraux,
Le Havre (catalogue)
“Lying on top of the building the clouds seemed no nearer than they had when I was lying on the street”, Monika Sprüth Galerie (Cologne) and Le Case d’Arte (Milano)
“Group Show”, Esther Schipper, Cologne
“Still“, Andrea Rosen Gallery, New York
“Dirty Data-Sammlung Schürmann”, Ludwig Forum für Internationale Kunst, Aachen, Germany (catalogue)
“Angela Bulloch, Adam Chodzko”, instructions received by Liam Gillick, Gio‘ Marconi,
Milano (catalogue)
“Lily van der Stokker, Angela Bulloch, Stephane Magnin, Wall Drawings“, Air de Paris, Nice
“Molteplici Cultura”, curated by Liam Gillick und Paul Mittleman, Rome (catalogue)
“Informationsdienst”, (touring exhibition, organized by Ute Meta Bauer, Tina Geissler, Sandra Hasenteufel; first shown at the exhibition hall Künstlerhaus Stuttgart, Stuttgart
“Manifesto”, curated by Benjamin Weil, Daniel Buchholz, Cologne
Castello di Rivara, Turin; Wacoal Arts Center, Tokyo / Urbi et Orbi, Paris
“ON”, interim Art, London (catalogue)
“Reve, Fantasie”, Galerie de Mois, Paris, kuratiert von D. Gonzales-Foerster / Elein Fleiss / Bernard Joisten
“Angela Bulloch, Sarah Seager und Craig Wood“, Interim Art, London
Victoria Miro Gallery, London
“No Man’s Time”, Villa Arson, Nizza (catalogue)
“Broken English”, Serpentine Gallery, London (catalogue)
“Projection”, Castello de Rivara, Turin
“Plastic Fantastic Lover (object a)”, curated by Catherine Lui, Blum Helman Warehouse, New York (catalogue)
“Devices”, curated by Bruce Ferguson, Josh Baer Gallery, New York
“Marking Time”, The Drawing Center, New York
“Common Market”, curated by Barbara Steffen, Richard Kulenschmidt Gallery, Los Angeles
“The Köln Show”, Cologne (catalogue)
“Loving Correspondence”, Massimo Audiello Gallery, New York
“Seven Obsessions”, Whitechapel Art Gallery, London
“Home Truths”, six british artists, curated by Kate McFarlane, Castello di Rivara, Turin
“Bulloch, Hume, Landy”, Esther Schipper, Cologne
“Freeze” Part 1, PLA Building, London
“Freeze” Part 3, PLA Building, London (catalogue)

“Ruhr.2010: Lichtkunst im Buch zur 1. Biennale”, in: www.derwesten.de, 20.09.2010.
Wolfgang Ullrich, “Friede den Palästen”, in: Monopol, Nr. 5/2010, S. 80–82.
Birgit Sonna, "Die digitale Wunderlampe", in: ART: das Kunstmagazin, February 2008,
pp. 60-65
Manou Farine, "Ballet de mécaniques", in: Oeil, no. 598, January 2008, pp. 92
Christian Huther, "Kunstmaschinen Madchinenkunst", in: Kunstforum International, no. 189,
Jan/Feb 2008
"Las máquinas del arte", in: Lapiz, vol. 26, pp. 45
Jorge López Anaya, "Aproximación a las tendencias contemporáneas", in: Lapiz, vol. 26,
pp. 62-77
Paul Galvez, James Yood, "John Fraser", in: Artforum, vol. 46, no. 3, November 2007, pp. 372
Felix Prinz, "Welt aus den Angeln", in: Texte der Kunst, vol. 17, no. 67, pp. 252 - 254
Francesca Romana Morelli, "Roma: L'Enel lancia una nuova corrente", in: "Giornale dell'Arte, vol. 25, no. 265, May 2007
Rafael Pic, "Effet de tram à Paris", in: Beaux Arts Magazine, no. 272, pp. 82-85
Bénédicte Ramade, "Oeil", no. 587, pp. 39
“<The Sublime is Now!> im Museum Franz Gertsch”, in: Kunst Bulletin, Nr. 6, p. 72 f.
Martin Herbert, "How To Improve The World", Art Monthly no. 300, Oct. 2006, pp. 35-37
Bénédicte Ramade, "Chamarande hausse le ton", in: Oeil, no. 582, July 2006, pp. 38
Edgar Schmitz, "Bilderreichtum: Tate Triennial 2006", in: Kunstforum International, no. 180, May/June 2006, pp.387-389
Eliza Williams, “Tate Triennial 2006“, in: Flash Art, May/June, p. 63.
Herbert Martin, “Angela Bulloch”, in: Artforum, April, p. 218 f.
Tom Morton, "Deinitely, Maybe", in: Frieze, No. 98, pp. 124-29
Carlos Jiménez, "3rd Valenica Biennial: A watered down biennial", in: Art Nexus, Vol. 5, no. 60, March-May 2006, pp. 94-96
Thomas W. Kuhn, "Lichtkunst aus Kunstlicht", in: Kunstorum International, No. 179, Feb.-April 2006, pp. 320.324
Vivianne Loría, "The collection as the reflection of the souL", in: Lapiz, vol. 25, no. 220, Feb. 2006, pp. 56- 73
Van den Hoven, "Angela Bulloch gaat door waar Judd stopt", in: Brabants Dagblad, 02.01.
Kim Seung-duk, "Power Interview, Angela Bulloch´s Pixel Odessey", in: Art in Culture, No 4.
Dominic van den Boogerd, "Pixels en regels", in: Metropolis M, No 1, p. 14 f.
Maria Walsh, "The light fantastic - Angela Bulloch interviewed by Maria Walsh", in. Art Monthly, no. 292, Dec. 2005 - Jan. 2006, pp. 1- 4
Kito Nedo, “Endrunde im Kunstwettstreit“, in: art, September.
“Preis der Nationalgalerie für Junge Kunst 2005“, in: Artforum International, September.
Nina Schedlmayer, “Technisch einwandfrei“, in: artmagazine, 18.09.
Susanne Leeb, "Possession", in: Texte zur Kunst, December, No 50, p. 193-196.
Diedrich Diedrichsen, "Echos von Spiegelsounds in Headphones", in: Texte zur Kunst, No. 50, p. 42-61.
Michael Bracewell, in: Art review, December.
Christopher Gray, "Seeing the point of Bulloch´s work", in: The Oxford Times, 2.12., p. 2.
Mariano Mayer, "Angela Bulloch", in: Neo2, No 40, February, p. 68 f.
Faye Hirsch, "Abstract Generations", in: Art in America, October, p. 22 f.
Paula Clark, "Angela Bulloch", Oxfordshire Living, p. 63.
Hilary Stunda, “Aspen: A Cutting-Edge Museum and First-Rate Galleries“, Artnews, January.
Angelika Affentranger-Kirchrath, “Abstraktion in Pixelform“, Neue Zürcher Zeitung, Nr. 33, 10.02., p. 48.
Katja Blomberg, "Kunstrakete auf Traufhöhe", Süddeutsche Zeitung, 91, 20.04., p. 13.
“Einblick“, Nr. 51, taz Berlin, 23.06., p. 28.
“Short-list für den Preis der Nationalgalerie für Junge Kunst 2005 nominiert“, in:
artmagazine, 07.07.
Alex Coles, “Angela Bulloch: A Storm in a Pixel“, Contemporary, 65, pp. 20-23.
Claudia Aigner, "Engholm Engelhorn Galerie: Im Farbuniversum", in: Wiener Zeitung, 24.12.
Nicole Scheyerer, "Engholm Engelhorn Galerie: Kiste", in: Die Presse, 23.12.
Hans-Jürgen Hafner, "Licht und Verschattung: Bulloch und Pryde", in: www.artnet.de, 13.12.
"Rot, grün und blau", in: Der Standard, Galerien national, 02.12.
Sabine Boehl, "Rot, Grün, Blau in der Box", in: www.kunstmarkt.com
Gilda Williams, Cream 3. Contemporary Art in Culture, London 2003, p. 92-5.
Thomas Wulffen, “Utopia Station”, in: Kunstforum International, 166, p. 196.
Anna Starling, Frieze Art Fair Yearbook 2003-4, London.
Andreas Spiegl, “Zoom”, Exhibition Medienturm Graz 03.
Nina Schedlmayer, “Hinters Augenlicht geführt”, in: Profil, 45, 03.11., p. 117.
Martin Behr, “Betrogen von den eigenen Augen. Grazer Kunsthaus eröffnet den Ausstellungsbetrieb: Einbildung – das Wahrnehmen in der Kunst”, in: Salzburger Nachrichten,
25./26.10.
Juliane Rebentisch, “Angela Bulloch's Digital Reductions”, in: Parkett, 66, p. 20-8.
Andrew Wilson, “Maybe”, in: Parkett, 66, p. 36-42.
Martin Prinzhorn, “Simulation of Simulation (and vice versa)”, in: Parkett, 66, p. 50-4.
“Tanzende Farben am Bildschirm”, in: Focus, 6, 03.02.
Alex Farquharson, “Angela Bulloch”, in: Frieze, 71, November/December, p. 97.
“Old Attitudes - new stances”, in: Arconoticias, 26, winter.
Michael Archer, “Angela Bulloch / Institute of Visual Culture”, in: Camera Austria International, 80/02, p. 84.
John Miller, “United Colors of BBC”, in: Texte zur Kunst, 12, 47, September, p.153-5.
Justin Hoffmann, “Timewave Zero - The Politics of Ecstasy”, in: Kunstforum International,
No. 158, p. 89.
Verena Kuni, “Schöner Schwingen – Frequenzen (HZ) – audiovisuelle Räume in der Kunsthalle Schirn”, in: Kunst-Bulletin, April, p. 42.
Mai-Thu Perret, “Angela Bulloch (review)”, in: Frieze, 65, March, p. 89.
Martina Koch, “Stellwerk der Wahrnehmung”, in: St. Gallener Tagblatt, 13.09.
Elisabeth Mahoney, “Total Objekt Complete with Missing Prts”, in: Tramway, Glasgow.
Marina Sorbello, “Angela Bulloch”, in: tema celeste, 83, p. 102.
Beatrix Ruf, “Angela Bulloch thematisiert Ordnungssysteme mit Fehlern”, in: Impuls,
April, p. 12.
Nina Möntmann, “International Critique vs. Corporate Identity”, in: Texte zur Kunst, 41, March.
Jennifer Allen, “Angela Bulloch”, in: Artforum, February, p. 161.
Jens Rönnau, “Ein/Räumen – Arbeiten im Museum”, in: Kunstforum International, 1-3.
“Angela Bulloch/CDN. Pedestrian Pixel System”, in: Centrum für Gegenwartskunst, OÖ, programme for November/December 2000 and January/February 2001.
Knut Ebeling, “Das Maß der Pixel”, in: Der Tagesspiegel, November, p. 28.
Christoph Base, “Leuchte, Pixel, leuchte hell”, in: FAZ Frankfurter Allgemeine Zeitung, Berliner Seiten, November.
Nicole Scheyerer, “Wienlexikon – Kunst”, in: Falter, 10.11., p. 38.
Patricia Grzonka, “Spielregeln. Kunst. Angela Bullochs Formensprache”, in: Profil, 45, 06.11., p. 212-13.
Judith Jammers, “Pixel in der Dingwelt. Angela Bulloch in der Galerie Schipper und Krome”, in: Berliner Zeitung, 23.10.
Marion von Osten, “Es läuft alles nach Plan”, in: Texte zur Kunst, 39/10, September, p. 189-96.
Ronald Berg, “Das Pixel lügt. Wie digitale Bilder die Wirklichkeit verändern: Angela Bulloch in der Galerie Schipper und Krome”, in: Zitty, 22.
“Und Bulloch sprach: Es werde Licht! Neue Lichtpassage beim Passage-Durchgang”, in: Linzer Rundschau“, 03.08.
“Passage soll Arenaplatz mit Linzer Innenstadt verbinden. Verknüpfung von Bewegung und Licht”, in: Kammernachrichten, Linz, 28.07.
“Linz: Künstlerische Belebung der neuen Parallelachse zur Landstraße. Lichtkunst für die neue Passage-Passage”, in: Neues Volksblatt, Linz, 21.07.
“Arena: ein zentraler Platz im Abseits. Lichtboxen als Wegweiser”, in: Oberösterreich-ische Nachrichten, 21.07.
Christian Röllin, “Art and Communication”, in: Winfo, March, p. 17-20.
Philadelphia Inquirer, 13.02., p. 11.
Jonathan Jones, “A Home Of Your Own”, in: Frieze, 50, January/February, p. 50-3.
“Zeit für Kunst / Time for Art”, Contemporary Art at the headquarter of the Winterthur Group, in: Winterthur (Faltblatt).
Birgit Sonna, “Verführung zur Kunst”, in: Lufthansa Magazin, 4, p. 6-18.
“Kunst-Szenen. In Pixeln sehen – Angela Bulloch”, in: Neue Züricher Zeitung, 87.
Hilary Jay, “Are we having fun yet?”, in: Inquirer Magazine, p. 11-15, image on cover.
Eric Troncy, “Que choisir?”, in: Beaux Arts Magazine, numero special, Qu‘ est-ce que l‘ art (aujourd‘ hui) / What is Art (today), December, p. 102-5.
“Art to Die for”, The Guardian Weekend, 09.10., p. 68-70.
Manuel Bonik, “Kunsthauptstadt Berlin”, in: GQ, 12, p. 64.
Ulrich Müller, “Von Phall zu Fall”, in: Zitty, 13, p. 57.
Sigrun Hellmich, “Hochexplosiver Stoff?”, in: Sächsische Zeitung, 15./16.05.
Tim Sommer, “Wechselspiel von Macht und Unterordnung”, in: LVZ, 19.04.
Hans Rudolf Reust, “Angela Bulloch”, in: Artforum, 37, December.
Jan Winkelmann, “Angela Bulloch”, in: artist, 35, 2, p. 4-7.
Michael Hauffen, “Angela Bulloch”, in: Kunstforum International, 141, July, p. 420.
David Perreau, “Replay”, in: Omnibus, 25, July, p. 13.
Knut Ebeling, “Wie die Lichtorgel im Partykeller”, in: TS, 04.07.
Norman Lindner, “Installationen von Angela Bulloch in der Galerie Schipper & Krome”, in:
taz, 23.06.
Fabienne Fulcheri, “Bouffee d‘ oxygene au Havre”, in: Technikart, 21, p. 100.
Manuel Bonik, “Berühren erlaubt”, in: Spiegel Kultur Extra (Spiegel Online, 17/98).
“Go shoot yourself”, in: ISM, 13.12., p. 26ff.
Sabine B. Vogel, “Setz dich, es geht los”, in: FAZ Frankfurter Allgemeine Zeitung, 15.09.
Richard Shone, “Head Turners”, in: Artforum, 36, September.
Birgit Sonna, “Der Rest ist Schwitzen”, in: Süddeutsche Zeitung, 29.08.
David Bussel, “Angela Bulloch”, in: Frieze, 35, June-August.
Andrea Jahn, “Angela Bulloch: Sound Bank”, in: Springer. Hefte für Gegenwartskunst,
II / 3, p. 73.
Emily Tsingou, “Angela Bulloch”, in: Flash Art, March/April, p. 122.
Andrew Cross, “Angela Bulloch”, in: Art Monthly, 202, December/January
Anuschka Roshani, “Künstlerwahnsinn”, in: Spiegel Extra, 12, December.
Hans Rudolf Reust, “Szene aus Betaville”, in: Kunstforum, 135.
“Le bazar savant de l’art britanique”, in: Libération, 10.10., p. 30.
Liam Gillick, “Like turning a chair into a switch”, in: Documents sur l’art, 8.
Daniele Muscionico, “Meer aus Steckdose”, in: Neue Zürcher Zeitung, 18.09.
Claudia Spinelli, “Klick, klack, Meer an, Meer aus”, in: Basler Zeitung, 28.08.
Rudolf Schmitz, “Wo bleibt der Körper?”, in: FAZ Frankfurter Allgemeine Zeitung, 23.11.
Pascaline Culelier, in: FRAC Languedoc-Roussillon.
Eric Troncy, “CCC Tours”, in: Art Press, 187.
Patricia Brignone, “Angela Bulloch”, in: Artefactum, summer.
Michael Archer, “Angela Bulloch”, in: Paletten, April.
Helena Papadopoulos, “Angela Bulloch, Sylvie Fleury”, in: Flash Art, 176, p. 103.
Eric Troncy, “Wall Drawings and Murals”, in: Flash Art, 170, p. 68-70.
Yvonne Volkart, “Eleven Women”, in: Flash Art, October.
Giorgio Verzotti, Aperto 93, in: Flash Art, October.
Giorgio Verzotti, “Angela Bulloch”, in: Artforum, April.
David Lillingtion, Besprechung “ON” bei Interim Art, in: Time Out, 13-20.01.
Nicolas Bourriaud, “The Work of Art in the Age of Ecological Recycling”, in: Flash Art, 167, November/December.
Gerhard Mack, “Mehrerlei Comics”, in: Kunst Bulletin, November, p. 20-3.
Benjamin Weil, “Angela Bulloch”, in: Flash Art, 166, October.
Noemi Smolik, “Müll, Kunst und Leben”, in: Kölner Stadtzeitung, 17.07.
Benjamin Weil, “Cut it out”, Frieze, April/May.
Dan Cameron, “Don’t Look Now”, Frieze, 3, p. 4-8.
Francesco Bonami, “Angela Bulloch – Lonesome Comedy”, in: Flash Art, 163, March/April.
Francesco Bonami, “Plastic Fantastic Lover, Master and Mistresses”, in: Flash Art, 162, January/February, p. 125.
Tom Kalin, “Plastic Fantastic Lover”, in: Artforum, January, p. 120.
“Plastic Fantastic Lover”, in: Arts Magazine, January, p. 81.
Eric Troncy, “No Man’s Time”, in: Flash Art, 161, November/December.
Giorgio Verzotti, “No Man’s Time”, in: Artforum, November.
Roberta Smith, “Plastic Fantastic Lover”, in: The New York Times, 01.11.
Jean Yves Jouannais, in: Artpress, October.
Eric Troncy, “Soft Touch”, in: Artscribe, September.
Sarah Kent, “Breaking Ground”, in: Time Out, 14-21.08.
Olivier Zahm, “Reve, Fantasie”, in: Artforum, May.
Liam Gillick, “The Placebo Effect”, in: Arts Magazine, May.
Jose Lebrero Stals, in: Flash Art, 157, March/April.
Peter Frank, “Common Market, Boyd Webb, Dominique Blain, Anthony Gormley”, in:
LA Weekly, 16.02.
“Farbe per Funksignal”, in: Kölner Illustrierte, January.
Noemi Smolik, “Werk ohne Schöpfer”, in: Kölner Stadtanzeiger, 12.12.
Liam Gillick, “Seven Obsessions”, in: Flash Art, 155, November/December.
Marjorie Allthorpe-Guyton, “Seven Obsessions”, in: Artforum, November.
William Feaver, “Exorcise classes for the obsessed”, in: The Observer, 02.09.
Olivier Zahm, in: Art Press, 150, September.
Andrew Graham-Dixon, “The World of Interiors”, in: The Independent, 28.08.
Jutta Koether, “It’s a Maggot Farm, the B-Boys and Fly Girls of British Art: Five Statements and a Conversation”, in: Artscribe, summer.
Martin McGeown, in: Art Press, 148.
Andrew Renton, in: Flash Art, 153, summer.
Andrew Renton, in: Blitz, March.
Andrew Renton, “Plotting”, in: Performance, 62.
Mark Currah, in: City Limits, 22.03.
David Lillington, in: Time Out, 21.03.
Rose Jennings, in: City Limits, 08.03.
“Letter from London”, in: Contemporanea, March.
Jutta Koether, “Three from England”, in: Flash Art, January/February.
Angela Bulloch, “40 Under 40: The New Generation in Britain”, in: Art & Design, June/July.