Abramovic, M., & Biesenbach, K. P. (2010a). Marina Abramovic: The Artist Is Present. Museum of Modern Art.
Abramovic, M., & Biesenbach, K. P. (2010b). Seven Easy Pieces. In Marina Abramovic: The Artist Is Present (pp. 36–93). Museum of Modern Art.
Andre, C. (1959). Last Ladder | Tate. https://www.tate.org.uk/art/artworks/andre-last-ladder-t01533
Auslander, P. (1997a). From Acting to Performance: Essays in Modernism and Postmodernism. Routledge.
Auslander, P. (1997b). From Acting to Performance: Essays in Modernism and Postmodernism. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169806
Auslander, P. (1997c). Presence and Theatricality in the Discourse of Performance and the Visual Arts. In From Acting to Performance: Essays in Modernism and Postmodernism (pp. 49–57). Routledge.
Auslander, P. (1997d). Presence and Theatricality in the Discourse of Performance and the Visual Arts. In From Acting to Performance: Essays in Modernism and Postmodernism (pp. 49–57). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=169806
Auslander, P. (2006). The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art, 28(3), 1–10. https://www.jstor.org/stable/4140006
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Batchelor, D. (1997b). Minimalism. Tate Gallery.
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Battcock, G., & Nickas, R. (1984). The Art of Performance: A Critical Anthology. E.P. Dutton.
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Bishop, C. (2004). Antagonism and Relational Aesthetics. October, 110, 51–79. https://www.jstor.org/stable/3397557
Bishop, C. (2006a). Participation. Whitechapel.
Bishop, C. (2006b). Participation. Whitechapel.
Bishop, C. (2006c). The Social Turn: Collaboration and its Discontents. Artforum, 44(Feb), 178–183.
Bishop, C. (2012a). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.
Bishop, C. (2012b). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988
Bishop, C. (2012c). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.
Bishop, C. (2012d). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988
Bishop, C. (2014a). The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney. The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney, 46(3), 62–76. https://muse.jhu.edu/article/566328
Bishop, C. (2014b). The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney. Dance Research Journal, 46(3), 63–76. https://doi.org/10.1017/S0149767714000497
Bishop, C., & Sladen, M. (2008). Double Agent. Institute of Contemporary Arts.
BMW Tate Live: If Tate Modern was Musée de la danse? – Performance at Tate Modern | Tate. (n.d.). https://www.tate.org.uk/whats-on/tate-modern/performance/bmw-tate-live-2015/bmw-tate-live-if-tate-modern-was-musee-de-la
Bourriaud, N. (2002). Relational Form. In Relational Aesthetics (pp. 11–24). Dijon.
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Brentano, R. (1994). Outside the Frame - Performance and the Object: A Survey History of Performance Art in the USA Since 1950. Cleveland Center for Contemporary Art.
Charmatz, B. (2016). How to Dance with Art. In How to Frame: On the Threshold of Performing and Visual Arts (pp. 133–142). Sternberg Press.
Copeland, M. (2013a). Choreographing Exhibitions. Presses du Reel.
Copeland, M. (2013b). People and Things in the Museum. In Choreographing Exhibitions. Presses du Reel.
Courage, C. (2017a). Arts in Place: The Arts, the Urban and Social Practice. Routledge, Taylor & Francis Group.
Courage, C. (2017b). Arts in Place: The Arts, the Urban and Social Practice. Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4799881
Courage, C., & McKeown, A. (Eds.). (2019a). Creative Placemaking: Research, Theory and Practice. Routledge.
Courage, C., & McKeown, A. (Eds.). (2019b). Creative Placemaking: Research, Theory and Practice. Routledge. https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/9781315104607
Crouch, T. (2011). My Arm. In Plays One (pp. 21–47). Oberon.
Cunningham, M. (1952). Space, Time and Dance | Merce Cunningham Trust. https://www.mercecunningham.org/the-work/writings/space-time-and-dance/
de Saint Phalle, N. (1961). Shooting Picture | Tate. https://www.tate.org.uk/art/artworks/saint-phalle-shooting-picture-t03824
Downey, A. (2007a). Towards a Politics of (Relational) Aesthetics. Third Text, 21(3), 267–275. https://doi.org/10.1080/09528820701360534
Downey, A. (2007b). Towards a Politics of (Relational) Aesthetics. Third Text, 21(3), 267–275. https://doi.org/10.1080/09528820701360534
Ferdman, B. (2014). From Content to Context: The Emergence of the Performance Curator. Theater, 44(2), 5–19. https://doi.org/10.1215/01610775-2409482
Fernandez, L. (2015). Once Again. In F. Grossi (Ed.), Ragnar Kjartansson (pp. 29–38). Palais de Tokyo.
Finbow, A. (2018). Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate. Journal of New Music Research, 47(4), 291–299. https://doi.org/10.1080/09298215.2018.1486432
Foster, H. (1996). The Return of the Real: The Avant-Garde at the End of the Century. MIT Press.
Fried, M. (1995a). Art and Objecthood. In Minimal Art: A Critical Anthology (pp. 116–147). University of California Press.
Fried, M. (1995b). Art and Objecthood. In Minimal Art: A Critical Anthology (pp. 49–57). University of California Press.
Gallizio, P. (1958). Industrial Painting | Tate. https://www.tate.org.uk/art/artworks/gallizio-industrial-painting-t14249
Giannachi, G., & Westerman, J. (Eds.). (2018). Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge.
Goldberg, R. (1998). Performance: Live Art Since the 60s. Thames & Hudson.
Goldberg, R. (2011a). Living Art c.1933 to the 1970s. In Performance Art: From Futurism to the Present (3rd Edition, pp. 121–151). Thames & Hudson.
Goldberg, R. (2011b). Performance Art: From Futurism to the Present (3rd Edition). Thames & Hudson.
Goldberg, R. L. (2004). One Hundred Years. In Live: Art and Performance (pp. 176–182). Tate.
Groĭs, B. (2008). Art Power. MIT Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3338770
Groĭs, B. (2013). Art Power. The MIT Press.
Gronau, B., Hartz, M. von, & Hochleichter, C. (2016). How to Frame: On the Threshold of Performing and Visual Arts. Sternberg Press.
Guy, G. (2016a). Introduction: Displaying Performance. In Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46, pp. 1–43). Routledge.
Guy, G. (2016b). Introduction: Displaying Performance. In Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46, pp. 1–43). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466
Guy, G. (2016c). Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46). Routledge.
Guy, G. (2016d). Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46). Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719
Guy, G. (2016e). Visitor and Performer: The Return of the Relational. In Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46, pp. 100–138). Routledge.
Guy, G. (2016f). Visitor and Performer: The Return of the Relational. In Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46, pp. 100–138). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466
Guy, G. (2017). From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums. Theatre Journal, 69(3), 339–359. https://muse.jhu.edu/article/670581
Harvie, J. (2011a). Agency and Complicity in "A Special Civic Room”: London’s Tate Modern Turbine Hall. In Performance and the City (pp. 204–221). Palgrave Macmillan.
Harvie, J. (2011b). Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure. Performance Research, 16(2), 113–123. https://doi.org/10.1080/13528165.2011.578842
Harvie, J. (2013a). Fair Play: Art, Performance and Neoliberalism. Palgrave Macmillan.
Harvie, J. (2013b). Fair Play: Art, Performance and Neoliberalism. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369
Harvie, J. (2013c). Fair Play: Art, Performance and Neoliberalism. Palgrave Macmillan.
Harvie, J. (2013d). Fair Play: Art, Performance and Neoliberalism. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369
Heathfield, A. (2000). Small Acts: Performance, the Millennium and the Marking of Time. Black Dog.
Heathfield, A., & Glendinning, H. (2004). Live: Art and Performance. Tate.
Heathfield, A., & Hsieh, T. (2009). Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency.
Heddon, D., & Klein, J. (Eds.). (2012). Histories and Practices of Live Art. Palgrave Macmillan.
Hoffmann, J., & Jonas, J. (2005). Perform. Thames & Hudson.
Jackson, S. (2011a). Quality Time: Social Practice Debates in Contemporary Art. In Social Works: Performing Art, Supporting Publics (pp. 43–74). Routledge.
Jackson, S. (2011b). Quality Time: Social Practice Debates in Contemporary Art. In Social Works: Performing Art, Supporting Publics (pp. 43–74). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668595
Jackson, S. (2011c). Social Works: Performing Art, Supporting Publics. Routledge.
Jackson, S. (2011d). Social Works: Performing Art, Supporting Publics. Routledge.
Jones, A. (1997a). "Presence” in Absentia: Experiencing Performance as Documentation. Art Journal, 56(4), 11–18. https://doi.org/10.1080/00043249.1997.10791844
Jones, A. (1997b). ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal, 56(4), 11–18. https://doi.org/10.2307/777715
Jones, A. (2011a). "The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review, 55(1), 16–45. https://www.jstor.org/stable/23017597
Jones, A. (2011b). "The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review, 55(1), 16–45. https://www.jstor.org/stable/23017597
Jones, A. (2013). Unpredictable Temporalities: The Body and Performance in (Art) History. In G. Borggreen & R. Gade (Eds.), Performance Archives - Archives of Performance (pp. 53–72). Museum Tusculanum, University of Copenhagen.
Jones, A., & Heathfield, A. (2012a). Perform, Repeat, Record: Live Art in History. Intellect.
Jones, A., & Heathfield, A. (Eds.). (2012b). Perform, Repeat, Record: Live Art in History. Intellect. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809
Jones, A., & Heathfield, A. (2012c). Perform, Repeat, Record: Live Art in History. Intellect.
Jones, A., & Heathfield, A. (Eds.). (2012d). Perform, Repeat, Record: Live Art in History. Intellect. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809
Judd, D. (1980). Untitled | Tate. https://www.tate.org.uk/art/artworks/judd-untitled-t03087
Kaye, N. (2000a). Site-Specific Art: Performance, Place, and Documentation. Routledge.
Kaye, N. (2000b). Site-Specific Art: Performance, Place, and Documentation. Routledge.
Kelleher, J. (2015). The Illuminated Theatre: Studies on the Suffering of Images. Routledge.
Kim, K. (1964). Death of Sun I | Tate. https://www.tate.org.uk/art/artworks/kim-death-of-sun-i-t14359
Krauss, R. E. (1981a). Mechanical Ballets: Light, Motion, Theatre. In Passages in Modern Sculpture (pp. 201–242). MIT Press.
Krauss, R. E. (1981b). Passages in Modern Sculpture. MIT Press.
Kunst, B. (2015a). Conclusion: On Laziness and Less Work. In Artist at Work, Proximity of Art and Capitalism (pp. 111–121). Zero Books, an imprint of John Hunt Publishing.
Kunst, B. (2015b). Conclusion: On Laziness and Less Work. In Artist at Work, Proximity of Art and Capitalism (pp. 111–121). Zero Books, an imprint of John Hunt Publishing. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4448938
Laurenson, P., & van Saaze, V. (2014). Collecting Performance Based Art: New Challenges and Perspectives. In O. Remes, L. MacCulloch, & M. Leino (Eds.), Performativity in the Gallery: Staging Interactive Encounters: Vol. volume 31 (pp. 27–41). Peter Lang.
Leighton, T. (2008). Art and the Moving Image: A Critical Reader. Tate Pub.
Lepecki, A. (2006a). Exhausting Dance: Performance and the Politics of Movement. Routledge.
Lepecki, A. (2006b). Exhausting Dance: Performance and the Politics of Movement. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=261301
Lepecki, A. & Whitechapel Art Gallery. (2012). Dance. Whitechapel Art Gallery.
Lind, M. (2012a). Performing the Curatorial: Within and Beyond Art. Sternberg Press.
Lind, M. (2012b). Performing the Curatorial: Within and Beyond Art. Sternberg Press.
Lippard, L. R. (1997). Six Years: The Dematerialization of the Art Object From 1966 to 1972. University of California Press.
McKenzie, J. (2001a). Perform or Else: From Discipline to Performance. Routledge.
McKenzie, J. (2001b). Perform or Else: From Discipline to Performance. Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=166268
Meisel, M. (1983). Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England. Princeton University Press.
Morris, R. (1973). Location Piece | Tate. https://www.tate.org.uk/art/artworks/morris-location-piece-p07235
Mundy, J. (2013). Lost Art: Missing Artworks of the Twentieth Century. Tate Publishing.
Nixon, M. (2006). Dream Dust. October, 116(Spring), 63–86. https://www.jstor.org/stable/40368425
Nyong’o, T. (2019). Does Staging Historical Trauma Re-Enact it? In M. Bleeker, A. Kear, J. Kelleher, & H. Roms (Eds.), Thinking Through Theatre and Performance (pp. 200–210). Bloomsbury Methuen Drama. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
Obrist, H. U. (2012). A Brief History of Curating. JRP|Ringier. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=829682
Obrist, H. U. (2014). A Brief History of Curating (L. Bovier & B. Theiler, Eds.). JRP.
Obrist, H. U., & Abramovic, M. (2010a). Marina Abramovic (Vol. 23). Walther Knig.
Obrist, H. U., & Abramovic, M. (2010b). Marina Abramovic (Vol. 23). Walther Knig.
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Ose, E. D. (2014). Enthusiasm: Collectiveness, Politics, and Aesthetics. Nka Journal of Contemporary African Art, 2014(34), 24–33. https://doi.org/10.1215/10757163-2415159
Pan Daijing: The Absent Hour – Performance at Tate Modern | Tate. (n.d.). https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-absent-hour
Pan Daijing: Tissues – Performance at Tate Modern | Tate. (n.d.). https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-tissues
Patel, J. (1963). Untitled | Tate. https://www.tate.org.uk/art/artworks/patel-untitled-t14950
Phelan, J., & Rabinowitz, P. J. (2005). Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly. In A Companion to Narrative Theory (pp. 499–514). Blackwell. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554
Phelan, P. (1992a). The Ontology of Performance: Representation Without Reproduction. In Unmarked: The Politics of Performance (pp. 146–166). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=179272
Phelan, P. (1992b). Unmarked: The Politics of Performance. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272
Phelan, P. (1993a). The Ontology of Performance: Representation Without Reproduction. In Unmarked: The Politics of Performance (pp. 146–166). Routledge.
Phelan, P. (1993b). Unmarked: The Politics of Performance. Routledge.
Phelan, P. (2004). Marina Abramovic: Witnessing Shadows. Theatre Journal, 56(4), 569–577. https://doi.org/10.1353/tj.2004.0178
Phelan, P. (2005). Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly. In A Companion to Narrative Theory (pp. 499–514). Blackwell. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554
Phelan, P. (2008a). Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly. In A Companion to Narrative Theory (pp. 499–514). Blackwell.
Phelan, P. (2008b). Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly. In A Companion to Narrative Theory (pp. 499–514). Blackwell.
Pollock, J. (1951). Number 14 | Tate. https://www.tate.org.uk/art/artworks/pollock-number-14-t03978
Ranciere, J. (2015). The Politics of Aesthetics: The Distribution of the Sensible (G. Rockhill, Ed.; Updated edition). Bloomsbury Academic.
Read, A. (n.d.). Theatre in the Expanded Field. Bloomsbury Publishing. http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137
Read, A., & Robinson, B. (2013). Theatre in the Expanded Field: Seven Approaches to Performance. Bloomsbury.
Rebecca Horn – Display at Tate Modern | Tate. (n.d.). https://www.tate.org.uk/visit/tate-modern/display/tanks/rebecca-horn
Rebellato, D., Boon, R., & Roberts, P. (Eds.). (2013). Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations. Bloomsbury.
Rebellato, D., Boon, R., & Roberts, P. (Eds.). (2015). Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations. Bloomsbury Publishing. http://www.dramaonlinelibrary.com/context-and-criticism/modern-british-playwriting-2000-2009-iid-137977
Remes, O., MacCulloch, L., & Leino, M. (Eds.). (2014). Performativity in the Gallery: Staging Interactive Encounters: Vol. volume 31. Peter Lang.
Rendell, J. (2006). Art and Architecture: A Place Between. I. B. Tauris.
Ridout, N. (2007a). ’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate. https://web.archive.org/web/20220710020051/https://www.tate.org.uk/tate-etc/issue-11-autumn-2007/you-look-charming-you-look-enchanting-you-look-dazzling-you-look
Ridout, N. (2007b, September 1). ’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate. https://web.archive.org/web/20180217070314/http://www.tate.org.uk/context-comment/articles/you-look-charming-you-look-enchanting-you-look-dazzling-you-look
Ridout, N. (2008). Performance in the Service Economy: Outsourcing and Delegation. In Double Agent (pp. 126–131). Institute of Contemporary Arts.
Roms, H. (2019). How and Why Are Performances Documented? In M. Bleeker, A. Kear, J. Kelleher, & H. Roms (Eds.), Thinking Through Theatre and Performance (pp. 225–239). Methuen Drama.
Rosenthal, S. (2011a). Choreographing You: Choreographies in the Visual Arts. In Move: Choreographing You: Art and Dance Since the 1960s (pp. 7–11). Hayward Pub.
Rosenthal, S. (2011b). Choreographing You: Choreographies in the Visual Arts. In Move: Choreographing You : Art and Dance Since the 1960s (pp. 7–11). Hayward Pub.
Rugg, J., & Sedgwick, M. (2007a). Issues in Curating Contemporary Art and Performance. Intellect.
Rugg, J., & Sedgwick, M. (2007b). Issues in Curating Contemporary Art and Performance. Intellect.
Rugg, J., & Sedgwick, M. (2007c). Issues in Curating Contemporary Art and Performance. Intellect.
Sayre, H. M. (1992). The Object of Performance: The American Avant-Garde Since 1970 (New Edition). The University of Chicago Press.
Schimmel, P., & Stiles, K. (1998). Out of Actions: Between Performance and the Object, 1949-1979. Museum of Contemporary Art.
Schneider, R. (2011a). In the Meantime: Performance Remains. In Performing Remains: Art and War in Times of Theatrical Reenactment (pp. 87–110). Routledge.
Schneider, R. (2011b). In the Meantime: Performance Remains. In Performing Remains: Art and War in Times of Theatrical Reenactment (pp. 87–110). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668786
Schneider, R. (2011c). Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge.
Schneider, R. (2011d). Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786
Schneider, R. (2014). Remembering Feminist Remimesis: A Riddle in Three Parts. TDR/The Drama Review, 58(2), 14–32. https://muse.jhu.edu/article/545170
Serota, N. (2000). Experience or Interpretation: The Dilemma of Museums of Modern Art. Thames & Hudson.
Shalson, L. (2012). On Duration and Multiplicity. Performance Research, 17(5), 98–106. https://doi.org/10.1080/13528165.2012.728448
Shimamoto, S. (1954). Holes | Tate. https://www.tate.org.uk/art/artworks/shimamoto-holes-t07898
Spector, N. (2010). Seven Easy Pieces. In Marina Abramovic: The Artist Is Present (pp. 36–93).
Tate Exchange at Tate Modern | Tate. (n.d.). https://www.tate.org.uk/visit/tate-modern/tate-exchange
Theanyspacewhatever | Guggenheim. (2008, October 24). https://www.guggenheim.org/video/theanyspacewhatever
Westerman, J. (2018a). Museum of Modern Art, New York. In G. Giannachi & J. Westerman (Eds.), Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (pp. 15–20). Routledge.
Westerman, J. (2018b). Museum of Modern Art, New York. In G. Giannachi & J. Westerman (Eds.), Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (pp. 15–20). Routledge, Taylor & Francis Group. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4947457
What Happened, Sherlock Holmes and the Museum Dance | Spangbergianism. (n.d.). https://spangbergianism.wordpress.com/2014/10/19/what-happened-sherlock-holmes-and-the-museum-dance/
Wood, C. (2012). Painting in the Shape of a House. In A Bigger Splash: Painting After Performance (pp. 10–22). Tate.
Wood, C. (2018a). Performance in Contemporary Art. Tate Publishing.
Wood, C. (2018b). Performance in Contemporary Art. Tate Publishing.
Wood, C., & Cufer, E. (2012). A Bigger Splash: Painting After Performance. Tate.
